![Photograph of Henry Scott Tuke with his sister's four children [c.1899] Photographer Unknown. (from left) Hester Margaret Sainsbury, William Tuke Sainsbury, Geoffrey Harrington Sainsbury, Henry Scott Tuke, Philip A Sainsbury at Mawnan Smith Henry Scott Tuke with his sister's four children.jpg](http://upload.wikimedia.org/wikipedia/commons/thumb/1/17/Henry_Scott_Tuke_with_his_sister%E2%80%99s_four_children.jpg/330px-Henry_Scott_Tuke_with_his_sister%E2%80%99s_four_children.jpg)
Hester Margaret Sainsbury (1890-1967) [1] was a British artist, dancer, poet and illustrator.
Hester Margaret Sainsbury (1890-1967) [1] was a British artist, dancer, poet and illustrator.
Hester Sainsbury's parents were Harrington Sainsbury (1853-1936), court physician to Queen Victoria, [2] and Maria Tuke (1861–1947). [3] They married in Marylebone parish church, London on 26 March 1889; Hester was born in the spring of 1890. [4] She grew up among artists such as Roger Fry, Gwen Raverat and the Omega Workshop Group. Her brother Phillip was one of the founders of the Favil Press, and later ran the Cayme Press, for both of which she illustrated several books. [2]
She was trained in modern dance by Margaret Morris. Around 1914-1915, she ran a group "formed to speak and act her amazingly vital rhythmic verse-plays", influencing the development of artistic drama in Britain, and inspiring people such as the artist Maxwell Armfield. [5] Her group was known before the war as the Clarissa Club, which she and another dancer, Kathleen Dillon founded and ran at 71 Royal Hospital Road, Chelsea. By 1914 its name had changed to the Choric School. [6] The whole of the October 1915 issue of Others magazine was devoted to "The Choric School", with contributions by Sainsbury and the poets Ezra Pound, Kathleen Dillon and John Rodker. [7] [8]
Sainsbury became a successful artist and print-maker in the 1920s, being known among other things for using an engraving tool that cut multiple parallel lines rather than the usual one. She made fine art prints and illustrations by engraving both copper and wood. The author Philip Neil describes her engravings as "fresh, supple, and irresistibly charming." [4]
She lived the Bohemian life of an artist; her lover was the Japanese playwright Kori Torahiko between 1917 and 1926, when he died. [4] She married the Vorticist painter Frederick Etchells on 13 May 1932; [9] she illustrated a number of books for his company, Haslewood Books. [2] She and Etchells moved away from London's artistic scene to France House, East Hagbourne, Oxfordshire, which he personally restored. , [9]
In the 1930s she and Etchells purchased a weekend cottage in West Challow then called Holme Lea, a Queen Anne property. They lived at Holme Lea between 1939 and 1944. During that time they acquired and renovated another house in West Challow into which she, her husband and daughter moved, in 1944. [10] [11]
Her artistic career largely came to an end on moving to Berkshire, though she illustrated an edition of Torahiko Kori's works, published in Tokyo in 1936. [4] [12] John Betjeman was one of their neighbours. [9]
The cover of the first edition of Henry Williamson's Tarka the Otter featured one of her wood engravings. [13]
Gwendolen Mary "Gwen" Raverat, was an English wood engraver who was a founder member of the Society of Wood Engravers. Her memoir Period Piece was published in 1952.
The Golden Cockerel Press was an English fine press operating between 1920 and 1961.
The Society of Wood Engravers (SWE) is a UK-based artists’ exhibiting society, formed in 1920, one of its founder-members being Eric Gill. It was originally restricted to artist-engravers printing with oil-based inks in a press, distinct from the separate discipline of woodcuts. Today, its support extends to other forms of relief printmaking, and awards honorary membership to collectors and enthusiasts.
Frederick Etchells was an English artist and architect.
Lettice Sandford was a draftsman, wood-engraver, pioneer corn dolly revivalist and watercolourist of her beloved Herefordshire. She was a daughter of Lachlan Mackintosh Rate of Milton Court, Surrey, a director of the Imperial Ottoman Bank, the central bank of the Ottoman Empire, and wife of Christopher Sandford of Eye Manor, Herefordshire, proprietor of the Golden Cockerel Press, for which she provided wood-engravings. She was the mother of playwright Jeremy Sandford.
Robert John Gibbings was an Irish artist and author who was most noted for his work as a wood engraver and sculptor, and for his books on travel and natural history. Along with Noel Rooke he was one of the founder members of the Society of Wood Engravers in 1920, and was a major influence in the revival of wood engraving in the twentieth century.
Helen Barbara Howard was a Canadian painter, wood-engraver, draughtsperson, bookbinder and designer who produced work consistently throughout her life, from her graduation in 1951 from the Ontario College of Art until her unexpected death in 2002.
John Farleigh, also known as Frederick William Charles Farleigh, was an English wood-engraver, noted for his illustrations of George Bernard Shaw's work The Adventures of the Black Girl in Her Search for God, which caused controversy when released due to the religious, sexual and racial themes within the writing and John Farleigh's complementary wood engravings commissioned by Shaw for the book. He is also known for his illustrations of D. H. Lawrence's work, The Man Who Died, and for the posters he designed for London County Council Tramways and London Transport. He was also a painter, lithographer, author and art tutor.
Lady Mabel Marguerite AnnesleyHRUA was a wood-engraver and watercolour painter. Her work is in many collections, including the British Museum, the Victoria and Albert Museum, the National Gallery of Canada and the Museum of New Zealand. She exhibited in the Festival of Britain in 1952.
Noel Rooke (1881–1953) was a British wood-engraver and artist. His ideas and teaching made a major contribution to the revival of British wood-engraving in the twentieth century.
Angie Lewin is a British printmaker working in linocut, wood engraving, lithography and screen printing.
Blair Rowlands Hughes-Stanton was a major figure in the English wood-engraving revival in the twentieth century. He was the son of the artist Sir Herbert Hughes-Stanton. He exhibited with the Society of Wood Engravers, but was more in sympathy with the philosophy of the English Wood Engraving Society, of which he was a founding member in 1925. He co-directed the Gregynog Press from 1930 to 1933 with his wife, Gertrude Hermes.
Vivien Massie Gribble Doyle-Jones was an English wood engraver who was active at the beginning of the 20th century. She was a pupil of Noel Rooke at the Central School of Arts and Crafts and exhibited regularly with the Society of Wood Engravers.
Mabel Charlotte Alleyne was a British wood-engraver. She studied wood-engraving at the London County Council School of Photo-engraving and Lithography in Bolt Court, London, where her teacher was R. John Beedham, and exhibited with the Society of Wood Engravers.
Gwenda Morgan was a British wood engraver. She lived in the town of Petworth in West Sussex.
Dorothea Braby was a British artist. Although she had a long career as a freelance designer producing work for several well-known companies, Braby is best known for the book illustrations she created, particularly those for the Golden Cockerel Press.
Celia Mary Twisleton-Wykeham-Fiennes known as Celia Fiennes and later Celia Rooke, was a British artist, notable as a printmaker and book illustrator.
Mary Elizabeth Groom was a British artist, notable for her work as a printmaker and for the books she illustrated in the 1930s for the Golden Cockerel Press.
Kathleen Dillon (1898-1990) was a British dancer and theatre designer.
Joseph Benwell Clark was an English painter, etcher, engraver in mezzotint and drypoint, and book illustrator.
{{cite journal}}: Cite journal requires |journal= (help)Hester Sainsbury, once so clever with the multiple-tool, has disappeared.
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