The Lost Watercolours of Edward Bawden
Widely admired today as an illustrator and printmaker, Edward Bawden (1903-89) is hardly a ‘forgotten artist’. Yet one aspect of his career has been neglected until now: his role in the 1930s as a critically-acclaimed modern painter. The purpose of The Lost Watercolours of Edward Bawden is to set the record straight by bringing together the largest collection of the artist’s pre-war watercolours ever assembled. Most were originally exhibited at one or other of Bawden’s major solo shows – at the Zwemmer Gallery in 1933 and the Leicester Galleries five years later – exhibitions that impressed critics and delighted collectors.
It has taken three years to assemble this remarkable collection of pictures, many of which were, as the title of the book suggests, lost. Privately-owned artworks can be hard to find after eighty years, but in this case even paintings in public collections were sometimes hidden thanks to Bawden’s choice of obscure fragments of verse or concise descriptions of time and place as titles for his work. These were often replaced by descriptive names. Thus (for example) ‘My heart, untravel’d, fondly turns to thee’ became ‘Derelict Cab’, making the researcher’s task rather tricky. The remarkable quest to find and identify Bawden’s pre-war watercolours is described by publisher Tim Mainstone in an amusing, informative essay, which forms the third part of this richly illustrated volume.
The Mainstone Press has once again teamed up with James Russell, author of the popular series ‘Ravilious in Pictures’ (and curator of the 2015 blockbuster ‘Ravilious’), who sets the ball rolling with an introductory essay exploring Bawden’s life and career in the 1930s. Scholarship is leavened with humour here, as it is in the wide-ranging captions accompanying the most important element of the book: the watercolours themselves.
These are grouped by exhibition, with additional sections of works from the mid-30s and from the decade’s end. Having photographed many of the watercolours in high resolution specifically for the book, we have chosen a format that allows us to maximise the size of the images. There’s a good reason for this. As one critic observed in the 1930s, these are paintings that deserve more than to be looked at. They deserve to be looked into.
ISBN: 978-0-9576665-2-8 | Page size 30 × 28 cms | 192 pages
A limited edition of 850 copies with a full-cloth binding, decorative label and slipcase.
In the Press
'...a beautifully produced book of essays and 60 largely unfamiliar plates that is not just a showcase for Bawden's distinctive type of English bucolic, but a demonstration of his experimentation and skills as a watercolourist."
'The Lost Watercolours', a 2016 Book of the Year, Michael Prodger, The Sunday Times(subscription), 27 Nov 2016
'The Lost Watercolours', a 2016 Book of the Year, The New Statesman, Nov 2016
"...at least half the examples, beautifully reproduced in this lavish limited-edition book, have not been seen in public in living memory."
'The Lost Watercolours of Edward Bawden' reviewed by Alan Powers, Country Life, 14 Sept 2016
Widely admired today as an illustrator and printmaker, Edward Bawden (1903-89) is hardly a ‘forgotten artist’. Yet one aspect of his career has been neglected until now: his role in the 1930s as a critically-acclaimed modern painter. The purpose of The Lost Watercolours of Edward Bawden is to set the record straight by bringing together the largest collection of the artist’s pre-war watercolours ever assembled. Most were originally exhibited at one or other of Bawden’s major solo shows – at the Zwemmer Gallery in 1933 and the Leicester Galleries five years later – exhibitions that impressed critics and delighted collectors.
It has taken three years to assemble this remarkable collection of pictures, many of which were, as the title of the book suggests, lost. Privately-owned artworks can be hard to find after eighty years, but in this case even paintings in public collections were sometimes hidden thanks to Bawden’s choice of obscure fragments of verse or concise descriptions of time and place as titles for his work. These were often replaced by descriptive names. Thus (for example) ‘My heart, untravel’d, fondly turns to thee’ became ‘Derelict Cab’, making the researcher’s task rather tricky. The remarkable quest to find and identify Bawden’s pre-war watercolours is described by publisher Tim Mainstone in an amusing, informative essay, which forms the third part of this richly illustrated volume.
