James Ravilious, a tribute.
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Looking west by southwest into a winter sunset from the Lansdowne Monument, across one of the more unspoiled corners of Wiltshire. The sunset just seconds before this shot was taken.
The fence left of centre and more faintly visible right of centre gives the shot just a hint of Eric Ravilious. Or at least I like to tell myself it does.
Built in 1762, on an ancient site of worship and pilgrimage, St Mary’s is reached by a remote country road on the Welsh Borders. The church looks for all the world like a house; the giveaway being the lopsided bellcote. Diarist and clergyman Francis Kilvert, who lived a few miles away, described it as 'squatting like a stout grey owl among its seven great black yews'; today its whitewashed walls, lichen encrusted roof and plain sash windows ooze character. Capel y Ffin has long been an inspiration for artists and writers - Dorothy and William Wordsworth, Allen Ginsberg, Francis Kilvert, Bruce Chatwin, David Jones and Eric Ravilious are just some of the names who stayed and passed through the village here.
©Jane Brown2015 All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission.
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we went to Dulwich Picture Gallery today (the first public picture gallery in the world) to see the Ravilious exhibition. We were unprepared for the crowds. We waited 45 minutes in a queue to buy tickets and then a further 90 mins until our allotted time slot - who would have thought that he would have commanded such enormous interest, but I'm glad he did. His works are gentle - in colour and execution and I like them very much.
As far as the Dulwich Picture Gallery is concerned, see above . . . you get the picture! (this is not the Ravilious exhibition, photos are only allowed in the main gallery)
Eric Ravilious watercolourist, painted this scene 'Cuckmere Haven' in 1939. The classic oxbow lake is the largest and most distinctive in Europe. In 1847 the river was diverted from its original meander into a new channel from Exceat straight to the sea to drain the flood plain for cattle grazing. Geography teachers wet themselves with unbounded excitement when they behold this wondrous topographical spectacle although the South Downs National Park Authority plans to return the land to natural wetland at some time in the future and the oxbow will disappear. I took this photograph as a tribute to Eric Ravilious, one of the greatest watercolour artists of the C20th. His son, the late James Ravilious became a photographer and left a legacy of images which can be found at beafordarchive.org/photographer-category/james-ravilious/ the most comprehensive body of work on rural England ever undertaken.
Delivered 21st April 2015 and yet to enter service was out today 26th April 2015 to promote the new vehicles onThe Coaster route at various locations along the route in Brighton,Newhaven and Seaford and Eastbourne.
This 365 is TOUGH! Many days are a breeze as scenes fall into my lap.. other days I have to go out and do some landscape hunting. This one worked out ok.. but what the hell am I gonna do for tomorrow?
This is not John Nash but his contemporary Eric Ravilious. He was also appointed an official war artist in 1939 and produced some fine work featuring coastal defences, planes and barrage balloons. This watercolour, entitled 'Storm' and painted in 1941, shows a less warlike scene. The following year, Ravilious flew to Iceland for war work and his plane disappeared without trace.He left a widow, Tirzah, and three young children. She was a talented wood engraver herself, whose work took second place to her husband's, and to serious ill-health, while his serial infidelities also left the family struggling financially. All the same, his style as a watercolourist and engraver was distinctive and very lovely.
These two art installations form part of the Following Ravilious - Newhaven Art Trail.
Eric Ravilious's artwork with Emily Allchurch's 'Return to Por (After Ravilious)', 2023
Emily Allchurch has lived and worked in Hastings since 2015. She uses photography and digital collage to reconstruct and update historical artworks from a contemporary perspective. For her work, she has taken Ravilious's Channel Steamer Leaving Harbour (1935) as her starting point. Concentrating on the Newhaven to Dieppe Transmanche/DFDS ferry which continues to cross the channel daily, she has captured the bright cabin lights and billowing steam from the ship's funnel, as well as various features of the port. Her interpretation captures the drama and anticipation of sea travel as well as the excitement of the ferry's arrival.
photographing food is really, really difficult -- in person, this poor tart tatin looked rather wonderful
These two art installations form part of the 'Following Ravilious – Newhaven Views' Art Trail.
These two are installed in The Sidings (a former railway sidings site) which is now being regenerated.
