This image is one of four prints which make up Ed Baynard’s The London Quartet, produced at Tyler Graphics in 1988. Tate holds three of the prints in the series, Westbourne Grove 1988 (Tate P11992) from an edition of 60, Pembridge Gardens 1988 (Tate P11993) from an edition of 58, and Notting Hill Gate 1988 (Tate P11994) from an edition of 58. The fourth image from the series, Blenheim Crescent 1988, is not in Tate’s collection.
Ed Baynard’s highly stylized work is influenced by Oriental art, particularly Japanese woodblocks. His subject matter is largely still-lifes, mainly flowers and plants, which he depicts with a minimum of modeling. Rather than creating realistic figurative representations, Baynard is interested in the play between colours, shapes and patterns, and his composition makes playful use of perspective and the interaction between two and three-dimensions. In these images, the objects seem to float on the surface of the paper. The tabletop appears to tip towards the viewer and the plate on top of it appears vertical. The pears and flowers are appear flat. Only the fabric, through the depicted folds, is given the illusion of depth, although this too is flattened by its relationship to the other objects.
Before making these prints, Baynard had previously worked with Kenneth Tyler on a series of woodcuts (see, for example, The Tulip Pitcher 1980, Tate P11995) and a suite of monoprints (see Monotype (B-2) 1981, Tate P11997). For the The London Quartet, Baynard combined a number of printing techniques, lithograph, aquatint and woodcut, which contribute to their complexity.
Sean Rainbird, ed., Print Matters: The Kenneth E. Tyler Gift, exhibition catalogue, Tate, 2004.
Ed Baynard: The London Quartet 1988, Tyler Graphics, Mount Kisco, New York, 1988, reproduced in colour, unpaginated.
Tyler Graphics Catalogue Raisonné, 1974-1985, Walker Arts Center, Minneapolis, USA, 1987, pp.66-77.