The Harbour
Print
circa 1917 (made)
circa 1917 (made)
| Artist/Maker | |
| Place of origin |
Who was Ethel Kirkpatrick? (1869 –1966)
Born in England, made prints in England and France
Printmaking activity: 1920 –1966
Ethel Kirkpatrick studied at the Royal Academy schools before undertaking woodcutting classes at the Central School of Arts and Crafts, London, which was the first school to teach this technique. Her elder sister, Ida Kirkpatrick, was also a successful artist. As adults, the sisters lived together and shared a studio, which they named ‘The Gables’. Ethel Kirkpatrick exhibited her prints frequently and by the end of her life, she was regarded as one of the most influential makers of colour woodcuts in the 20th century.
Born in England, made prints in England and France
Printmaking activity: 1920 –1966
Ethel Kirkpatrick studied at the Royal Academy schools before undertaking woodcutting classes at the Central School of Arts and Crafts, London, which was the first school to teach this technique. Her elder sister, Ida Kirkpatrick, was also a successful artist. As adults, the sisters lived together and shared a studio, which they named ‘The Gables’. Ethel Kirkpatrick exhibited her prints frequently and by the end of her life, she was regarded as one of the most influential makers of colour woodcuts in the 20th century.
Object details
| Category | |
| Object type | |
| Title | The Harbour (assigned by artist) |
| Materials and techniques | Colour woodcut |
| Brief description | 'The Harbour', colour woodcut by Ethel Kirkpatrick, Britain, ca. 1917. |
| Physical description | Colour woodcut print of a harbour in Cornwall. Signed in pencil by the artist. |
| Dimensions |
|
| Gallery label | Ethel and her sister, Ida Kirkpatrick, regularly visited St Ives, where they became part of the artist colonies attracted to Cornwall’s unique light and beauty. Kirkpatrick has captured the luminosity of the Cornish waters on a summer’s day to great effect by building up the tones of blue ink.(2022) |
| Credit line | Given by the artist |
| Object history | Formerly part of the permanent collection of the British Institute of Industrial Art, transferred to the Victoria & Albert Museum on 1 January 1934. The British Institute of Industrial Art (BIIA) existed from 1919 to 1934. It was established by the Board of Trade and the Board of Education with the primary aim of raising the standard of design in British manufacturing industry. Though its activities, it also sought to influence public taste, and contained numerous examples of popular Art Deco and interwar period styles. The BIIA opened an Exhibition Gallery in Knightsbridge, London, and, during the two decades of its existence, held a series of exhibitions and public lectures, and published various reports. In 1922, the BAAI held their annual show at the V&A. The organisation was dissolved in 1934 when the Board of Trade decided to take direct responsibility for the arts and industry. 361 objects from the BIIA permanent collection were transferred to the V&A, largely consisting of prints and ceramics. These objects were on long term display in the north court galleries of the V&A prior to their official transfer into the permanent collection in 1934. |
| Summary | Who was Ethel Kirkpatrick? (1869 –1966) Born in England, made prints in England and France Printmaking activity: 1920 –1966 Ethel Kirkpatrick studied at the Royal Academy schools before undertaking woodcutting classes at the Central School of Arts and Crafts, London, which was the first school to teach this technique. Her elder sister, Ida Kirkpatrick, was also a successful artist. As adults, the sisters lived together and shared a studio, which they named ‘The Gables’. Ethel Kirkpatrick exhibited her prints frequently and by the end of her life, she was regarded as one of the most influential makers of colour woodcuts in the 20th century. |
| Bibliographic reference | Announcing the inauguration of the BIIA in 'The Studio' (May 1919, p.132) it stated that:
'During the recent period of reconstructional effort, numerous societies, leagues, and associations have sprung up, filled with artistic effort, backed by men and women of repute schooled in thought of the right sort. There is a danger of each of these societies overlapping and covering the same ground unknown to the others, for the problems with which they deal, when investigated, are seen to tend to the same end, the general setting right of art in everyday life. The new Institute should be the means of co-ordinating the activities of such bodies and with their aid should bring home to the masses the real need for art.'
In 'Drawing and Design', Volume 1, Issue 2, June 1920, it was stated that their annual exhibitions would be:
'essentially an exhibition of industrial products and not of designs, and a special fund is to be enabled by the State, through the Victoria & Albert Museum, to acquire for the nation specimens of the best work exhibited each year'. |
| Collection | |
| Accession number | E.4003-1934 |
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| Record created | June 30, 2009 |
| Record URL |
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