Ravilious's artwork with Emily Allchurch's 'Return to Por (After Ravilious)', 2023
Emily Allchurch has lived and worked in Hastings since 2015. She uses photography and digital collage to reconstruct and update historical artworks from a contemporary perspective. For her work, she has taken Ravilious's Channel Steamer Leaving Harbour (1935) as her starting point. Concentrating on the Newhaven to Dieppe Transmanche/DFDS ferry which continues to cross the channel daily, she has captured the bright cabin lights and billowing steam from the ship's funnel, as well as various features of the port. Her interpretation captures the drama and anticipation of sea travel as well as the excitement of the ferry's arrival.
I don’t often take photographs of people. That’s not to say I don’t like candid or street photography but I prefer documentary photography, in particular the work of Don McCullin and James Ravilious. James in particular has long been an inspiration. I love the way he photographed life in his little corner of Devon.
For the last year or so I’ve been taking pictures as part of a documentary of the work we do as volunteers at a Natural England Nature Reserve in Wiltshire. I always have in the back of mind “how would James Ravilious have recorded this?” I try not to simply mimic other photographers. How could anyone live up to the standards set by him and Don McCullin? But it helps me to think about their work when framing my own shots.
On this particular day in July we had been brush cutting and fence building. It was hot and we stopped for lunch resting against the trailer that carried our tools to the site at the far end of the reserve. A beautiful peaceful spot even with the ever present hum of the nearby A303.
The Sidings Restaurant and two large images forming part of the Following Ravilious - Newhaven Views art trail.
Newhaven was granted over 12.5 million to regenerate as part of the UK Government's 'Levelling Up' Fund.
The Sidings is a new development in Newhaven that celebrates the town’s heritage and culture, especially its connection to the railway and the port. The Sidings gets its name from being a former base for the railway engines in Newhaven, and it is located on a former railway dock that had been vacant for years. The site has a waterside bistro, a community courtyard, and spaces for social enterprises and events. The Sidings aims to be eco-friendly and sustainable, using re-purposed materials and green ideas.
Newhaven has a rich history founded on its river and port, which developed rapidly after the arrival of the railway in 1847. The town became a major link between London and Paris via Dieppe, and also played a significant role in both World Wars as a supply port and an embarkation point for troops. The railway track ran along the West Quay as far as the breakwater, and there were many workers who operated the trains, the docks, and the iron swing bridge that had to be opened manually.
This weekend I visited Cornwall, Devon and a fabulous pub on Dartmoor where they had some pictures taken by the Masterful "James Ravilious" who shot Black and White Rural Photographs for the Beaford Archive for some 20 years on silver halide film.
These outstanding works of art from a genius photographer who used an M3 Leica with lenses that were not coated. The upshot was his photographs took on a timeless appeal that will hold their own forever.
Using modern kit and Photoshop I have tried to re-create a similar effect here.
©Jane Brown2015 All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission.
we went to Dulwich Picture Gallery today (the first public picture gallery in the world) to see the Ravilious exhibition. We were unprepared for the crowds. We waited 45 minutes in a queue to buy tickets and then a further 90 mins until our allotted time slot - who would have thought that he would have commanded such enormous interest, but I'm glad he did. His works are gentle - in colour and execution and I like them very much.
Tomorrow we are having the day out we originally planned for this week. We are going out for lunch and then late afternoon going to an interview with Charlotte Rampling and Tom Courtney, followed by their new film - 45 years. So I shall not be around tomorrow on flickr, back on Thursday.
From the HERE | Uncovering North Devon exhibition about the Beaford Archive, featuring photographs from James Ravilious and Roger Deakins, at The Burton, Bideford.
Another greenhouse, but this is Eric Ravilious, a watercolour painted in 1935. Like many of his landscapes, its colours are muted. Obviously he was undaunted by the prospect of painting all those ellipses for the flower pots, all the geranium leaves and even more leaves of the tomato vines overhead - and getting the perspective of the greenhouse exactly right.
Another health food booklet with a striking cover by William Roberts and issued by the London Health Food Centre in association with the National Health Food Shop Association.
The very cubist or Vorticist artwork is by William Roberts - the rather reclusive mid-twentieth century British artist who had been an official war artist in WW1 and was almost one in WW2 (he fell out with the Advisory Committee apparently!). His own collections have recently been the subject of some interest in that his son died interstate - and the collection, defaulting to the UK Government, has now largely passed to the Tate's collections. The style, in some slight respects, echoes the work of Ravilious or Freedman - especially the cartouche on the rear cover.
