Travers Studio Stations of the Cross
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In 'Slow Art', New Directions, October 2019, Bishop Robert Ladds observed that 'we shall find high art only rarely' in illustrations accompanying the stations of the cross. Those he recognises as 'captivating and remarkable works of art' are the stone sets by Eric Gill at Westminster Cathedral and St Cuthbert's, Bradford, and the wooden set by John E Crawford at St George's, Headstone.
John E Crawford (1897-1982) was apprenticed at the age of fourteen to versatile Arts & Crafts practitioner John H M Bonnor. Crawford - who himself matured into a multi-talented artist-craftsman - worked for some time for the stained glass partnership Lowndes & Drury and was for many years technical instructor in stained glass at the Royal College of Art. He is best known, however, as the long-standing sculptor and chief assistant to leading ecclesiastical artist and designer Martin Travers.
A hallmark of the Arts & Crafts approach to art was the personal contribution of the artist-craftsman. Victorian carving often lacked life because a designer handed over his drawings to an anonymous craftsman to interpret. Travers was a stained glass artist, not a sculptor, but in Crawford's hands the realisation of Travers' designs for sculpture possess the disciplined vigour and charm which characterise Travers' stained glass.
Martin Travers entrusted the design as well as the execution of his studio's stations of the cross to John Crawford. Carved wooden panels were produced to make moulds for plaster sets, wholly in the Travers style, in which much detail was added in paint; the first of these was supplied to St Augustine's, Queen's Gate around 1928 and the second to Holy Redeemer, Clerkenwell in 1931. Never intending these carvings to be displayed, it was of no concern to Crawford that the boards used to form the panels might be of uneven colour or irregular grain. Acquired by St George's in 2015, they were cleaned, polished and simply decorated. Powerful depictions of traditional scenes from the Passion of Christ, these carvings also illustrate the high level of artistic skill John E Crawford contributed to the work of the Travers studio.
John E Crawford (1897-1982) was apprenticed at the age of fourteen to versatile Arts & Crafts practitioner John H M Bonnor. Crawford - who himself matured into a multi-talented artist-craftsman - worked for some time for the stained glass partnership Lowndes & Drury and was for many years technical instructor in stained glass at the Royal College of Art. He is best known, however, as the long-standing sculptor and chief assistant to leading ecclesiastical artist and designer Martin Travers.
A hallmark of the Arts & Crafts approach to art was the personal contribution of the artist-craftsman. Victorian carving often lacked life because a designer handed over his drawings to an anonymous craftsman to interpret. Travers was a stained glass artist, not a sculptor, but in Crawford's hands the realisation of Travers' designs for sculpture possess the disciplined vigour and charm which characterise Travers' stained glass.
Martin Travers entrusted the design as well as the execution of his studio's stations of the cross to John Crawford. Carved wooden panels were produced to make moulds for plaster sets, wholly in the Travers style, in which much detail was added in paint; the first of these was supplied to St Augustine's, Queen's Gate around 1928 and the second to Holy Redeemer, Clerkenwell in 1931. Never intending these carvings to be displayed, it was of no concern to Crawford that the boards used to form the panels might be of uneven colour or irregular grain. Acquired by St George's in 2015, they were cleaned, polished and simply decorated. Powerful depictions of traditional scenes from the Passion of Christ, these carvings also illustrate the high level of artistic skill John E Crawford contributed to the work of the Travers studio.