Linocut Prints from Molly Brown

$ 40.00

One of the most visually arresting aspects of the book “Good Work: The Chairmaking Life of John Brown” are the 12 linocuts prints made by Molly Brown, one of John Brown’s daughters. Molly’s prints grace the front and back covers of the book, as well as punctuating many of the important chapters.

For the book, Molly hand carved the plates for the prints, inked them and printed them by hand using an Albion press in her workshop in Wales.

Molly has agreed to hand print limited editions of each of these 12 images on Japon Simili paper and offer them for sale to our U.S. customers. (Customers in the U.K. and Europe can purchase the prints directly from Molly.) We are taking orders for the prints until May 15, 2020, and expect to ship them out to customers in June. Shipping is a flat $8, no matter how many prints you order. (Order one print and the shipping is $8. Order 10 and the shipping is $8 total.)

These are beautiful, hand-printed linocuts, numbered and signed. The blacks are impossibly dark, and the texture of the paper and ink offer a visual and tactile experience you cannot achieve with offset or digital printing. Here are details on each image:

Cardigan Chair
12.5” x 9”, edition of 75

This chair form was the earliest one John Brown made after seeing an antique chair in an antique shop in Lampeter. It also is the chair made famous in the book “Welsh Stick Chairs.” This print is shown on the rear of the dust jacket of “Good Work.”


Primitive Armchair
12.5” x 9”, edition of 75

This chair is on the front cover and dust jacket of “Good Work” and was featured many times in John Brown’s column in Good Woodworking magazine. For many chairmakers, this chair form launched their love affair with Welsh stick chairs.


Chris Williams’ Chair
12.5” x 9”, edition of 75

A square-on elevation view of one of Chris Williams’ chairs, which is shown in Chapter 3 of “Good Work” to illustrate the different parts of a primitive Welsh stick chair.


Sentinel Chair
12.5” x 9”, edition of 50

John Brown and Chris Williams often mused that a monument to Welsh stick chairs should be built at the head of the Severn Bridge, where you enter Wales from the south or west of England. Molly created this scene for the linocut, which shows the bridge and sentinel chair in the distance.


Wales Map
12.5” x 9”, edition of 50

To orient the reader, Molly created this map of Wales to show it in relation to England, Scotland and Ireland. The map serves as the opening image to Chapter 2 of “Good Work.”


Adze
5” x 5”, edition of 75

A linocut of the adze that Matty Sears made for his father, John Brown. The image punctuates Chapter 9 of “Good Work,” the book’s chapter on John Brown’s toolkit.


Spokeshave
5” x 5”, edition of 75

A linocut of John Brown’s favorite spokeshave, the Stanley No. 53. This image graces the Preface of “Good Work,” which was written by Nick Gibbs.


Brace and Bit
5” x 5”, edition of 75

John Brown kept a rack of braces in his shop. Each held a different bit, and the braces were lined up in the order he needed them in construction of a chair. This image is used on the Table of Contents for “Good Work.”


Carningli
5” x 5”, edition of 75

The mountain that John Brown lived in the shadow of at Pantry Fields. His ashes were scattered there after his death. This image opens Chapter 3 of “Good Work.”


Eyeplug
5” x 5”, edition of 75

This image, which opens Chapter 5, requires some explanation. It is a drawing of a wooden plug inserted into the door of John Brown’s workshop at Pantry Fields. When a visitor drove up, John Brown would remove the plug to see who was coming and decide whether to answer the door.


Ty Canol
5” x 5”, edition of 75

The Ty Canol woods are a magical place, and the colors there inspired John Brown to create his green “Spirit of Wales” finish. 


Mechanic’s Vice
5” x 5”, edition of 75

John Brown pioneered using a mechanic’s vise for chairmaking, eliminating the need for a shaving horse. This image opens Chapter 4 of “Good Work.”


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