John Hinchcliffe

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O FishLino blocked paper(detail); Connegar FarmStudiophoto: John HinchcliffeAntelope PLino blocked and screenprinted fabric (detail);Connegar Farm Studiophoto: John HinchcliffeSafariPLino blocked, wax resistand dyed fabric (detail);Connegar Farm Studiophoto: John HinchcliffeJ o h n H i n c h c l i f f e 81
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John HinchcliffeSimon Olding
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ContentsISBN 0-9541627-7-3Published
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and purpose. The new works shown at
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during this period started from gui
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selling were important factors woul
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purple palette was used on the ston
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1976. Caiger-Smith’s Aldermaston
Page 32: The early success of the studio ena
Page 36: a successful line. Hinchcliffe and
Page 40: epeat stencil patterns around the b
Page 44: The French period also saw the Hinc
Page 48: Hinchcliffe and Barber studio marks
Page 52: was one of dynamic pattern and bold
Page 56: as 1978, in his essay on colour for
Page 60: Whitworth Gallery, Manchester - Cra
Page 64: O Woven hangingDyed cut cloth;Arund
Page 68: O Italian tulipRed earthenware plat
Page 72: O CarouselHinchcliffeand Barberprod
Page 76: O Fish platterExample of a large se
Page 82: Previous pageMajolica tile panelCom
Page 90: Previous pageConstruction (detail)U
Page 94: O Tile 2 (detail)Slip decoratedeart
Page 98: AcknowledgmentsIt would have been i
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John Hinchcliffe

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