Angie Lewin - A Printmaker's Journey

ANGIE LEWIN A Printmaker’s Journey

Cover: Angie Lewin ‘Spey Path I’, linocut, 2004 Above: Angie Lewin ‘Agapanthus II’, screenprint, 2013 Inside back cover: Angie Lewin ‘Nature Table’, wallpaper for St Jude’s, 2013

ANGIE LEWIN A Printmaker’s Journey

The Gallery, Winchester Discovery Centre 11 March – 30 April 2017 Sainsbury Gallery, The Willis Museum, Basingstoke 6 May – 19 July 2017 St Barbe Museum & Art Gallery, Lymington 16 September – 11 November 2017

Angie Lewin ‘Birches, Ballindalloch’, screenprint, 2009

F O R E WO R D

The role of an artist as curator has fast become popular as a way to unlock, reinterpret and reignite collections in ways previously unseen or unconsidered. For A Printmaker’s Journey, we invited Angie Lewin to curate something even more meaningful, an introspective exhibition: one which gathered together major influences, affinities and works of importance to her own visual journey, past and present.

Angie identified her first choice without hesitation – Alan Reynolds’ Summer: Young September’s Cornfield, 1954, remembered from a school trip as a teenager. Many of us have a defining artwork or experience which sticks firmly in our minds as being inspirational or pivotal, the very reason we were drawn to making art or the thing that made us excited to see more. By drawing together key works in this way, we can gain a deeper understanding of an artist’s work.

The selection reveals a personal story as well. We are treated to a stroll not only through Angie’s creative mind, but her studio and home too.

In creating this exhibition, Angie shares her memories, tastes, loves and passions in an intimate exchange with us. It is a privileged insight.

Kirsty Nutbeen Exhibitions Manager, Hampshire Cultural Trust

Angie Lewin in her Edinburgh studio

INTRODUCTION It’s a privilege to have been given the opportunity to curate this exhibition and in doing so look back at the work of the artists and designers who have been significant influences on my journey from art college to the present day.

And it’s been a revelation to discover the sometimes surprising relationships between these varied artworks and their makers.

These artists perhaps celebrate the less exotic. Through close observation and often intimate understanding of their subject, they depict the often understated British landscape and its native flora and fauna, its architecture and interiors. They celebrate its character, variety and often reveal unexpected drama in those things which can be passed by unnoticed.

Significantly, for me, many of these artists cross almost seamlessly into the field of the applied arts, never compromising their recognisable visual language. I never tire of the excitement of seeing a sketch made when I’m walking in the landscape transformed into a limited edition print or finding its way onto a textile or book jacket.

I hope that you enjoy the range of work that I have selected for this exhibition and I’d like to thank the team at Hampshire Cultural Trust along with the artists and lenders who have made A Printmaker’s Journey possible.

Angie Lewin, March 2017

Above: Alan Reynolds (1926-2014) ‘Summer: Young September’s Cornfield’, oil on board, 1954 Tate: Presented by the Trustees of the Chantrey Bequest 1956 © Tate, London 2016 Opposite: Angie Lewin ‘Moonlit’, wood engraving, 2003

Above: Angie Lewin ‘Black Island’, linocut, 2006 Opposite: Herry Perry ‘Central School of Arts and Crafts’, wood engraving, c1930s

Above: Angie Lewin ‘The 1937 Coronation Mug’, linocut, 2005 Opposite: Eric Ravilious Design for Wedgwood ‘Garden’ Plate, watercolour, ink, pencil and applied paper cut-outs on paper, 1938/39

Above: Edward Bawden ‘The Road to Thaxted’, linocut, 1956 Opposite: Gertrude Hermes ‘Autumn Fruits’, wood engraving, 1935 © Ashmolean Museum, University of Oxford

Above: Paul Scott ‘Scott’s Cumbrian Blue(s), The Garden Series, Willow Cuttings’, cut transferware details and gold lustre on Royal Worcester bone china plate, 2015 Opposite: Lizzie Farey ‘Almost Spring’, woven willow, 2017

Above: Angie Lewin ‘Winter Persephone’, wood engraving, 2009 Opposite: Eric Ravilious ‘King Edward VIII Coronation Mug’, earthenware, 1937 (originally designed in 1936)

Above: Jonathan Gibbs ‘St Jude’s House’, wood engraving, 2015 Opposite: Angie Lewin ‘Hedgerow’, screenprinted fabric for St Jude’s, 2010

