Current Exhibition

Julian Trevelyan: Etchings
13th September to 25th October 2014

This remarkable exhibition spans the full fifty years of Julian Trevelyan's print making career and highlights the extraordinary diversity and technical ability of this master printmaker. Recognised as one of the most prominent and influential printmakers of the twentieth century, Royal Academician Julian Trevelyan (1910 - 1988) was an important innovator of modern printing techniques. By the late 1950s he was Head of the Etching Department at the Royal College of Art where he taught and inspired, amongst others Norman Ackroyd, David Hockney and RB Kitaj. Ackroyd later wrote:

Bohun Gallery's exhibition highlights Trevelyan's innovative approach to etching (he used lace curtains, hessian sacks and even fishnet tights to create patterned effects within his etchings) as well as the extraordinary breadth of his subject matter. A great traveller, Trevelyan's response to some of the world's greatest cities is presented including London, Paris, Florence and New York. No matter where his travels took him, he and his wife Mary Fedden always returned to their beloved Thames at Chiswick. The views up and down the river from his home at Durham Wharf, form the core of this varied collection. They show the daily comings and goings on the river, the swans, the gulls and the boats. The customs of the river Thames provided constant inspiration for the artist, articulated in his etchings of the 'Building of the Thames Barrage', 'Pleasure Steamer' and 'Henley Regatta'.

Established in 1973, Bohun Gallery has handled Julian Trevelyan's Estate since his death in 1988. The exhibition presents over 40 etchings, beginning with his early surrealist period of the 1930s, and charts his progression through the 20th Century. The breadth and quality validates this 20th Century master's artistic ambitions and presents a vibrant, colourful and exciting exhibition.

SELECTED QUOTES FROM THE ACCOMPANYING EXHIBITION CATALOGUE:

"It's the 'deliberate persistence in his own kind of sophisticated innocence' that makes Trevelyan's work such a visual tonic. His last big retrospective was at the Royal College in 1998. Time for another."
Laura Gascoigne, The Spectator

"Trevelyan's apprenticeship with Hayter laid the foundations for his distinguished career as a printmaker, especially in the 1960s-70s. This was when he began an excellent relationship with Bohun Gallery, which handles his estate; the gallery's Thames setting echoes that of his Chiswick home."
Jackie Wullschlager, The Financial Times

"He produced a series of images that challenge us with their simplicity; from his childhood drawings through to his extended swansong of etchings and paintings, his work seems to invite us to ask our own questions."
Philip Trevelyan "Picture Language"

"An enormous amount of work and desire goes into something so seemingly easy. I have, through my many years of teaching, often looked back and tried to analyse my time in Julian's etching class at the RCA as a template for what can be achieved."
Norman Ackroyd RA

"Trevelyan will be critically remembered for the responsive diversity of his art: the enthusiasm of his engagement with surrealism; the virtuosities of his collage landscapes; the purposeful stylisations of colour and form in his later painting; and for the brilliantly inventive originality of his printmaking. For all these changes of style and manner, what remained essential was his absolute commitment to art as the vehicle of imaginative truth in all its worldly manifestations. For Julian this required the vision of a knowing eye, and a hand freed of preconception and habit: a deliberate persistence in his own kind of sophisticated innocence."
Mel Gooding

"[Bohun Gallery's exhibition] finally confirms Julian Trevelyan's reputation as one of the most interesting and original painter and printmakers of his generation, a maverick independent belonging to no group but his own."
Nicholas Usherwood

"It was from the etching room of the Royal College of Art from 1955 that he developed many special intaglio techniques, including combined textured grounds using found materials and objects, that have generally been credited to Hayter alone. He popularised the open bite method in this country and, on a short trip to Paris, a demonstration by Jacques Frelaut of a two-plate colour etching system so inspired him that he put the method into practice immediately on his return, advancing it in his work."
Sylvie Turner