The two forerunners of the modern diesel double-deck market, with very heated debates springing up regarding which they prefer.
Brighton & Hove 941 BX15 ONT 'Eric Ravilious' on the 12A in Lower Place, Newhaven. Friday 2nd October 2015. DSCN34907.
Mercedes-Benz Wright Streetdeck.
RAV33754
Credit: Wiltshire landscape by Ravilious, Eric (1903-42)
Private Collection/ The Bridgeman Art Library
Nationality / copyright status: English / in copyright until 2013
PLEASE NOTE: This image is protected by the artist's copyright which needs to be cleared by you. If you require assistance in clearing permission we will be pleased to help you.
Brighton & Hove 941 BX15 ONT 'Eric Ravilious' on the 12X in Eastbourne Road, Chyngton, Seaford. Friday 23rd April 2021. DSCN50980.
Mercedes-Benz Wright StreetDeck.
The last few from Modern Pre-Raphaelite Visionaries: British Art 1880-1930. Just as the pre-Raphaelite Brotherhood of the 1840s harked back to Italian style of the Quattrocento, these British painters of the 1880s onward were harking back to the pre-Raphaelites both in terms of romantic subjects and rich colours. Having been in vogue until the turn of the century, after the First World War the mood changed understandably, and it became scorned by critics as sentimental and concocted 'artistic bric-a-brac', which I think is a little harsh.
This is William Rothenstein’s The Browning Readers, painted in 1900. Robert Browning’s poems were very popular, along with those of his wife Elizabeth Barrett, who like her other siblings who married, was disinherited by her father. As she was a semi-invalid, they moved to Florence, where Elizabeth died in 1861. After returning to England, Robert also went back to Italy, dying in Venice in 1899. Rothenstein was a painter, printmaker and draughtsman, and Principal of the Royal College of Art from 1920 to 1935, where he played an important role in the careers of Edward Bawden and Eric Ravilious. Born in Bradford in 1872, he was of German Jewish background, and changed his name during the First World War to Rotherstone. Like Christiana Herringham, he also journeyed to India in 1910 to study its art.
The photographer James Ravilious, who has died aged 60, made a major contribution to English landscape art. His photographic record of a small area of countryside between the rivers Taw and Torridge in north Devon became an essential analysis and celebration of English rural life.
What a wonderful piece of whimsy this is by the marvellous Eric Ravilious! The design, based on the UK's 'coat of arms', is of the front cover to the British exhibition pavilion at the 1939/40 New York World Fair held at Flushing Meadows/Corona Park. It was billed as looking forward to the future - it looks as if us Brits were happy to wallow in a good bit of stability and nostalgia!
For the 1935 Silver Jubilee of King George V and Queen Mary the Southern Railway issued a special edition of their "Over The Pints" quarterly magazine that was sent to First Class season ticket holders. As usual the issue's illustrations and decoration are designed by artist Victor Victor Reinganum (1907–1995) and the magazine is printed at the Curwen Press, Plaistow, London, so is of excellent quality. As can be seen elements of the design are in 'silver' for the occassion. The covers appear to use a mix of typefaces in use at Curwen and some lettering, possibly by Reinganum.
The back page and endpaper forms an advert for the very fine Silver Jubilee booklet "Thrice Welcome" that the railway issued, primarily as noted here for overseas visitors, most notably the North American market. It does not note it here but this little booklet, wonderfully produced again at the Curwen Press, has a series of small engravings by Eric Ravilious.
The end paper - and the book cover - use the same pattern paper that had been commissioned by the London furnishing company of Heal's for the Jubilee and produced for them by - Curwen. It appears the motif found wider use.
Brighton & Hove 941 BX15 ONT 'Eric Ravilious' on the 12A crosses the causeway at Exceat. Wednesday 24th August 2022. DSCN54010.
Mercedes-Benz Wright StreetDeck.
May, woodcut of the Long Man of Wilmington by Eric Ravilious, 1925.
