London, Leicester Galleries, John Craxton, May 1944 (illustrated in the exhibition catalogue, no. 7);
C.E.M.A., Contemporary Watercolours and Gouaches, 1945 (illustrated in the exhibition catalogue, no. 8);
London, Tate Gallery, The Private Collector: An Exhibition of Pictures and Sculpture Belonging to Members of the Contemporary Art Society, March-April 1950 (illustrated as Yellow Estuary in the exhibition catalogue, no. 30);
Wakefield, City Art Gallery, Personal Choice: Paintings from Nine Private Collections, March – April 1953 (illustrated in the exhibition catalogue, no. 18);
London, Whitechapel Art Gallery, John Craxton paintings and drawings 1941-1966, January-February 1967 (illustrated in the exhibition catalogue, no. 105);
Woking, The Lightbox, The Ingram Collection: The Impact of War, 15 October 2014 – 4 January 2015;
Bristol, Royal West of England Academy, Drawing On, 21 March – 7 June 2015;
Hastings, Jerwood Gallery, Century: 100 Modern British Artists, 23 October 2016 – 8 January 2017;
London, Business Design Centre, London Art Fair Museum Partner, Ten Years – A Century of Art, 18 – 22 January 2017;
Woking, The Lightbox, John Minton and the Romantic Tradition, 28 January 2017 – 9 March 2017;
Kendal, Abbot Hall Art Gallery, Land | Sea | Life: A British Art Collection, 20 October 2017 – 17 February 2018;
Bath, Victoria Art Gallery, War and Rumours of War: 1940s British works on paper from The Hepworth Wakefield, 6 July – 15 September 2019;
Woking, The Lightbox, The Art of Watercolour, 11 August – 4 October 2020
Literature:
Preliminary Drawing for ‘Visionary Poems and Passages or The Poet’s Eye’, chosen by Geoffrey Grigson with original lithographs by John Craxton, Frederick Muller, New Road, London, 1944 (illustrated)
This work was executed during the year that John Craxton accompanied his patron and friend Peter Watson along with Graham Sutherland to Pembrokeshire. Craxton later commented; ‘Sitting and talking there one day with Peter Watson, I was told that the landscape was like Greece, and this was possibly the crystallization of my desire to travel to Greece’.
