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Clare Leighton (1898 - 1989)

Fishermen and Nets, circa 1950 (BPL 615)

SKU: 5710
Woodcut, signed and titled in pencil  by artist’s nephew
6 1/2 in. x 4 3/4 ins.  (16.5 x  12 cm)

Size:
Height – 16.5cm
Width – 12cm

DESCRIPTION

Provenance:
from the Artist’s Estate; thence by descent.
Presentation:
folio

Provenance: from the Artist’s Estate; thence by descent.

Fishermen and nets (Boston Public Library reference no. 615) was commissioned for
The Marblehead Association in 1950.  It dates to a period when Leighton was producing  some of her most memorable prints, based around the subject of American rural life, much as she had done two decades earlier in her celebration of English rural life (The Farmers Year, 1933)Fishermen with nets is closely related to the images she produced in the same year for Wedgwood Plates with twelve designs of New England Industries and the twenty four
illustrations produced  for The Frank C. Brown Collection of North Carolina Folklore (published in a seven-volume series by Duke University Press from 1952 to 1964). Caroline Mesrobian Hickman has described Leighton’s treatment of these subjects as follows: 
Leighton’s wood engravings portray the rural folk of North Carolina as they harvest, gather for social rites, and participate in recreational activities typical of their region. Appalachian mountain people join in communal events such as All Day Singing in the Mountains (plate 129), Piedmont tenant farmers prepare to dry their crop in Firing the Tobacco Barns (plate 133), while in Dragging Nets (plate 128), fishermen strain to pull in their harvest from the bracing waters of the Outer Banks. In her quest for accuracy, Leighton coordinated her sketching trips throughout the state with the harvesting of various crops, lived and worked with the agricultural people, and even located a still in the mountains for the engraving Moonshine Still (plate 135). The illustrations are not only a harvest of her creativity but also an accurate visual record of the customs and agricultural practices of a by-gone era.


We are grateful to  Caroline Mesrobian Hickman
and David Leighton for assistance.

Disclaimer:
Liss Llewellyn are continually seeking to improve the quality of the information on their website. We actively undertake to post new and more accurate information on our stable of artists. We openly acknowledge the use of information from other sites including Wikipedia, artbiogs.co.uk and Tate.org and other public domains. We are grateful for the use of this information and we openly invite any comments on how to improve the accuracy of what we have posted.

THE ARTIST

Clare Leighton
Clare
Leighton
1898 - 1989

Clare Leighton attended the Brighton School of Art (1915), the Slade School of Fine Art (1921’23) and the Central School of Arts and Crafts. Despite her childhood nickname ‘The Bystander’, she became a hugely visible artist on both sides of the Atlantic, and her vast oeuvre includes engravings, paintings, bookplates, illustrations and stained glass. Her twelve plates for Wedgwood, New England Industries, 1952, are amongst her best-known work.

She exhibited with the SWE in London (1923) and at the 1934 Venice Biennale ‘ attaining full membership to the Royal Society of Painter-Etchers and Engravers in the same year. She also made several tours of the United States, becoming a naturalised citizen in 1945. By the time of her death, Leighton had authored twelve books and made over 840 prints.

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The original designs for Southern Harvest, circa 1941
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The Lord Reigneth BPL 655, 1952
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The Nativity
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The Reverend Hill Walks Away, BPL500, 1942
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Angels and Trumpets, The Vision Splendid, BPL 762 1965
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Watermill, BPL 496 1942
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In the Beginning, BPL 716 1955
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Lopping, The Book of Proverbs, BPL 210 1933
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Those were Rolling Hills (Kentucky Scene), BPL 566 1944
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The Darking Thrush, Hardy Shepherds, (Thomas Hardy), BPL 774b 1965
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“Some Better Country” (Time of Man), BPL 580 1944
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Singing, BPL 723 1957
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I went by the field (Psalms), BPL 667 1952
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Both Man & Bird & Beast, BPL 718 1955
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The Book of Ecclesiastics, BPL 669
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Reading, Writing, Speaking, BPL 730 1959
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God’s Familiars, Earth is the Lord’s, Gods Familiar, BPL 764 1965
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Shells & Seaweed, BPL 680 1954
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Flowers on a hilltop near a bay
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“Where Land Meets Sea” (Coastline is the catalogues title, The Beach is the title of the chapter), BPL 707
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Hog-Killing Girl, aka After the Hog Killing, aka Woman Carrying Binbath, BPL 515 1942
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The Flowering Hawthorn BPL 749 1962
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Tulip Poplar Bud BPL 517 1942
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The Cello Player, BPL 722, circa 1957
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View from Whiteleaf Cross, BPL 256
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The Haricot Planting, BPL 768
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The House at Phillips Place, BPL 577
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A herd of goats
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Ellen and Her Children (BPL578), 1944
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Smoke House, BPL 505 1942
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Scarecrow, BPL 548 1942
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Hog Killing, BPL 514 1942
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Rounding Cornwall BPL 747 1962
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The Sleep of the Labouring Man BPL 671 1952
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Cinnamon Fern, BPL 508 1942
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Religion, BPL 583 1944
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Hog Killing, 1942
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The Village, BPL 227 1933
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Winter (BPL 571) 1944
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Whaling from the New England Industries, late 1940’s
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Farmer and Statue of Liberty, 1930’s
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Concert of Music, BPL 726
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The Journey, 1946 (BP 597)
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Book with quill pen and ink bottle
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Fishermen & Nets, (BPL 615)
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Who Shall Ascend, (BPL 646)
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Alabama Hog Pen (BPL 518)
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Trillium (BPL 522), 1942
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Fishing (chapter header) (BPL 689)
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The Magic of Handling Earth (BPL 488), By Light of Sun, circa 1941
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I Was Just Thinking (BPL 729), 1958
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Travelling (BPL 732)
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Louisiana Pilgrimage (BPL 525), 1942
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Apple Butter (BPL 523), Top Potential
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Frontispiece Ellen… (BPL 564), 1944
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Charm Me Asleep (BPL 758), Music & Dreams, 1962
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Cotton Picker (BPL 491), Cotton Frontispiece, 1942
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Lovers In the Wheat field (BPL 570), 1944
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To Everything There Is a Season, Psalms (BPL 670)
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The Berry Picker (BPL 701)
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Building The First Church (BPL 748), Flowering Hawthorn
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Cranberry Bogs (BPL 684),
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Sorghum Mill (BPL516)
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The Reaper (BPL 221), 1933
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In The Morning Sow Thy Seed (BPL 672), 1952
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Watchers Of The Sky (BPL 719), 1955
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I Cried With My Whole Heart (BPL 659) Psalms
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Jasper’s Hog Pen (BPL 574 )
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Old Sam (BPL 526)
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Marble Quarrying, BPL604, 1949-50
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Miller (BPL 497)
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The letter ‘S’ from The Farmer’s Year, 1933
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The letter ‘G’ from The Farmer’s Year, 1933
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The Farmer’s Year, 1933
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The letter ‘M’ from The Farmer’s Year, 1933
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The letter ‘R’ from The Farmer’s Year, 1933