Ravilious was born on 22 July 1903 in Churchfield Road, Acton, London, the son of Frank Ravilious and his wife Emma (née Ford).[4][5] While he was still a small child the family moved to Eastbourne in Sussex, where his parents ran an antiques shop.[6]
Ravilious was educated at Eastbourne Grammar School. In 1919 he won a scholarship to Eastbourne School of Art and in 1922 another to study at the Design School at the Royal College of Art. There he became close friends with Edward Bawden[6] (his 1930 painting of Bawden at work is in the collection of the college)[7] and, from 1924, studied under Paul Nash.[8] Nash, an enthusiast for wood-engraving, encouraged him in the technique, and was impressed enough by his work to propose him for membership of the Society of Wood Engravers in 1925, and helped him to get commissions.[9]
In 1925 Ravilious received a travelling scholarship to Italy and visited Florence, Siena, and the hill towns of Tuscany.[8] Following this he began teaching part-time at the Eastbourne School of Art, and from 1930 taught (also part-time) at the Royal College of Art.[10] In the same year he married Eileen Lucy "Tirzah" Garwood, also an artist and engraver, whom he met at Eastbourne College of Art.[11][12] They had three children: John Ravilious (1935–2014); the photographer James Ravilious (1939–1999); and Anne Ullmann (1941– ), editor of books on her parents and their work.[13]
In 1928 Ravilious, Bawden and Charles Mahoney painted a series of murals at Morley College in south London on which they worked for a whole year.[14] Their work was described by J. M. Richards as "sharp in detail, clean in colour, with an odd humour in their marionette-like figures" and "a striking departure from the conventions of mural painting at that time", but was destroyed by bombing in 1941.[14][1]
Between 1930 and 1932 Ravilious and Garwood lived in Hammersmith, west London, where there is a blue plaque on the wall of their house at the corner of Upper Mall and Weltje Road. The building looks out onto The Boat Race course, and the couple held bathing and boat-race parties.[11] When Ravilious and Bawden graduated from the RCA they began exploring the Essex countryside in search of rural subjects to paint. Bawden rented Brick House in Great Bardfield as a base and when he married Charlotte Epton, his father bought it for him as a wedding present. Ravilious and Garwood lodged in Brick House with the Bawdens until 1934 when they purchased Bank House at Castle Hedingham,[15] which is now also marked by a blue plaque. There were eventually several other Great Bardfield Artists.
In 1933 Ravilious and his wife painted murals at the Midland Hotel in Morecambe.[16] In November 1933, Ravilious held his first solo exhibition at the Zwemmer Gallery in London, titled "An Exhibition of Water-Colour Drawings".[17] Twenty of the 37 works displayed were sold.[15]
A 1933 painting of Ravilious and Edward Bawden, by Michael Rothenstein, was acquired by the National Portrait Gallery in 2012.[18]
Printmaking and illustration
Caravans, watercolour, 1936
Ravilious engraved more than 400 illustrations and drew over 40 lithographic designs for books and publications during his lifetime.[19] His first commission, in 1926, was to illustrate a novel for Jonathan Cape. He went on to produce work both for large companies such as the Lanston Corporation and smaller, less commercial publishers, such as the Golden Cockerel Press[9] (for whom he illustrated an edition of Twelfth Night),[20] the Curwen Press and the Cresset Press.[9] His woodcut of two Victorian gentlemen playing cricket has appeared on the front cover of every edition of Wisden Cricketers' Almanack since 1938.[21] His style of wood-engraving was greatly influenced by that of Thomas Bewick, whom both he and Bawden admired.[9] Ravilious in turn influenced other wood engravers, such as Gwenda Morgan who also depicted scenes in the South Downs and was commissioned by the Golden Cockerel Press.
