The Lost Watercolours of Edward Bawden

ISBN: 9780957666528
Artist(s): Edward Bawden
Author(s): James Russell
Format: hardback
Year published: 2016
Publisher: Mainstone
Total Pages: 192
Illustrations: Colour throughout

Artist(s) Biographies:

Author(s) Biographies:

£150.00 £120.00

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From a limited edition of 850 copies with full cloth binding and slipcase

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.


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