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John Hinchcliffe
Roof Boss Sherborne Abbey Dorset
2002

$411.75

£300

€357.29

CA$565.44

A$636.50

CHF 336.78

MX$7,895.03

NOK 4,160.71

SEK 3,979.35

DKK 2,665.53

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About the Item

John Hinchcliffe (1949-2010) Roof Boss Sherborne Abbey Dorset 2002 Screenprint 28.7 x 20.0 cm 30.2 x 21.5 cm Signed John Hinchcliffe (1949-2010) John Hinchcliffe's career encompassed many roles and embraced diverse media. He enjoyed acclaim as a weaver and achieved success as a designer and maker of studio and commercial ceramics and printed textiles. Latterly he worked as a painter and illustrator. Born in Chichester on January 21, 1949, John Graham Hinchcliffe was the son of a barrister and journalist, and spent his childhood at Arundel, Sussex. He was educated at the West Sussex College of Art and Design, progressing to undergraduate and postgraduate studies at Camberwell and the Royal College of Art. He made his mark in the field of contemporary crafts before he was 30. On a visit to the Konstfachskolan, the school of art and design in Stockholm, he found himself drawn to the Scandinavian tradition of rag rugs; and having set up his studio at South Stoke, West Sussex, in 1973, with his first wife, Frances Newland, he began to make exuberant wall hangings and rugs. This was arduous and painstaking work, but the results were expressive, confident and forceful. They were works singing with colour, and they attracted immediate attention. The Crafts Advisory Committee commissioned kneelers for Romsey Abbey. Hinchcliffe was featured in a BBC Second House documentary, and in 1977 embarked on a lecture tour of America funded by the American Craft Council and the National Endowment of the Arts. In the same year he won the John Player Telegraph Sunday Magazine British Craft Award for Textiles. But Hinchcliffe was not content to rest on his laurels. He was fascinated by pattern, colour and the romance of rich surface decoration, and his determination to take on technical challenges to achieve artistic outcomes led him to explore other media. By 1980 he had developed a formidable partnership with the painter and tapestry weaver Wendy Barber, with whom he embarked on the manufacture of studio ceramics. Together they produced a range of work that was more affordable than Hinchcliffe's woven wall-hangings (which commanded high prices). This was the birth of the Hinchcliffe and Barber brand (or H&B). The couple decided to move to Dorset (where their daughter Georgia was born), along with Wendy's son and three daughters. There, while continuing to exhibit his textiles internationally, Hinchcliffe began to experiment with abstract designs on stoneware, at first in collaboration with the celebrated ceramicist Janice Tchalenko. A breakthrough exhibition was held of the Hinchcliffe and Barber ceramics and printed cloths, as well as Barber's oil paintings, at the Salisbury Arts Centre in 1983. Their ceramics "” dynamic blue and white spongeware with rural motifs applied on to generously shaped forms with a touch of Mediterranean vigour "” sold out almost immediately. Their work continued to look individualistic even when the designs were carefully licensed to other manufacturers, such as the Poole Pottery and then the Saville Pottery in Stoke. In the mid-1980s George Davis of Next commissioned Hinchcliffe and Barber to design its first tableware range, both for homeware shops and the Next Directory. This too proved highly successful, as it managed to bridge the gap between the work of the studio potter and that of the anonymous commercial factory. Their Dorset Delft, with its harmonious farmyard and countryside animal motifs, was particularly popular, selling at Harrods, Harvey Nichols and the John Lewis Partnership until 1997, when the Saville Pottery closed. Public recognition of the ceramic work came in 1991 with a retrospective exhibition at the Russell-Cotes Art Gallery and Museum, Bournemouth, after Hinchcliffe and Barber had been commissioned to produce a tile panel for the museum's new extension that had been opened by Richard Luce, then minister for the arts. The exhibition celebrated the achievement of the small craft studio producing, licensing and designing work for industry, but managing to preserve the personal signature of the partnership. In the same year Hinchcliffe and Wendy Barber married and moved to Normandy, where they established a new studio. Hinchcliffe revelled in the spare, isolated landscapes, and took solace in the windswept and unpopulated beaches. He created meadow gardens and orchards, planting generous hosts of roses around the inner courtyard of their 18th-century farmhouse. A new range requested by Wedgwood was not in the end produced, although elements of their designs later found their way into other tableware items produced by the firm. But the lure of Dorset remained strong. They returned in 1996, setting up first in an isolated farmhouse near to the Blackmore Vale town of Sturminster Newton. Hinchcliffe started making linocuts, and he continued with print making to the end of his life. He made illustrations for books such as England in Particular: a celebration of the commonplace, the local, the vernacular and the distinctive (2006) and, latterly, for Country Life and Dorset Life. Hinchcliffe liked to work in the moment. He remarked upon the need for artists to "move on", and not to repeat the successes of the past.

Creator:

John Hinchcliffe (1949 - 2010, British)

Creation Year:

2002

Dimensions:

Height: 11.3 in (28.7 cm)Width: 7.88 in (20 cm)

Medium:

Screen

Movement & Style:

Contemporary

Period:

2000-2009

Condition:

Gallery Location:

Bournemouth, GB

Reference Number:

1stDibs: LU1589216017562

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