Click any image to see a larger view

Florence Panorama (Florence Suite), 1965

Etching & aquatint (Signed) Ed. 100
13.86 x 18.78 ins



Henley Regatta, 1978

Etching & aquatint (Signed) Ed. 50
18.86 x 13.86 ins



St James' Park (London Parks Suite), 1969

Etching & aquatint (Signed) Ed. 75
13.78 x 18.9 ins



Adultery with Secretaries II (America Series), 1983

Etching & aquatint (Signed) Ed. 50
8.74 x 9.41 ins



Puri (India Suite), 1968

Etching & aquatint (Signed) Ed. 75
13.75 x 18.75 ins



Building the Thames Barrage, 1980

Etching & aquatint (Signed) Ed. 50
18.78 x 13.74 ins



The Well of Loneliness (Late Dream City Series), 1983

Etching & aquatint (Studio St) Ed.25
6¾ x 9¾ ins



Westminster Abbey (London Suite), 1964

Etching & aquatint (Signed) Ed. 75
13¾ x 19 ins



Helicopter, 1936 (editioned 1991), 1936

Etching & aquatint (Studio St) Ed.30
4¼ x 6 ins



Statue of Liberty (America Series), 1982

Etching & aquatint (Signed) Ed. 50
35 x 47.9 cms



Low Tide, Chiswick, 1976

Etching & aquatint (Signed) Ed. 50
35 x 47.4 cms



Outside Kampala (Africa Suite), 1966

Etching & aquatint (Signed) Ed. 125
35 x 47.3 cms



Kilns, 1979

Etching & aquatint (Studio St) Ed.50
5.98 x 18.31 ins



Santa Maria Novella (Florence Suite), 1965

Etching & aquatint (Signed) Ed. 100
13.86 x 18.78 ins



Bolton High Level (Bolton Suite), 1964

Etching & aquatint (Signed) Ed. 30
47.5 x 35.2 cms



Pebble Mill (Late Dream City Series), 1983

Etching & aquatint (Studio St) Ed.25
5¾ x 9¾ ins



Brentford (Canal Series), 1975

Lithograph (Signed) Ed. 100
20.08 x 15.04 ins



Corpus College (Cambridge Suite), 1959

Lithograph (Signed) Ed. 70
15 x 20.5 cms



Aigues Mortes, 1975

Etching & aquatint (Signed) Ed. 51
13¾ x 18¾ ins



Bulldozer (America series), 1982

Etching & aquatint (Signed) Ed. 50
35 x 47.9 cms



Portsmouth Point (Late Dream City Series), 1983

Etching & aquatint (Studio St) Ed.25
7½ x 13¾ ins



Delft, 1979

Etching & aquatint (Studio St) Ed.50
6 x 18¾ ins



Water Music, 1984

Etching & aquatint (Studio St) Ed.50
13.78 x 18.86 ins



Washington (America Series), 1982

Etching & aquatint (Studio St) Ed.50
35 x 47.9 cms



Entre deux Mers, 1979

Etching & aquatint (Studio St) Ed.50
13.74 x 18.7 ins



Heathrow , 1973

Etching & aquatint (Signed) Ed. 52
13.78 x 18.9 ins



Piccadilly Circus (London Suite), 1963

Etching & aquatint (Signed) Ed. 75
22 x 17.5 ins



Ram, 1978

Etching & aquatint (Studio St) Ed.50
14½ x 18½ ins



Souk, 1972

Etching & aquatint (Signed) Ed. 65
18.9 x 13.78 ins



Windsor (Thames Suite), 1969

Etching & aquatint (Signed) Ed. 75
35 x 47.8 cms



Simone Petra, 1981

Etching & aquatint (Signed) Ed. 50
18.86 x 13.78 ins



Dream Landscape, 1932 (editioned 1998)

Etching & aquatint (Studio Stamp)
37.8 x 5.47 ins



La Turbie, 1974

Etching plate
19 x 14 ins



Horse & Rider, 1953

Etching plate
15 x 19¾ ins



Steamer, 1974

Etching plate
9.45 x 13.86 ins



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weekday lunchtimes
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