#women wood engravers

[uwmspeccoll]

Wood Engraving Wednesday

LETTICE SANDFORD

Lettice Sandford (née Mackintosh Rate, 1902-1993) was a wood engraver and printmaker married to the book designer and fine-press publisher Christopher Sanford (1902–1983) who owned the Boar's Head Press (1930-1936) and then the Golden Cockerel Press (1933–1959). Lettice Sandford was instrumental in the administration of both operations and produced a number of fine wood-engraved illustrations for their publications.

The first four images are from the 1933 Boar's Head Press edition of Gérard de Nerval's (1808-1855) Dreams & Life, translated for the press by Vyvyan Holland (1886-1967) and printed in a limited edition of 450 copies. These engravings show the distinct influence of the white-line style of Blair Hughes-Stanton.

The last three images are from the Golden Cockerel Press 1936-1943 bibliography, Pertelote, A Sequel to Chanticleer, printed in London by Christopher Sandford and the Press’s co-owner Owen Rutter. The first two were originally from the 1939 publication of Christopher Whitfield’s (1902-1967) Lady from Yesterday with 6 engravings by Lettice Sandford. The last engraving was originally from the 1938 edition of Tomorrow's Star by L. Cranmer-Byng (1872-1945), with two engravings by Sandford.

View a post on another Boar's Head Press book with engraving's by Lettice Sandford.

View more posts on Golden Cockerel Press editions.

View engravings by other women wood engravers.

View more posts with wood engravings!

[jadeseadragon]

Gwenda Morgan (British, 1908 - 1991), Midwinter, 1962, wood engraving, signed, titled and numbered 15/50.

[random-brushstrokes]

Gwen Raverat - From a Window (1946)

[arthistoryanimalia]

#Caturday 🐱:

Cats at the Window, 1929 Wanda Gág (USA, 1893-1946) Wood engraving, 8 1/2 x 7 3/8 in. (21.6 x 18.7 cm) Tacoma Art Museum 1970.154.10

[abwwia]

Grace Albee, Americana, 1964, wood engraving on paper, image: 6 1⁄8 x 4 3⁄4 in. (15.7 x 12.1 cm), Smithsonian American Art Museum, Bequest of Frank McClure, 1979.98.1

[psikonauti]

William Baxter Closson (American,1848-1926)

Girl Reading

wood engraving

[pinkblanc]

Jean Ulen, The Beginning, 1937

[monkeyssalad-blog]

New York Medical College for Women by National Library of Medicine Via Flickr: Collection: Images from the History of Medicine (IHM) Publication: April 16, 1870 Format: Still image Abstract: Woman student dissecting the leg of a cadaver. Extent: 1 print Technique: wood engraving NLM Unique ID: 101436227 NLM Image ID: A013010 Permanent Link: resource.nlm.nih.gov/101436227

[jadeseadragon]

Dame Eileen Rosemary Mayo DBE (British, 1906 – 1994)

Wood engraving, printed in black ink on thin ivory tissue.

Cat in Cherry Tree. 1947. Source.

[ehj3]

TRONIE ALONIE

“It is amazing how complete is the delusion that beauty is goodness. A handsome woman talks nonsense, you listen and hear not nonsense but cleverness. She says and does horrid things, and you see only charm.” —Leo Tolstoy, The Kreutzer Sonata I thought it would be fun to take “it” “up a level” and draw a “tronie” (Dutch for face, “Pearl Girl” is one of these) based on an AI-generated image…

[uwmspeccoll]

Wood Engraving Wednesday

CLARE LEIGHTON

Here are a few engravings from a recent acquisition for our reference collection on the engravings of English/American artist, writer, and illustrator Clare Leighton (1898-1989), Clare Leighton's Rural Life: An Anthology, published in Oxford by the Bodleian Library in 2023. The book was edited with an introduction by Leighton's devoted nephew David Leighton (1931-2022), who sadly did not live to see its publication. Clare Leighton was one of the most prolific and highly regarded wood engravers of her time, leaving behind a body of work that reflected her rural life in Britain and North America.

During the 1930s, as the world around her became increasingly technological, industrial, and urban, Leighton portrayed rural folk and the ancient methods they used to work the land that would soon vanish forever. Her two best-loved publications, Four Hedges (1931) and The Farmer's Year (1933), reflect this passion for the British countryside. Less well known are her books illustrating and describing rural life in the United States, where she emigrated and became a naturalized citizen in 1945. Leighton also spent time in Canada with the logging community, winning the respect of Canadian lumberjacks by adopting their way of life. Her wood engravings depicting lumberjacks in the snow-covered forests of Canada are some of her most evocative prints.

This anthology includes beautifully reproduced extracts and David Leighton's detailed introduction to the artist's life and work, reflecting Clare Leighton's lifelong fascination with the virtues of the countryside and the people who worked the land.

View more posts with work by Clare Leighton.

View more posts with work by women wood engravers.

View more Women’s History Month posts.

View more posts with wood engravings!

[jadeseadragon]

Eileen Lucy "Tirzah" Garwood (British, 1908-1951), The Dog Show, 1929, wood engraving.

[jadeseadragon]

Gwenda Morgan (British, 1908-1991)

by Gwenda Morgan

[random-brushstrokes]

Clare Leighton - On the Moor (1931)

[arthistoryanimalia]

#Caturday 😺:

Agnes Miller Parker (Scottish, 1895-1980) Siamese Cat and Butterfly (Greetings Card) Printed 1939 Color wood engraving on folded card 13 x 10.4 cm (image), folded card 18 x 14 cm (folded out size: 18 x 28 cm) National Galleries of Scotland GMA 3057 "Miller Parker produced numerous commercial prints featuring Siamese cats, including this one. Her cats were often accompanied by other creatures or plants including birds, butterflies and flowers, revealing the animal's natural sense of curiosity. Many of her prints were based on the countless studies she made of her own pets, though few of these drawings survive today."

[abwwia]

Doris Hatt, Walton Castle from Dial Hill, 1930

Signed, inscribed and dated in pencil (Print No. 11)

Wood engraving | 4.5 x 6 inches