Watercolours Liz Somerville
Eggardon Hill is an Iron Age hill fort to the north-east of Bridport in Dorset. I live on a farm half-way up it; the hill dominates the landscape behind us and in front there is a far-reaching view across Lyme Bay to Devon. My studio looks directly out on to Eggardon, the window at the back perfectly frames it. Continue reading “An Eggardon Summer”
Engrav’d by J.Greig for the Antiquarian & Topographical Cabinet
from a Drawing by J.Fenton Esq.
When this engraving was first published in 1810, the Silton Oak was already considered to be an antiquarian and topographical curiosity. Over 200 years later and it still charms us with its stoic endurance, a vigorous but shrinking survivor of a once much larger millennial oak tree. Continue reading “Silton Oak, Dorsetshire”
We came to Symondsbury for breakfast, the best coffee and bacon roll in months, then down past the church and up the hill to Shute’s Lane. We were staying under Eggardon and we’d already driven down a tunnel of green lanes to get here. This one was closed to traffic so now we were on foot. Continue reading “A Holloways Walk”
We were in West Dorset at last and I was elated. I’d long wanted to drive these roads. We were in a maze of high banks and hedgerows, hidden from the wind, burrowing back down to earth, gone to ground. Continue reading “Deep Lanes & Holloways”
For February we’ve a window of richly coloured paintings by Isobel Johnstone. Unfortunately the gallery is still closed, but we’re back in the workshop again, and socially distanced purchases and collections can easily be arranged by phone. Come and see. It’s a feast for the eyes. Continue reading “Oil Paintings by Isobel Johnstone”
The Dorset Coast: from Chesil Beach to the Isle of Purbeck.
Living in south west Wiltshire I am frequently drawn to neighbouring Dorset to walk some of the paths along its geologically varied coastline. I like to draw or paint on location, and I subsequently develop a number of my observations into wood engravings or linocuts. Both are methods of making relief prints, the former being a very English art form developed by Thomas Bewick in the 18th Century, where the engraving is made on highly polished end grain boxwood, which on completion is inked with a roller and printed by hand, in my case using an Albion Press made in 1862. Continue reading “The Dorset Coast”
We’ve got a new window display for October – Open Country: Wood Engravings of the Wessex Downs and Coast by Howard Phipps. It’s a display that celebrates Howard’s love of the West Country and Dorset in particular. These are patiently wrought images, slow-grown evocations carved in wood and printed in exquisite detail, they always seem to capture the essential timeless spirit of each particular place depicted. Continue reading “Open Country”
Twelve framed hand-coloured linocuts by Liz Somerville in our window throughout August and September. They’re part of a suite of 48 prints called The Ways, celebrating four ancient paths through England. There’s also a limited edition concertina booklet of all the images in miniature. Continue reading “The Ways”
This little booklet is no bigger than a postcard. It’s a pocket book. It was published in 1989 for a joint exhibition of drawings by John Hubbard and photographs by Paul Joyce at the Royal Festival Hall. The exhibition toured to other venues, including Warwick Arts Centre. I didn’t see the exhibition but fortunately I found this book, another discovery in the treasure house that was Notting Hill Books. For many years its tiny reproductions were my only knowledge of John Hubbard’s charcoal drawings, until I saw his exhibition at Kew Gardens in 2006, Spirit of Trees, which included some of the drawings reproduced here. I found this book again today and felt moved to share its pages. Continue reading “Delicious Solitude”
Win Green From Berwick Down
We asked Howard Phipps to fill our window with a display of his wood engravings and linocuts. So it seemed like a good idea to go down and collect them, and take a walk around some of the places that had inspired them. We followed a circuit up to Win Green, a prominent landmark and the highest point in Cranborne Chase, crowned by a clump of beech trees on a Bronze Age bowl barrow. Continue reading “To Win Green”