B.

Eric Ravilious was an extremely talented artist and designer who excelled at numerous artistic mediums, including wood engraving. He was a prolific illustrator for the private press movement, and produced many titles under the much- admired Golden Cockerel Press imprint thanks to his close friendship with Robert Gibbings (who at one point owned the press). Ravilious was no purist, however, shifting with ease between the worlds of high art and commercial design.

Alongside his stunning wood engravings, he was happy to design transfer illustrations for china and even furniture. Decoration to ‘Five Eyes’ was based on the poem ‘Five Eyes’ by Walter de la Mare and was used to illustrate a piano music roll, while Doctor Faustus conjuring Mephistophilis was to be used as an illustration for a Golden Cockerel Press book, Christopher Marlowe’s Dr Faustus, which unfortunately went unpublished.

The Golden Age 18 December 2015 – 1 May 2016

Illustrated in ‘Poisonous Plants, Deadly, Dangerous and Suspect', The Curwen Press, 1927.

One of Britain’s most celebrated printmakers, Gwen Raverat was a formative figure in the wood-engraving revival in Britain during the first half of the twentieth century. In Raverat’s arcadian vision of a golden age, figures exist in harmony with nature and each other. With its rich hand-colouring Raverat’s large wood-engraving draws parallels with medieval tapestries, detailing a country life in which the trials and tribulations of living in a town are left behind.

This is the largest wood engraving in the exhibition, and was cut from several blocks glued and clamped to one another. Gertrude Hermes’ interest in the human form was mirrored in her work as a sculptor, and like her contemporary Eric Gill she was able to successfully transition between both mediums. Unlike the hard-edged style of many of Gill’s wood engravings, however, Hermes’ line is sinuous and flowing with various tonal gradations throughout the work. As a sculptor she had a good understanding of human forms, which in More People seem to overlap and merge into one another.

The Golden Age 18 December 2015 – 1 May 2016

Clare Leighton was a distinguished wood engraver in both England and America. Her parents, the popular fiction writers Marie Connor and Robert Leighton, influenced her to write and illustrate her own books. The two woodblocks shown here appear in her first book, The Farmer’s Year: A Calendar of English Husbandry, published in 1933. The Farmer’s Year illustrates the twelve months of the year on the Buckinghamshire farm where Leighton was living. These wood engravings illustrate threshing in March and apple-picking in September.

Leighton said: “Getting to know the farmers and working with them, I learned the pattern of the year as I shared the shepherds hut at lambing time. I stooked the grain at harvest and climbed ladders to pick apples. I had come home.” Leighton felt a great connection to rural life, finding this a more honest way of living than what workers experienced in the city. This outlook was similar to that of the earlier French realists such as Jean-François Millet, who created celebratory depictions of farm life at a time when many people were leaving the countryside and moving to urban areas.

(Leaving for Work, 2 October 2021 - 1 May 2022)