In the mid-1930s Ravilious took up lithography, making a print of Newhaven Harbour for the "Contemporary Lithographs" scheme, and a set of full-page lithographs, mostly of shop interiors, for a book called High Street, with text by J. M. Richards.[22] Following a trip in a submarine in the war he produced a series of lithographs on Submarines, a set of 12,[23] one of which was entitled Submarine Dream.[24][25]
Design
Alphabet mug by Eric Ravilious, transfer printing on Wedgwood creamware, 1937
In February 1936, Ravilious held his second exhibition at the Zwemmer Gallery and again it was a success, with 28 out of the 36 paintings shown being sold.[15] This exhibition also led to a commission from Wedgwood for ceramic designs.[1] His work for them included a commemorative mug to mark the planned coronation of Edward VIII; the design was revised for the Coronation of George VI and Elizabeth.[15]
Other popular Ravilious designs included the Alphabet mug of 1937,[26] and the china sets, Afternoon Tea (1938), Travel (1938), and Garden Implements (1939), plus the Boat Race Day cup in 1938.[27] Production of Ravilious' designs continued into the 1950s, with the coronation mug design being posthumously reworked for the coronation of Elizabeth II in 1953.[28]
He also undertook glass designs for Stuart Crystal in 1934, graphic advertisements for London Transport and furniture work for Dunbar Hay in 1936.[27] Ravilious and Bawden were both active in the campaign by the Artists' International Association to support the Republican cause in the Spanish Civil War. Throughout 1938 and 1939, Ravilious spent time working in Wales, the south of France and at Aldeburgh to prepare works for his third one-man show, which was held at the Arthur Tooth & Sons Gallery in 1939.[15]
Watercolour
Apart from a brief experimentation with oils in 1930 – inspired by the works of Johan Zoffany – Ravilious painted almost entirely in watercolour.[20] He was especially inspired by the landscape of the South Downs around Beddingham. He frequently returned to Furlongs, the cottage of Peggy Angus. He said that his time there "altered my whole outlook and way of painting, I think because the colour of the landscape was so lovely and the design so beautifully obvious ... that I simply had to abandon my tinted drawings".[29] Some of his works, such as Tea at Furlongs, were painted there.
Murals
Ravilious was commissioned to paint murals on the walls of the tea room on Victoria Pier at Colwyn Bay in 1934.[30] After the pier's partial collapse, these were thought unrecoverable, but, as of March 2018, one had been recovered in pieces and it was hoped that a second could also be saved, along with parts of another by Mary Adshead, from the pier's auditorium.[30]
Conwy Council's conservation officer, Huw Davies, said:[30]
Only two murals of his survive, and this was the last one in position. It's historically very significant. His work decorated the walls of the tea room and featured an underwater ruin scene with pink and purple seaweed... The murals haven't actually been on show for some time. One wall of the Eric Ravilious work has been lost because of water getting into the building, and the whole thing has been covered over with several coats of paint and plaster. There's a considerable job to do to restore them. For now, they're being stored safely in a dry place... The next stage will be to find a home for them. If the trust succeed in rebuilding the pier, we hope they could return one day.
War artist
HMS Glorious in the Arctic, 1940 (Art IWM ART LD 283)
Morning on the Tarmac, 1941 (Art. IWM ART LD 1712)
Prior to the outbreak of WWII Ravilious aligned himself with anti-fascist causes, including lending his work to the 1937 exhibition Artists Against Fascism.[17] He considered joining the military as a rifleman but was deterred by friends; he joined a Royal Observer Corps post in Hedingham at the outbreak of war.[17] He was then accepted as a full-time salaried artist by the War Artists' Advisory Committee in December 1939.[31][a] He was given the rank of Honorary Captain in the Royal Marines[33] and assigned to the Admiralty.
In February 1940, he reported to the Royal Naval barracks at Chatham Dockyard. While based there he painted ships at the dockside, barrage balloons at Sheerness and other coastal defences. Dangerous Work at Low Tide, 1940 depicts bomb disposal experts approaching a German magnetic mine on Whitstable Sands. Two members of the team Ravilious painted were later awarded the Distinguished Service Cross.[34]
On 24 May 1940 Ravilious sailed to Norway aboard HMS Highlander which was escorting HMS Glorious and the force being sent to recapture Narvik. Highlander returned to Scapa Flow before departing for Norway a second time on 31 May 1940. From the deck of Highlander, Ravilious painted scenes of both HMS Ark Royal and HMS Glorious in action. HMS Glorious in the Arctic depicts Hawker Hurricanes and Gloster Gladiators landing on the deck of Glorious as part of the evacuation of forces from Norway on 7/8 June. The following evening Glorious was sunk, with great loss of life.[35]
