Raverat (Gwen, 1885-1957). An album of 145 wood engravings by Gwen Raverat, 1909-28, compiled by the artist as a personal record of her work, containing 145 wood engravings, of which 80 are signed in pencil, many also titled in pencil, name and address in the South of France in pencil to front pastedown (in the artist's hand): Gwendolen Raverat, Villa Adele, Vence, Alpes Maritimes, with additional pencil note on loosely inserted sheet of paper 'In order up to 147 according to catalogue in Book I. But numbers on pages wrong', all mounted on album leaves, with titles and dates in the artist's hand in pencil to lower margin, various sizes, the largest measuring 23 x 33 cm (9 x 13 ins), the smallest 3.5 x 4 cm (1.4 x 1.6 ins), original plain cream cloth, slightly rubbed and some light soiling, folio (33 x 26 cm) Provenance: Estate of the artist, thence by descent. This album is one of several which were carefully compiled by Gwen Raverat, two of which have previously been sold through these rooms. A remarkable album of original wood engravings by Gwen Raverat, compiled by the artist as a record of her output between 1909 and 1928, including rare proofs, and many wood engravings not previously available on the market. The collection provides an almost complete survey of the artists output up to 1928, including her first wood engraving The Knight of the Burning Pestle (1909), the early work drawing on the English ballad tradition (such as May Margaret, Fair Annie, Windy Day, Despair, The Marsh, Child Stealers, Nightmare, Cobbled Yard, Annie of Rough Royal, Travellers, Expulsion, Margaret's Ghost, Clark Saunders, The Quarrel, all 1909), others from the years 1910- 12, including Wood-Nymph, Sir Thomas Browne, Anthony & Cleopatra, The Palmer, The Retreat, Flying, Gypsies, King Lear, A Dream, The Creation of Light, Pieta, The Visitation and The Dead Christ. Engravings produced during the First World War include Little Poplars, Man's End, East Lulworth Cove, The Avenue, Hoeing, The Edge of the Wood (numbers 1, 2 & 3), Poplars in France, Nativity, Winter Morning, Elms by Pond, Le Pelvoux, The Goose-Herd, Lost Traveller, Sheep, Sheep by a River, The Farm Pond, Primrose Wood, Boys Bathing, etc. Important examples of the artist's post-war output include Bathsheba (1920), Dancing Boys (1920), Village Street (1920), The Bolshevist Agent (1920) versions 1 and 2, Mountain Road (1921), Eve (1921), views in the south of France, including Olive Pickers (1922), Streets by Moonlight (1922), Bowl Players (1922), La Place en Hiver (1923), The Barber's Shop (1923), La Place en Et‚ (1923), The Town in Summer (1923), Christian Charity (1925), and also the Princess series, including The Princess in the Wood, The Princess Lost, The Princess Bathes, The Prince Hunting, The Princess Followed, The Princess in the Churchyard and The Princess by the Lake (1926-28). The album ends with some of Raverat's best work including Children, The River Bank, The Balcony, The Wild Swans, The Sleepers, Apple Pickers, The Wicked Queen, and The Low Shore. Selborne & Newman, 1-78, 80-85, 87-89, 91-135, 137-147. (1)
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