The Mainstone Press has once again teamed up with James Russell, author of the popular series ‘Ravilious in Pictures’ (and curator of the 2015 blockbuster ‘Ravilious’), who sets the ball rolling with an introductory essay exploring Bawden’s life and career in the 1930s. Scholarship is leavened with humour here, as it is in the wide-ranging captions accompanying the most important element of the book: the watercolours themselves.
These are grouped by exhibition, with additional sections of works from the mid-30s and from the decade’s end. Having photographed many of the watercolours in high resolution specifically for the book, we have chosen a format that allows us to maximise the size of the images. There’s a good reason for this. As one critic observed in the 1930s, these are paintings that deserve more than to be looked at. They deserve to be looked into.
ISBN: 978-0-9576665-2-8 | Page size 30 × 28 cms | 192 pages
A limited edition of 850 copies with a full-cloth binding, decorative label and slipcase.
In the Press
'...a beautifully produced book of essays and 60 largely unfamiliar plates that is not just a showcase for Bawden's distinctive type of English bucolic, but a demonstration of his experimentation and skills as a watercolourist."
'The Lost Watercolours', a 2016 Book of the Year, Michael Prodger, The Sunday Times(subscription), 27 Nov 2016
'The Lost Watercolours', a 2016 Book of the Year, The New Statesman, Nov 2016
"...at least half the examples, beautifully reproduced in this lavish limited-edition book, have not been seen in public in living memory."
'The Lost Watercolours of Edward Bawden' reviewed by Alan Powers, Country Life, 14 Sept 2016
Widely admired today as an illustrator and printmaker, Edward Bawden (1903-89) is hardly a ‘forgotten artist’. Yet one aspect of his career has been neglected until now: his role in the 1930s as a critically-acclaimed modern painter. The purpose of The Lost Watercolours of Edward Bawden is to set the record straight by bringing together the largest collection of the artist’s pre-war watercolours ever assembled. Most were originally exhibited at one or other of Bawden’s major solo shows – at the Zwemmer Gallery in 1933 and the Leicester Galleries five years later – exhibitions that impressed critics and delighted collectors.
It has taken three years to assemble this remarkable collection of pictures, many of which were, as the title of the book suggests, lost. Privately-owned artworks can be hard to find after eighty years, but in this case even paintings in public collections were sometimes hidden thanks to Bawden’s choice of obscure fragments of verse or concise descriptions of time and place as titles for his work. These were often replaced by descriptive names. Thus (for example) ‘My heart, untravel’d, fondly turns to thee’ became ‘Derelict Cab’, making the researcher’s task rather tricky. The remarkable quest to find and identify Bawden’s pre-war watercolours is described by publisher Tim Mainstone in an amusing, informative essay, which forms the third part of this richly illustrated volume.
The Mainstone Press has once again teamed up with James Russell, author of the popular series ‘Ravilious in Pictures’ (and curator of the 2015 blockbuster ‘Ravilious’), who sets the ball rolling with an introductory essay exploring Bawden’s life and career in the 1930s. Scholarship is leavened with humour here, as it is in the wide-ranging captions accompanying the most important element of the book: the watercolours themselves.
These are grouped by exhibition, with additional sections of works from the mid-30s and from the decade’s end. Having photographed many of the watercolours in high resolution specifically for the book, we have chosen a format that allows us to maximise the size of the images. There’s a good reason for this. As one critic observed in the 1930s, these are paintings that deserve more than to be looked at. They deserve to be looked into.
ISBN: 978-0-9576665-2-8 | Page size 30 × 28 cms | 192 pages
A limited edition of 850 copies with a full-cloth binding, decorative label and slipcase.
In the Press
'...a beautifully produced book of essays and 60 largely unfamiliar plates that is not just a showcase for Bawden's distinctive type of English bucolic, but a demonstration of his experimentation and skills as a watercolourist."
'The Lost Watercolours', a 2016 Book of the Year, Michael Prodger, The Sunday Times(subscription), 27 Nov 2016
'The Lost Watercolours', a 2016 Book of the Year, The New Statesman, Nov 2016
"...at least half the examples, beautifully reproduced in this lavish limited-edition book, have not been seen in public in living memory."
'The Lost Watercolours of Edward Bawden' reviewed by Alan Powers, Country Life, 14 Sept 2016