In 1970 Canadian-born painter Jean Paul Riopelle (1923-2002) exhibited a whole series of owl paintings at Galerie Maeght in Paris, an event for which this is a private view card. Riopelle became interested in surrealism when he met Paul-Emile Borduas (1905-1960) and the French-Canadian art group “Les Automatistes”, so called because influenced by surrealist automatism, spontaneous writing or drawing. After a move to Paris in 1947, his paintings became very sculptural as he began squeezing paint directly from the tube and shaping it with a palette knife.

Poet and scholar Walter Strachan (1903-1994) was fascinated by the art of the book. His interest was inspired by a visit to an exhibition of artists’ books at the National Gallery in London in May 1945. In due course he wrote many articles on the subject, as well as a major reference work, The Artist and the Book in France (published 1969); he also encouraged successive Keepers of the National Art Library at the V&A “to buy them for England.” To this end he visited France every year, to meet the artists, and acquired proof pages to illustrate his articles and to show to potential purchasers of the books, including the V&A. Over the years he amassed a collection of images of owls; some of these were illustrations from livres d’artistes, and others were designed especially for him as gifts or greetings. The collection of owls began with a visit to the artist Roger Chastel (1897-1981) in 1952, where he witnessed the printing of Le Bestiaire de Paul Eluard. In a subsequent article (“Genesis and Growth of a Collection”, for Connoisseur, 1972) he explained: “My article on Chastel’s Bestiaire had the happy result of bringing me a special print on Auvergne paper of the owl which I had admired in the book. Contacts in the art-world of Paris are close and friendly, and I was marked down as an owl-man, in consequence of which I have gradually been given dedicated owl prints and originals in every medium from pen and ink to enamel…”