On returning from Norway, Ravilious was posted to Portsmouth from where he painted submarine interiors at Gosport and coastal defences at Newhaven.[36] After Ravilious's third child was born in April 1941, the family moved out of Bank House to Ironbridge Farm near Shalford, Essex. The rent on this property was paid partly in cash and partly in paintings, which are among the few private works Ravilious completed during the war.[15] In October 1941 Ravilious transferred to Scotland, having spent six months based at Dover. In Scotland, Ravilious first stayed with John Nash and his wife at their cottage on the Firth of Forth and painted convoy subjects from the signal station on the Isle of May. At the Royal Naval Air Station in Dundee, Ravilious drew, and sometimes flew in, the Supermarine Walrus seaplanes based there.[35]
In early 1942, Ravilious was posted to York but shortly afterwards was allowed to return home to Shalford when his wife was taken ill. There he worked on his York paintings and requested a posting to a nearby RAF base while Garwood recovered. He spent a short time at RAF Debden before moving to RAF Sawbridgeworth in Hertfordshire. At Sawbridgeworth he began flying regularly in the de Havilland Tiger Moths based at the flying school there and would sketch other planes in flight from the rear cockpit of the plane.[35]
Death
On 28 August 1942 Ravilious flew to Reykjavík in Iceland and then travelled on to RAF Kaldadarnes. The day he arrived there, 1 September, a Lockheed Hudson aircraft had failed to return from a patrol. The next morning three aircraft were despatched at dawn to search for the missing plane and Ravilious opted to join one of the crews. The aircraft he was on also failed to return and after four days of further searching, the RAF declared Ravilious and the four-man crew lost in action. His body was never recovered and he is commemorated on the Chatham Naval Memorial.[35][37] The log book belonging to the pilot of the fatal flight, in the possession of the pilot's daughter, with a hand-written note "failed to return", and an RAF official stamp "death presumed", was shown on the BBC Television programme Antiques Roadshow in March 2020.[38]
In 1946, Ravilious's widow married Anglo-Irish radio producer Henry Swanzy.
Collections and exhibitions
Works by Ravilious are held by the Bristol Museum and Art Gallery, Fry Art Gallery, The Faringdon Collection at Buscot Park, The Ingram Collection of Modern British and Contemporary Art, The Priseman Seabrook Collection, the Wiltshire Museum, the Victoria and Albert Museum and the Imperial War Museum. The largest collection is held at the Towner Gallery in Eastbourne. In 2019 the British Museum displayed one Ravilious painting, an uncharacteristic painting of a house, unlike his usual style.
A touring exhibition organised by the Victor Batte-Lay Trust named "Eric Ravilious 1903 – 1942" was held at The Minories, Colchester in 1972.[39] The Minories held an exhibition on graphic art and book illustration in 2009, named "Graphic art and the art of illustration" which featured Ravilious.[40]
In April to August 2015 the Dulwich Picture Gallery in London held what it called "the first major exhibition to survey" his watercolours, with more than 80 on display.[41][42]
In 2017, The Towner Gallery marked the 75th anniversary of Ravilious' death with Ravilious & Co: The Pattern of Friendship,[43] a exhibition that explored the relationships and working collaborations between Ravilious and a group of his friends and affiliates, including Paul Nash, John Nash, Enid Marx, Barnett Freedman, Tirzah Garwood, Edward Bawden, Thomas Hennell, Douglas Percy Bliss, Peggy Angus, Diana Low and Helen Binyon.
In 2021, Mackerel Sky, a painting by Ravilious that had been 'missing' for 82 years, was found and the new owner has lent it to the Hastings Contemporary art gallery for its Seaside Modern Exhibition.[44][45]
The text alone tells the story of the tragic loss of Eric Ravilious on active service as an official war artist in 1942. Ravilious's work is acknowledged as amongst the very best of what was seen as atatlented generation of artists, illustartors and designers who played a huge role in the development of these fields in the UK at the time.
This advert is with regards to the small book of his works that was published by Faber and the Shenval Press in 1946.
Tate Britain
Exhibition room on Curwen Press:
The Curwen Press founded in 1863 by the Reverend John Curwen concentrated on printing music for the tonic sol-fa method, but when his grandson Harold joined in 1908, he broadened their output to include limited edition books of high quality. He asked Oliver Simon, later to become a renowned book designer, to join him and encouraged artists to illustrate their publications. Oliver had contact with the Royal College of Art, which led to commissions by young artists, including Paul Nash, Edward Bawden and Eric Ravilious. The Curwen Press formed The Curwen Studio in 1958 in order to set up a print studio for artists at a time when print unions were controlling who had access to print facilities. For more information about the Curwen Studio, please visit the Curwen Studio website.
Resources about the Curwen Press and Curwen Studio