2020 · Whittington, UK
by Hamway, Nigel (compiled and introduced). Lawrence, Peter (editor). Randle, Patrick (preface).
Folio. Whittington, UK: Nomad Letterpress and The Society of Wood Engravers, 2020. Folio, 325 x 250 mm, 100 pp., printed on Zerkall mould-made paper using Monotype Perpetua (Series 239) cast by Neil Winter at the Whittington Press in an addition of 340 copies. Numerous illustrations in black and white throughout. Bound in full tan leather with design in blue and black to upper cover, with a portfolio containing separate plates, and The Collector's Cut, a separate volume bound in quarter cloth and patterned paper boards, containing works by eleven engravers, all contained in a yellow and teal cloth box. A few folding plates adhered to inner edge and do not unfold, box corners slightly bumped. § Deluxe 'A' edition, limited to 20 copies, this is copy N. Published in 2020 to mark the Centenary of the Society of Wood Engravers. 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.For 2020 Vision, Nigel Hamway asked nineteen engravers to choose a major artistic influence, write an introduction, and create a new engraving which sits side-by-side in the book with an engraving or illustration by their ‘inspirer’. This places the engravings of twentieth century greats – John Farleigh, John Nash, Monica Poole, Geoffrey Wales, Gertrude Hermes et al. – alongside today’s artists and presents the viewer with a snapshot of the changing nature of the engravers’ craft. 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 Shepherd’s Calendar (1978).John Lawrence, Three engravings for Phillip Pullman’s 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).Geoffrey Wales (1912–1990), The Waves (1969).
(Inventory #: 124153)