Above: Angie Lewin ‘Stopping by Woods’, wood engraving, 2015 Opposite: Ashley Havinden Furnishing fabric ‘Ashley’s Abstract’, screenprinted and glazed cotton, 1937 © Victoria and Albert Museum, London

Above: Graham Sutherland ‘Brimham Rock, Yorkshire’, gouache on paper, 1937 Opposite: Angie Lewin ‘Salthouse Poster’, linocut, 2010

Above: Paul Morrison ‘Rhexia’, linocut, 2011 Opposite: Angie Lewin ‘Nature Study, Late Summer’, screenprint, 2015

Above: Ed Kluz ‘Randall’s Folly’, collage, 2011 Opposite: Emily Sutton ‘Olive Cook’s Settle’, watercolour, 2013

Above: Mark Hearld ‘Owl Flight’, lithograph, 2009 Opposite: Edward Bawden ‘Church and Dove’, printed wallpaper, c1925

Above: Angie Lewin ‘Skye to Harris’, wood engraving, 2005 Opposite: Angie Lewin ‘Wooden Dish with Uist Pebbles’, watercolour, 2016

Angie Lewin ‘Alliums and Fennel’, lithograph, 2008

LIST OF EXHIBITS Bawden, Edward

Freedman, Barnett

Church and Dove, c1925, printed wallpaper Private collection Hyde Park, 1925, colour lithograph poster Private collection Mermaid and Whale, 1928, printed wallpaper Private collection The Road to Thaxted, 1956, linocut On loan from Angie Lewin

Lithographic proof of typeface ‘Baynard Claudia’, annotated, 1935, lithograph Season Tickets, 1936, printed panel poster Both private collection

Brown, Christopher E is for Edward, 1989, linocut Private collection

Cheese, Bernard Harvest Time, 1986, lithograph Private collection

Cheese, Chloë Working drawing for Artichokes & Coeur - Dieppe, 2006, watercolour. Private collection

Farey, Lizzie Almost Spring, 2017, woven willow Courtesy of the artist

Gibbs, Jonathan St Jude’s House, 2015, wood engraving On loan from St Jude’s

Hannah, Jonny Gabin’s Hats, 2017, paint and collage on plywood Courtesy of the artist

Havinden, Ashley Design for ‘Ashley’s Abstract’, 1937, gouache on paper.

Furnishing fabric ‘Ashley’s Abstract’, made by Edinburgh Weavers, Carlisle, 1937, screenprinted and glazed cotton Both on loan from Victoria and Albert Museum

Hearld, Mark Owl Flight, 2009, lithograph Private collection

Hermes, Gertrude Autumn Fruits, 1935, wood engraving The Prawn, 1950, linocut Both on loan from The Julian Francis Collection of Print and Illustrated Books

Kluz, Ed Randall’s Folly, 2011, collage On loan from Angie Lewin

Lewin, Angie Agapanthus II, 2013, screenprint Alexanders, 2003, wood engraving Alliums & Fennel, 2008, lithograph Birches, Ballindalloch, 2009, screenprint Black Island, 2006, linocut Clashnessie, 2011, wood engraving Clifftop, 2003, wood engraving Dandelions, 2003, linocut Festival Mug, 2011, lithograph Honesty, 2003, linocut Lakeside Teasels, 2013, linocut Moonlit, 2003, wood engraving Nature Study, Late Summer, 2015, screenprint Polwick, 2011, linocut and lithograph Salthouse Poster, 2010, linocut Sea Pinks, 2014, wood engraving Shapinsay, 1994, linocut Shoreline, 2014, screenprint Skye to Harris, 2005, wood engraving Sollas Sands, 2015, linocut

Spanish Seedheads, 2015, wood engraving Spey Path I, 2004, linocut Stopping By Woods, 2015, wood engraving The 1937 Coronation Mug, 2005, linocut Winter Birches, 2010, screenprint Winter Persephone, 2009, wood engraving Winter Spey, 2007, wood engraving Wooden Dish with Uist Pebbles, 2016, watercolour All courtesy of the artist

Marx, Enid All my own work, 1937, wood engraving Decorative Design, date unknown, wood engraving Little Gallery, date unknown, wood engraving All on loan from The Julian Francis Collection of Print and Illustrated Books Furnishing fabric ‘Cornucopia’, 1938, hand block-printed linen On loan from Victoria and Albert Museum

