Hare and Tortoise Print by Edward Bawden
- Medium: Giclée Print
- Numbered
- Number of editions: 850
- Unframed
- Print size: 42cm(W) x 30cm(H)
- Paper size: 51cm(W) x 42cm(H)
£145.00
Add to basketHare and Tortoise Print by Edward Bawden
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Giclée Print, Limited Edition (1/850) on 310gsm thick 100% cotton rag.
From the original colour linocut produced in 1970.
In the 1970’s Bawden made a series of prints based on Aesop’s fables. The tortoise and the hare each claim an ability to run fastest. They agree upon a race, but mid-way through, convinced of his skills, the hare decides to rest - to sleep by the roadside. The tortoise, aware of his own pace, decides to run all the way without stopping; he overtakes the hare, and so wins the race. The moral? Hard work is often better than skills taken for granted.
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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).
