Thanks to Fiona and Mike Davies for this compilation. This information has been gathered from collections, sale catalogues and auctioneers sites. The blog will be pleased to receive corrections, additions, images or other information.

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White Leghorn 1971

Edition of 14

‘White Leghorn” was included in a group of prints destined for an exhibition of students’ prints in Paris but when she opened the plan chest drawer where they were stored they had been stolen. Barbara recalled a hilarious conversation with a policeman trying to describe the picture of a bare-breasted girl holding a white cockerel between her thighs with a volcano erupting in the background. [as told to Mike and Fiona Davies].

Present from Ophir 1999 Edition of 10

The final print relating to the previous posting ‘Apes and Peacocks.

Thanks to Mike and Fiona Davies for this image.

The University of Dundee Museum Services has a substantial archive of Barbara’s College work including drawings, prints and printed illustrations for a chosen text.

These coloured drawings of St Andrews and a dockyard (St Methil?) are the results of a research trip to Fife in 1968. In addition the archive contains more recent prints and samples of finished lino blocks.

Go to https://museumsearch.dundee.ac.uk and search creator field.

 

Leystone Cemetery, near Woodside, Perthshire.

Memorial by Gillian Forbes. http://www.forbesstonecarver.com

 

The Bee Orchid  1972 1/20

Laurie Lee’s novel based on his early life, ‘Cider with Rosie‘, was originally published in 1959 and has never been out of print. His vivid memories of a boyhood in the small Gloucestershire village of Slad in the years following the First World War are a gift to illustrators. This group of illustrations was drawn probably for Barbara’s diploma show in 1969.

Saturnia pavonia is the Latin name of the Emperor Moth (35-41mm). The female is nocturnal and comes to light usually soon after dusk between April and late May. The woman’s foot rests on a stone bearing the Pictish symbols of goose and salmon taken from the stone at Easterton of Roseisle, Morayshire, 7th-8th Century AD.  In the printmaking process, the images have been reversed. The lino block is deliberately asymetrical.

Exhibited at the RSA in 1976.