2020 · (nr Cheltenham, Glos, United Kingdom)
Twenty years ago Nigel Hamway wandered into the SWE annual exhibition in Oxford. Hilary Paynter and Pete Lawrence were invigilating. By the end of the day he was not only Treasurer of the Society, but he had established friendships which are growing to this day. For 2020 Vision, Nigel has asked nineteen of his favourite engravers to choose a major artistic influence, write an introduction about why they feel this way and, wherever possible, to work on a new engraving which sits side-by-side in the book with an engraving or illustration by their inspirer. The result, printed by Nomad Letterpress at the Whittington Press, places the engravings of twentieth century greats - John Farleigh, John Nash, Monica Poole, Geoffrey Wales, Gertrude Hermes et al. - alongside todays artists and presents the viewer with a snapshot of the changing nature of the engravers craft. Patrick Randle has written a Preface about the challenges of working with the engravings and the different approaches to wood, make-ready and inking required for each block.
Published in 2020 to mark the Centenary of the Society of Wood Engravers, this is a unique collection which has relied heavily on the generosity of loanees, both private and institutions from across the world. A year on press, this book links past with present, and provides a fitting tribute to the skills of the engravers and the part played by the Society in the history of wood engraving.
FEATURED ARTISTS: Leonard Baskin (1922-2000) George Minne (1969); Thomas Bewick (1753-1828) The Fieldfare & detail from The Ring Ouzel. Reproduced from pages 116 & 122 of A History of British Birds (Newcastle, 1826 [6th edition]); Neil Bousfield The Waves (2019); Simon Brett Combined title-page and frontispiece for Amelia (1995); Harry Brockway Printing Severn Bore (2019); Chris Daunt TBC (2019); Anne Desmet Brooklyn Bridge: New Day (2015); Andy English Charmouth Beach (2019); John Farleigh (1900-1965) Park Gate (1956); Derrick Harris (1919-1960) Frontispiece to Tom Jones (1959); Gertrude Hermes (1901-1983) Stonehenge (1959); Gertrude Hermes (1901-1983) Yoke (1954); Paul L Kershaw Hackfall View II (2019); John Lawrence Scene from The Shepherds Calendar (1978); John Lawrence Three engravings for Phillip Pullmans His Dark Materials trilogy; The Subtle Knife (1997), Northern lights (1995), The Amber Spyglass (2000); Peter Lawrence New Quay (2019); Simon Lawrence Insert printed at his Fleece Press, 2019; Miriam Macgregor Thorne in August for Midwinter (2013); Henry Moore (1898-1986) Figures, Sculptures (1931); Robert Motherwell (1915-1991) In Black With Yellow Ochre (1963). Lithograph in two colours; Paul Nash (1889-1946) Title-page for Places (1922), printed from reproduced artwork; Sarah van Niekirk (1934-2018) Jacobs in Shropshire (TBC); Sarah van Niekirk (1934-2018) Severn Bore (TBC); Hilary Paynter Inspired by Henry Moore (2019); Howard Phipps Eggardon Hill (2019); Monica Poole (1921-2003) After the Storm (1988); Monica Poole (1921-2003) Underwater (TBC); Eric Ravilious (1903-1942) Downs in Winter (1935). Reproduction of watercolour and pencil painting; Abigail Rorer Robert Frost (2019); Sue Scullard Into the Woods (2019); Yvonne Skargon (1931-2010) Boxford Garden (TBC); Ian Stephens Dipper on the river Conway (2004) & Swale Dipper (2019); Reynolds Stone CBE (1909-1979) Bookplate for Edgar Wind, and Apostate Part VI (1926); George Tute Dandelion Field (1962); Geri Waddington The Little Barn (2019); Edward Wadsworth (1889-1949) Turret ship in Dry Dock (1918); Richard Wagener Umbraculo Series #21 (2018); & finally Geoffrey Wales (1912-1990) The Waves (1969). (Inventory #: 135933)