Brighton Pier Print by Edward Bawden
- Medium: Giclée Print
- Numbered
- Number of editions: 950
- Unframed
- Print size: 47cm (W) x 17cm (H)
- Paper size: 61cm (W) x 28cm(H)
£130.00
Add to basketBrighton Pier Print by Edward Bawden
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Giclée Print, Limited Edition (1/950) on 310gsm thick 100% cotton rag.
Unusually for Bawden a second edition of this print was done in 1970: the two are subtly different, particularly in colouring, but the word 'Palace' in the second is in white (and not black as it is here). The image is flanked on the one side by the frivolity of the domes of the Royal Pavilion, and on the other by the linearity of Charles Busby's late Regency architecture. The image, with its lights and fishing boats, captures perfectly what are enduring sides of both formal and informal Brighton. This print was awarded first prize in the Giles Bequest competition 1958 for colour prints from linoleum and wood.
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Artists Biography
(b Braintree, Essex, 10 March 1903; d Saffron Walden, Essex, 21 Nov 1989). English printmaker, graphic designer, illustrator and painter. He studied at the School of Art in Cambridge (1918–22) and at the Design School of the Royal College of Art (1922–6), where he was a contemporary of Eric Ravilious and was taught by Paul Nash. While still a student he and Ravilious were commissioned by Sir Joseph Duveen to paint a mural at Morley College (destr. 1940; repainted as the Canterbury Tales in 1958), London. After graduating he worked on a large variety of projects for the Curwen Press at Plaistow, London, and subsequently for many other publishers, producing book illustrations and cover designs, posters and advertisements, leaflets and calendars, including commissions for Shell-Mex, Westminster Bank and the London Transport Board. He held his first one-man show, mainly of landscapes showing the influence of Nash, at the Zwemmer Gallery in London in 1933. During World War II he served as an Official War Artist in the British Army, travelling to Belgium, France and the Middle East and portraying such places as Roman Catholic Church at Addis Ababa (1941; London, Tate). His later work, particularly as a graphic designer, is notable for its simplicity of line and its wit, but he also returned to large-scale mural painting, including murals for the Lion and Unicorn Pavilion at the Festival of Britain, London (1950–51); the British pavilion at Expo ’67, Montreal; and Edward Bawden’s Oxford at Blackwell’s Bookshop (1972–3), Oxford. He also became well-known for his linocuts, among them Nine London Monuments (Editions Alecto, 1966; see Howes, pp. 96–7) and Six London Markets (Curwen Prints, 1967; see Howes, p. 98).