Morris, Cedric Gardeners Prefer Shell, 1934, lithograph on paper Courtesy of the Shell Heritage Art Collection

Morrison, Paul Rhexia, 2011, linocut Courtesy of the artist and Pace Prints, New York Topocline, 2005, painted aluminium Courtesy the New Art Centre, Roche Court

Perry, Herry

Reynolds, Alan

Central School of Arts and Crafts, c1930s, wood engraving. Private collection

Summer:Young September’s Cornfield, 1954, oil on board On loan from Tate: Presented by the Trustees of the Chantrey Bequest 1956

Poole, Monica Piddock Architecture, 1975, wood engraving Under Water, c1975-1980, wood engraving Both on loan from The Julian Francis Collection of Print and Illustrated Books

Ravilious, Eric King Edward VIII Coronation Mug, 1937 (originally designed in 1936), earthenware ‘Garden’ Design Tea Plate, 1954, ceramic ‘Harvest Festival/Persephone’ Design Teapot, 1953, ceramic ‘Harvest Festival/Persephone’ Design Sugar Bowl, 1953, ceramic ‘Harvest Festival/Persephone’ Design Plate, 1953, ceramic The Boat Race Day Bowl, 1950, ceramic All from the collections cared for by Hampshire Cultural Trust Design for Wedgwood ‘Garden’ Plate, 1938/39, watercolour, ink, pencil and applied paper cut-outs on paper Fragments of proposed designs for Wedgwood, 1936, ink and pen on paper All on loan from Towner, Eastbourne

Ryan, Rob Staffordshire Dogs, 2014, ceramic Staffordshire Dogs, 2012, screenprint Both on loan from Angie Lewin

Scott, Paul Scott’s Cumbrian Blue(s),The Garden Series,Willow Cuttings, 2015, cut transferware details and gold lustre on Royal Worcester bone china plate Courtesy of the artist

Sutherland, Graham Brimham Rock,Yorkshire, 1937, gouache on paper Courtesy of the Shell Heritage Art Collection

Sutton, Emily Olive Cook’s Settle, 2013, watercolour Private collection

Tute, George Dandelion Field, 1964, wood engraving On loan from The Julian Francis Collection of Print and Illustrated Books

IMAGE/PHOTOGRAPHY CREDITS Angie Lewin Studio portrait @ Alun Callender http://aluncallender.com Edward Bawden The Road to Thaxted, 1956 Photo courtesy of The Fry Gallery Edward Bawden Church and Dove, c1925 Photo courtesy of The Fry Gallery Eric Ravilious Edward VIII Coronation Mug, 1937 Photograph © Hampshire Cultural Trust Gertrude Hermes Autumn Fruits, 1935 WA1995.110 Gertrude Anna Bertha Hermes, ‘Autumn Fruits’. Image © Ashmolean Museum, University of Oxford (work © The Estate of Gertrude Hermes) Lizzie Farey Almost Spring, 2017 Photograph © Shannon Tofts Graham Sutherland Brimham Rock,Yorkshire, 1937 Photo courtesy of the Shell Heritage Art Collection Paul Scott Scott’s Cumbrian Blue(s),The Garden Series,Willow Cuttings, 2015 Photo courtesy of The Scottish Gallery Alan Reynolds Summer:Young September’s Cornfield, 1954 Image © Tate London 2016 Eric Ravilious Design for Wedgwood ‘Garden’ Plate, 1938/39 Photo courtesy of Towner, Eastbourne

Ashley Havinden Furnishing fabric ‘Ashley’s Abstract’, made by Edinburgh Weavers, Carlisle, 1937 Photo © Victoria and Albert Museum, London All other images courtesy of the artists.

With special thanks to Julian Francis, Peyton Skipwith, Gordon Cummings and Sara Cooper.

Designed by Simon Lewin.

Printed by Swallowtail, Norwich.

Please note that this catalogue was prepared shortly prior to the hanging of our exhibition and as such final alterations to the exhibited works may have been made. We apologise for any discrepancies between the works exhibited and those listed here.

All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by other means, without the permission of the copyright holders and of the publishers.

Hampshire arts and museums are now operated and funded by Hampshire Cultural Trust.

This independent charity champions world-class culture and exists to showcase, connect and empower Hampshire’s creative economy.

To find out more and get involved visit: www.hampshireculturaltrust.org.uk