How would the everyday person encounter contemporary art in the 1930s? Commuters in the City were likely to pass designs by renowned artists of the day on London Transport’s innovative posters, and those outside of London could occasionally get the chance to view contemporary artworks via travelling exhibitions.
However, opportunities for prolonged, enriching contact with contemporary art was limited. Most of the UK population didn’t live within proximity of an art gallery or museum, and the public’s ability to purchase art for personal enjoyment was restricted by the dominance in the affordable art market of poor-quality reproductions of Old Master paintings.
Robert Wellington and John Piper sought to rectify this situation. In 1936, the two men – the former the young director of London’s Zwemmer Gallery, the latter a highly regarded art critic, known for the journal Axis he published with his wife Myfanwy – founded Contemporary Lithographs Ltd. with a clear mission: to provide the public with affordable, original, relevant artworks by contemporary artists.
Lithographs seemed the ideal format for their novel enterprise. Lithography is a printmaking process which involves drawing a design onto a flat stone or plate using an oil-based crayon or ink, and then, through a chemical reaction that occurs after applying a layer of gum arabic, affixing the greasy design to the surface. Not only was lithography a cheaper process than engraving or etching, but Wellington and Piper’s choice of auto-lithography, where each artist draws directly onto the surface themself, facilitated originality.
By commissioning limited edition, colour auto-lithographs from a range of established contemporary artists, including Vanessa Bell, Paul Nash, Frances Hodgkins, and Harold Sandys Williamson, Contemporary Lithographs Ltd. could showcase art produced in the present day and offer desirable and reasonably priced prints. Whilst the firm’s first series was particularly aimed at encouraging schools to decorate their walls with meaningful and engaging art for children, Wellington and Piper were not limited in their vision. They believed that the public at large should experience enrichment through interaction with ‘living’ art.
Although few of the commissioned artists had prior experience of lithography, assistance from Piper and the craftsmen at the Curwen Press (the site in Plaistow, east London, where the lithographs were produced), translated into promising feats: an exhibition in 1937 of the firm’s first series of lithographs received approving reviews from The Times and The New Statesman and Nation.Its second series, issued in 1938, too achieved positive results, such as the purchase of 17 prints by the V&A (now in our Department of Art, Architecture, Photography, and Design).
However, neither of the series attained commercial success. Whether from the scheme’s novelty or from Wellington and Piper’s lack of insight and planning in distribution and marketing, Contemporary Lithographs Ltd. ultimately failed in its mission to provide a public good by permeating homes and schools with contemporary art. Yet, whilst the firm ceased business in 1939, its pioneering vision lived on – notably inspiring Brenda Rawnsley’s School Prints Ltd. during the 1940s – and continues to resonate with us today.
The Lynton Lamb “Grand Junction Canal” print is fabulous. Thank you for throwing a light on a small but rather special initiative and set of works.
Hey snake, I recently bought a print for my living room—transformed the whole vibe! Do you have a favorite piece from their collection?
A very interesting and informative article. Is there a list available of the artists who were published in the first series and also the second series? I am particularly interested in the Frances Hodgkins lithograph “Arrangement of Jugs”.
Facts Only
Robert Wellington and John Piper founded Contemporary Lithographs Ltd. in 1936.
Wellington was the director of London’s Zwemmer Gallery.
Piper was an art critic and co-publisher of the journal *Axis* with his wife Myfanwy.
The company aimed to produce affordable, original lithographs by contemporary artists.
Lithography was chosen for its cost-effectiveness and the ability to facilitate originality through auto-lithography.
Artists commissioned included Vanessa Bell, Paul Nash, Frances Hodgkins, and Harold Sandys Williamson.
The first series of lithographs was exhibited in 1937 and received positive reviews from *The Times* and *The New Statesman and Nation*.
The second series was issued in 1938, with the V&A acquiring 17 prints.
The lithographs were produced at the Curwen Press in Plaistow, east London.
The company ceased operations in 1939.
The initiative inspired Brenda Rawnsley’s School Prints Ltd. in the 1940s.
The Lynton Lamb print *Grand Junction Canal* is part of the collection.
Executive Summary
Full Take
The story of Contemporary Lithographs Ltd. highlights a noble but ultimately unsuccessful attempt to democratize access to contemporary art in 1930s Britain. At its core, the initiative reflects a broader tension between artistic idealism and commercial viability—a pattern seen in many cultural movements where vision outpaces practical execution. The venture’s reliance on lithography, a then-innovative but niche medium, underscores the challenge of balancing artistic integrity with public appeal. While the critical reception was favorable, the lack of commercial success suggests a disconnect between the curators’ aspirations and the public’s readiness or ability to engage with contemporary art in this format.
This narrative also invites reflection on the role of intermediaries in shaping cultural access. Wellington and Piper acted as gatekeepers, selecting artists and determining what constituted "relevant" art for the public. Their mission, though well-intentioned, raises questions about whose tastes and values were being prioritized. The initiative’s legacy, particularly its influence on later projects like School Prints Ltd., demonstrates how even failed experiments can plant seeds for future innovation.
**Patterns detected:** None.
**Root cause:** The paradigm here is one of cultural democratization clashing with market realities. The assumption that affordability alone would drive public engagement with contemporary art overlooked broader barriers, such as familiarity, education, and distribution infrastructure.
**Implications:** The episode underscores the fragility of initiatives that depend on shifting public tastes without robust support systems. While the artistic community benefited from the exposure, the broader public’s engagement remained limited, reinforcing the idea that access to art requires more than just availability—it demands context and cultivation.
**Bridge questions:**
How might similar initiatives today bridge the gap between artistic vision and public accessibility?
What role should institutions play in fostering appreciation for contemporary art beyond mere affordability?
Could the failure of Contemporary Lithographs Ltd. have been mitigated with different marketing or distribution strategies?
**Counterstrike scan:** If this narrative were part of a coordinated influence campaign, it might frame the initiative as a heroic but doomed effort to challenge elitism in art, leveraging nostalgia for pre-war cultural idealism. However, the content does not align with such a pattern; it presents a straightforward historical account without manipulative framing or emotional exploitation.