Just in Time, Wilhelmina Barns-Graham
1999, screenprint, 59/75, framed £2892
Artist Wilhelmina Barns-Graham
Medium screen print, 59/75
© Wilhelmina Barns-Graham Trust . Photo credit Wilhelmina Barns-Graham Trust
Please read the following information carefully before making your purchase
This artwork is one of a limited edition.
Unframed prints will be posted to the buyer/s by the Wilhelmina Barns-Graham Trust. However, given the current COVID-19 situation, postage is likely to take longer than under normal circumstances. By purchasing one of an edition you are confirming that you are happy for the Trust to receive your name, email, phone number and address so that they can contact you to arrange delivery and/or postage.
Framed prints can be collected from the RWA at a time in the future that is safe to do so.
Please email email@example.com with any questions or to make arrangements for collection.
Wilhelmina Barns-Graham Prints
In her last decade Wilhelmina Barns-Graham (1912-2004) produced an impressive number of prints. Making prints was a liberating experience allowing her to experiment with screens and create complete series of images. New ideas sprang constantly from these variations. Barns-Graham worked so swiftly that she outpaced the printers and several editions were unsigned at the time of her death, while other images remained unprinted. These latter prints, all strictly mapped by the artist, came to be editioned posthumously to enable the completion of the publication The Prints of Wilhelmina Barns-Graham: A Complete Catalogue (Lund Humphries, 2007) by Dr Ann Gunn.
Although Barns-Graham made the occasional etching and linocut in her early years, it was screenprints made with Kip Gresham (Curwen Studio) in 1991 that can be seen as the start of her life as a printmaker. A significant turning point came in 1998 when she was introduced to Carol Robertson and Robert Adam of Graal Press. Robertson’s ground-breaking use of water-based screenprinting ink offered a far greater range of possibilities. These editions capture Barns-Graham’s individual brush marks on acetate and embody the artist’s painting style. The first series, Time, was so successful that she went on to collaborate with Robertson on further editions - Millennium, Sunghrie, Earth - concluding with the White Circle, Wind Dance and Water Dance (Porthmeor) series of 2002 and 2003.
Barns-Graham’s later works reflect a sense of urgency and celebration. There is evident joie de vivre as she - in her own words - “let rip”. A lifetime’s knowledge and experience of colour can be found in these intense, lively images. In 2001 she states “I want to express the joy and importance of colour, texture, energy and vibrancy, with an awareness of space and construction. As a celebration of life – taking risks so creating the unexpected.”