Society of Wood Engravers

The Society of Wood Engravers (SWE) is a United Kingdom-based artists’ exhibiting society founded in 1920 to promote wood engraving as an independent medium for modern and contemporary artists. Its work is concerned primarily with the fine-art tradition of engraving designs directly into end-grain wood and printing the resulting blocks, rather than with reproductive engraving carried out by artisans from designs supplied by others. The Society’s membership is focused on artists who use wood engraving, while collectors, supporters, and enthusiasts may participate through honorary membership or subscription. The Society emerged from the revival of wood engraving as an artist-led practice during the late nineteenth and early twentieth centuries. Earlier figures such as Charles Ricketts and Charles Haslewood Shannon had demonstrated the possibilities of artists designing through the process of cutting their own blocks. The SWE’s founders built on that development and sought to establish a continuing institutional platform for the medium. Noel Rooke and Robert Gibbings were particularly influential in shaping the organization’s artistic direction, including its commitment to annual exhibitions and education. The Society’s founding aims included promoting the European method of wood engraving, generally involving oil-based inks and press printing, and distinguishing the work of artist-engravers from commercial nineteenth-century reproduction. The terminology surrounding relief printmaking has changed over time. White-line work on end-grain wood is now commonly called wood engraving, while related work cut into the plank side of wood is generally described as woodcut, although the terms were historically used less consistently. The SWE continues to emphasize the specific craft and visual qualities of fine engraving, even as practitioners experiment with synthetic materials and contemporary processes. The organization experienced a period of inactivity during the 1960s. It was revived in 1984 by Hilary Paynter and Simon Brett, leading to a major renewal of its membership, exhibitions, and educational activity. Since that revival, the Society has operated as a continuing platform for artists working in wood engraving and related relief-print practices. Its annual exhibition is its central public event. Although wood engravings form the majority of selected works, the exhibition may also include other relief techniques such as woodcut and linocut. Entries are reviewed by a selection committee, and the exhibition has developed from a London-based event into a touring show presented at galleries in different parts of the United Kingdom. Artists who wish to become full members generally need to have exhibited in the Annual Exhibition for three years, not necessarily consecutively. Applicants then submit a portfolio, including preparatory material and sketchbooks, for review by the Members’ Selection Committee. Members receive certain additional exhibition privileges, including the ability to submit a third work where non-members are limited to two. Anyone may become a subscriber by paying the annual subscription fee, and subscribers receive access to the Society’s regular communications and publications. The SWE also supports the wider culture of printmaking through its monthly online newsletter and quarterly journal, Multiples, which provides records, discussion, information, and notices about activities. It produces occasional special publications, including Christmas cards, broadsheets, and limited-edition boxed sets of engravings. The Society holds an annual general meeting and maintains a social dimension through gatherings such as its annual picnic. It has cordial links with the United States-based Wood Engravers’ Network. The Society receives no regular outside funding. A bequest from former member William Rawlinson has supported student grants and special projects. Prizes associated with the Annual Exhibition have also received support from organizations including the Golsoncott Foundation and the Bewick Society. Through exhibitions, publications, prizes, education, and membership, the SWE functions both as a professional network for practitioners and as a public advocate for wood engraving. It marked its centenary in 2020 and remains active in the promotion of the medium.

