By the 1960s letter-writing had largely been superseded by faster means of communication, but the somewhat reclusive Edward Bawden
, whose discipline at the Royal College of Art had been calligraphy, was a reluctant user of the telephone, preferring paper, pen and ink. Hence the existence of this twenty year correspondence between him and his dealer, Peyton Skipwith
, of The Fine Art Society
, then in New Bond Street.
The three hundred plus letters contained in this beautifully produced volume cover a period from the late 1960s to Bawden’s death in 1989, giving the reader a glimpse into the art world before it became a billion dollar global business driven by the big auction houses. Having lived through the precarious years following the Wall Street Crash, and a post-war run-in with the Inland Revenue, Bawden, ever fearful that there would never be another sale, viewed with some trepidation Skipwith’s efforts to promote his work and gradually raise his prices from double- to four-figure sums.
David Gentleman
, a former student of Bawden’s at the RCA, in the Foreword describes the letters as ‘unrepeatable’; he remarks on how they reflect ‘on the one hand the preoccupations of an artist and on the other the practicalities of being an agent... 'Both men are polite,’ he says, ‘tactful and meticulous, with a mutual respect and affection, but persistent if need be.’ There are ‘no arguments, no rows and no gossip’ - the letters are about work, exhibitions, catalogues, publications, commissions, negotiations with publishers, contact with museums and publicity; matters Bawden left entirely in Skipwith’s hands, though they are discussed here in detail and often with humour.There was total trust between them.
‘Another damned exhibition’ writes Bawden on one occasion, and again:‘Here is another hateful letter... Could you please deal with it,’ the latter a request from the Fitzwilliam Museum, where he was to have a seventy-fifth birthday exhibition. He later admits to feeling ‘rather bucked’ at being shown in ‘that very grand building’.
Hot-metal typeset in Eric Gill's Joanna and printed letterpress, Dear Edward's 240 pages are generously illustrated with Bawden lino cuts and drawings. It is designed by Webb & Webb
with a page size of 220 x 120 mm and is hard bound in a new Bawden pattern paper.
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