Sybil Tawse
Lithographs and paintings of biographical interest |
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See additional lithographs and artwork in Painted Pottery Design and other paintings.
![]() After Gloucester Road, London Kensington, in 1918 Miss Tawse ![]() 'The Old Church — Chelsea' is another coloured lithograph she painted. ![]() 'Castle Hill — Cambridge' is another well-known coloured lithograph ![]() This watercolour is entitled Cairo. Miss Tawse was ![]() Watercolour of Bath by Sybil Tawse, signed and dated Easter 1932. ![]() The title page of Cranford signed and dated "Chelsea 6.xii.33." ![]() The Victoria Art Gallery–Bath notes that Sybil Tawse was in Bath during ![]() The Victoria Art Gallery–Bath also has this finely-detailed watercolour The two photos above courtesy Jim Riseley, Victoria Art Gallery,
Bath & North East Somerset Council, thank you. ![]() Watercolour of Bath by Sybil Tawse, signed and dated 1942. ![]() Watercolour by Sybil Tawse signed and dated 17.VIII.45, ![]() Portrait of Charles Frederick Alford, London 1956.
![]() A watercolour of Earlsferry, Fife signed by Sybil Tawse and dated 6-IX-58. ![]() |
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Sybil Tawse in A Dictionary of Contemporary British artists, 1929 by Bernard Dolman, Art Trade Press, London, 1929. TAWSE, (Miss) Sybil; book illustrator, portrait painter, decorative and poster artist. Educ Lambeth School; R.C.A. (King's prize scholar, silver and bronze medallist).
Ezhbd at R.A., Brighton Art Gallery. Works reproduced illustrations for "Cranford," Kingsley's "Heroes" and
"The Fairchild Family" (Messrs. A. & C. Black), "Miss Esperance and Mr. Wycherley" (John Murray). Address 44 Cheyne Walk, Chelsea, SW3. Signs work
"Sybil Tawse"
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Miss Tawse enjoyed many reviews in magazines and newspapers, which I do not represent in this gallery. This, on the other hand, is an appreciation of her work in a book by Phyllis McGinley (1905–1978), the American author of children's books and poetry who won the Pulitzer Prize for Poetry in 1961. Sixpence in Her Shoe is a book of practical advice for American women first published in 1960. "The other object of my devotion, and an even more persistent influence, was a set of pictures. Again, I discovered them young. Have you ever read a book called Cranford?
Probably you have, since its title occurs regularly on high-school reading lists. I, the product of an excessively bad education, had never heard of it until I routed it out of
a glass-fronted bookcase when I was recovering from something unoriginal like a midwinter. But it contained eight full-page color plates by a certain Miss Sybil Tawse. (I am not
being formal. That's the ladylike way she signed herself.) The plates were watercolor illustrations of rooms, the rooms in a Cranford Rectory. There were careful delineations
of Tudor cabinets, Queen Anne wing chairs, country Chippendale stands, gate-legged tables, cupboards full of blue willowware, embroidered fire screens, pierced brass fenders.
I think Miss Tawse meant her pictures to look quaint, old-fashioned in a heterogeneous fashion, as if Cranford people never threw out anything but simply assembled and inherited.
To me they were representations of pure delight. I carried the book as well as the yearning for old furnishings with me into my own first home. And I did my best to gather about
me pieces as much like Cranford ones as possible." |
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