The Society of Wood Engravers was established on 27 March 1920 by ten artists who wanted to strengthen wood engraving as a modern artistic medium. Its creation followed the late-nineteenth-century revival of artists cutting and printing their own designs, associated with figures such as Charles Ricketts and Charles Haslewood Shannon. The founders included Philip Hagreen, Lucien Pissarro, Robert Gibbings, E. M. O’Rourke Dickey, Sydney Lee, Noel Rooke, Edward Gordon Craig, Eric Gill, Gwen Raverat, and John Nash. The Society’s early program was both artistic and educational. It promoted the European press-based approach to wood engraving, using oil-based inks, and sought to distinguish artist-engravers from commercial reproductive engravers. Noel Rooke and Robert Gibbings were important in establishing the Society’s direction and its commitment to regular exhibitions. Wood engraving was used in fine-art prints, book illustration, and commercial work, and the organization aimed to demonstrate that it could serve as a serious medium for individual artistic expression. Terminology within relief printmaking was historically fluid. Work engraved into end-grain wood and work cut into the plank side of a block were both sometimes called woodcuts. After the Second World War, the distinction between wood engraving and woodcut became more standardized. The Society’s later identity was strongly shaped by this distinction, with fine engraving understood as a specialized practice involving precise, often white-line cutting and press printing. Contemporary practitioners have also explored materials other than traditional wood, but the Society continues to focus on the qualities of fine engraving itself. The organization entered a period of abeyance in the 1960s. In 1984, Hilary Paynter and Simon Brett helped revive it, effectively beginning a new phase of institutional and artistic development. The revived Society expanded its membership, restored regular exhibitions, and strengthened its role in teaching and public advocacy. Its Annual Exhibition became the main event in its calendar and developed from a London presentation into a touring exhibition across the United Kingdom. Although wood engraving remains the principal medium, related relief processes such as linocut and woodcut may also be considered. The Society’s membership process is selective. Applicants normally need to have shown work in the Annual Exhibition for three years, which do not have to be consecutive. A portfolio containing finished work, preparatory studies, and sketchbooks is assessed by the Members’ Selection Committee. Non-members may enter the Annual Exhibition, while members receive additional submission capacity. The Society also welcomes subscribers who pay an annual fee, and honorary membership is available to collectors and enthusiasts. Its publishing activity includes a monthly online newsletter and Multiples, a quarterly journal containing records, information, and discussion. The Society also issues occasional special publications such as Christmas cards, broadsheets, and limited-edition collections. An annual general meeting and social events, including the SWE Picnic, support community life. The organization maintains friendly relations with the Wood Engravers’ Network in the United States. The SWE is self-funded and receives no general outside subsidy. A bequest from former member William Rawlinson has supported grants for students and special projects. Exhibition prizes have included the Rachel Reckitt Prize, supported by the Golsoncott Foundation, and a prize funded by the Bewick Society. The Society celebrated its centenary in 2020 and continues to promote wood engraving through exhibitions, publications, education, awards, and the development of new generations of practitioners.

• 2020

  Centenary

  [1]Society of Wood Engraversen.wikipedia.org

  The Society marked one hundred years of promoting wood engraving.

• 1984

  Society revived

  [1]Society of Wood Engraversen.wikipedia.org

  Hilary Paynter and Simon Brett led a major revival that renewed the Society’s exhibitions, membership, and educational role.

• 1960

  Period of abeyance

  [1]Society of Wood Engraversen.wikipedia.org

  The Society became inactive during the 1960s.

• 1920

  Society founded

  [1]Society of Wood Engraversen.wikipedia.org

  Ten artists established the Society on 27 March to promote wood engraving as an artist-led modern medium.

A specialist, artist-led society positioned as a custodian and promoter of fine wood engraving in the United Kingdom, combining professional exhibition opportunities, peer selection, education, publications, collecting, and public advocacy.

• Exhibition · 1920

  Annual Exhibition

  The Society’s principal public program presents selected works by members and non-members. Wood engravings make up most of the exhibition, while related relief techniques such as woodcut and linocut may also be included. A committee reviews submissions, and the exhibition now tours galleries in different parts of the United Kingdom.

• Journal

  Multiples

  A quarterly journal circulated to members and subscribers, providing a record of Society activity together with information, commentary, and discussion related to wood engraving and relief printmaking.

• Print publication

  Special-edition print publications

  The Society produces occasional printed items including Christmas cards, broadsheets, and limited-edition boxed sets of engravings. These publications extend its exhibition and collecting activity beyond gallery presentations.

• Newsletter

  Online newsletter

  A monthly digital newsletter communicates forthcoming exhibitions, events, opportunities, and other information to subscribers and members.

• 1984Society revival and regeneration

  United Kingdom

  Hilary Paynter and Simon Brett revived the Society after its mid-century period of inactivity and rebuilt its role around the distinction between wood engraving and woodcut.

  Outcome. The revival restored regular exhibitions and helped the Society engage new generations of practitioners.

  Source
• 1920Promotion of artist-led wood engraving

  United Kingdom · Europe

  The Society was created to promote wood engraving as a medium in which artists design and cut their own blocks, rather than merely reproducing designs supplied by others.

  Outcome. The initiative established a continuing institutional platform for exhibitions, teaching, and advocacy around fine wood engraving.

  Source

1. 1Society of Wood Engraversen.wikipedia.org
2. 2Society of Wood Engravers official websitewoodengravers.co.uk