Rowley Gallery Blog
We’ve a wonderful windowful of wood engravings by Howard Phipps. They’ll be here throughout August and there are also plenty more inside, in the Print Room and in the plan chest. Continue reading “A Conversation With Howard Phipps”
It’s April 2023, and I will be 70 years old. What better way to mark the occasion than to plant 70 trees, not in the ground, but in the window of the Rowley Gallery. I sent out a call to 70 artists and got lots of replies. I could plant a small forest. So here’s a small celebration of trees, of their variety and complexity, their shelter and enchantment, and all their green, filtered, numinous enlightenment. Continue reading “70 Trees”
These ancient yew trees are in the churchyard at Hawkley in Hampshire. I’d discovered them via the Ancient Tree Inventory. We’d come down from London to meet Howard Phipps who was coming up from Salisbury with a windowful of wood engravings in the back of his car. And surprisingly we got there first, so I went looking for trees. Continue reading “A Walk From Hawkley”
We’ve a windowful of wood engravings and linocuts from Howard Phipps. They’re all in black & white but get in close and see the detail and they’re as colourful as you could wish for. Continue reading “A March Window”
Cutting It Fine: The Art of the British Wood Engraver is an exhibition at Salisbury Museum, showcasing works by twenty-one of the leading British wood engravers of the last hundred years. All the prints are on loan from a single private collection. They include Gwen Raverat, Eric Ravilious, John Nash, Paul Nash, Leon Underwood, Rachel Reckitt, Gertrude Hermes, Monica Poole, Anne Desmet and Neil Bousfield. Continue reading “Cutting It Fine”
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”
It’s like a compilation album with hits from all your favourite artists. They just take a bit of finding. And whilst you’re looking you might discover something new, something previously overlooked. You might even need to come inside and look around. But quick, it’s getting late. Continue reading “A Winter Windowland”
Selborne was the perfect rendezvous, being halfway between London and Salisbury. We came down and Howard Phipps came up and we met in the middle, in a field just off Gracious Street, the car park of the Gilbert White Museum, where we transferred the contents of Howard’s car boot to ours, in preparation for his exhibition in the Rowley Gallery window. But not before a lovely sunny walk around the outskirts of the village. And this map, embedded in the vicarage wall, dated 2 June 1953, is as old as I am. Continue reading “Selborne”
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”