TBC Derby Museum and Art Galley 2019/2020

Dixon was born and lived in Derby up until the time he went to the RCA in London.
He studied at the Derby School of Arts and Crafts between 1920 -1924 and the Art Gallery hold two of his works.
We are currently finalising an Exhibition to be held there sometime in2019/20 - tbc.

Review of the Cheese and Grain Exhibition in Frome in March 2018
We had a good local exhibition here in the South West  slightly curtailed by “The Beast from the East” bringing snow and sub-zero temperatures twice that month and reducing visitor numbers somewhat.
However the exhibition generated a lot of interest and we received encouraging feedback about the quality of Dixon’s work as ever – there was obvious pleasure taken by many people in looking at the art work and observing the wonderful detail in many of the etchings. This led us to generate further sales of his prints more locally later in the year which was rewarding – a clear indication of his work continuing to be appreciated almost a hundred years on.

Review of the Abbott and Holder Exhibition in London May 2016
It was lovely to be exhibiting in London, where after all Dixon did the majority of his etchings during his time at the RCA and the decade following.
Given the location of Abbot and Holder in Museum Street, opposite The British Museum, Dixon's etching of The British Museum Portico created much interest alongside his other London works especially.


Abbott and Holder have been selling prints, drawings and water colours for over 75 years, during which time they have built up a client list of over 5000 so we reached a wide audience in terms of raising Dixon's profile and there was good footfall through the gallery in Museum St as the exhibition coincided with London Print Fair week at the RA.
We had excellent feedback about the quality of Dixon's work from professionals, buyers and print enthusiasts alike which was very rewarding.

Exhibition at Abbott and Holder Ltd, London

Wednesday 4th - Saturday 14th May 2016.
Address 30 Museum Street, London WC1A 1LH (opposite the British Museum).

The work of F C Dixon, FCA, will be exhibited at the Abbott and Holder Gallery in the first part of May, coinciding with the London Print Fair at the Royal Academy of Arts, Piccadilly  5th ? 8th May.

Limited edition prints will be available for purchase through Abbott and Holder during the F C Dixon exhibition. They have been produced in 2102/13 by Martin Ridgwell, Master Printer and Fellow of the Royal Society of Printmakers and Watercolourists.

Review of the Aberystwyth Exhibition January 2016.

We had a very successful exhibition at The School of Art Aberystwyth University during December 2015 and January 2016. The University holds the national print archive so it was a particularly special and appropriate place to show the work of our Great Uncle, F C Dixon alongside around 20 or so pieces by his RCA colleagues work.

We had a very warm welcome from Professor Robert Meyrick (Head of School and Keeper of Art) and Neil Holland (curator). The team there had hung Dixon's work and that of his RCA colleagues beautifully ? the room and hanging really did them justice. The exhibition was on at the same time as the School of Art was exhibiting a selection from their archive of some 22,000 prints, so we felt privileged to be hung alongside them.


Each year the School of Art has around 12,000 visitors, so although there aren't specific records of how many people came to the exhibition we estimate around 500 or so may have been through (it's busier In the summer time of course). This included a group of Chinese students who greatly appreciated F C Dixon's draughtsmanship and spent a lot of time looking at the details.

In addition to holding the exhibition we decided to donate some of Dixon's work to the University to leave a legacy for the future. In all we donated 6 of Dixon's original prints from the 1920s and 1980s plus 2 pencil studies for the Regent Street and Putney Hill etchings.
We also donated a pen and ink self portrait of Dixon, a pencil and watercolour study of a man's head (sitter unknown), plus an etching "After Goya" and a wood engraving of Moreton Hampstead done by Dixon while at the RCA as practice pieces.
Finally we donated a pencil portrait Dixon had done of Ceri Richard's (a fellow RCA student of Dixon's) which Aberystwyth were delighted to have as they hold some key works of Richards' already  ? see below.

This is what Professor Robert Meyrick said about the exhibition and donations:
It is a…. privilege to be showing the work of F C Dixon in our gallery. It is such a good fit with our collection, research interests and teaching activities.  Our students will learn a lot from them -- not least what good drawing looks like. 

This afternoon we went through the folio you left for us and of course are delighted to accession these wonderful prints for the university collection.  They will eventually be scanned and available for all to see online…….It is especially appropriate that the drawing of Ceri Richards should come to Aberystwyth.  I will send a photo of it to his daughter Rhiannon.  I'll bet she does not know it exists and will be pleased to see it….. Ceri's large canvas "Tulips" (below) hangs on our main staircase.  We also have in Old College his very last canvas which was actually a commission from the university, for our chapel.


Private View Friday 27th November 2015
The work of F C Dixon and his colleagues, at the Royal College of Art in the 1920s, will be exhibited at The School of Art, Gallery & Museum, Aberystwyth University over the forthcoming Christmas and New Year period.
Aberystwyth University holds the national archive for prints and the F C Dixon estate has donated 6 original F C Dixon works to this archive: Regent Street, Putney Hill, A London Street, British Museum Portico, Demolition Exhibition Road and Northern Town.
As well as the showing 20 of Dixon's works, the exhibition offers the opportunity to see early work by artists who later became well-known, such as Grace Golden (work for the "Swift" comic, Enid Blyton and drawings for the development of the Globe Theatre in London); Edgar Ainsworth who went on to design posters for Shell, as well as becoming editor for The Picture Post; and Evelyn Gibbs who was the first  woman to win the Prix de Rome and whose work is held by the Tate Gallery, the Arts Council and the Ashmolean Museum.
Limited edition prints will be available for purchase at the exhibition. They were produced in 2012/13 by Martin Ridgwell, Master Printer and Fellow of the Royal Society of Printmakers and Watercolourists.

The address of the exhibition is:
Aberystwyth University school of Art, Gallery & Museum
Buarth Mawr, Aberystwyth, Ceredigion SY23 1NG
More details can be found on their website:

This year FC Dixon Etchings had a stand at the Bath and West Show, designed to help get the artist's work to a wider public. We were gratified by the level of interest shown and the obvious pleasure taken by many people in looking at the art work and the fun and enjoyment to be had in observing the detail and humour in many of the etchings.
In addition, we had some wonderful conversations with some very knowledgeable people, including one gentleman who told us about how old maps were made using etching plates , with all the detail and wording done in reverse - a task that is quite mind-boggling!
Those people who bought etchings were very happy to help promote the work of FC Dixon and we made some contacts that will hopefully allow us to continue to do this. Our thanks to you all.
And thank you to everyone who took the time to stop and look and talk, it was great to meet you all.


Exhibition: New Art Show of 1920s Printmakers
Venue: Bath Artists' Studios, The Old Malthouse, Comfortable Place, Upper Bristol Road,
Bath  BA1 3AJ
Date: Thursday 28th March - Monday 1st April 2013
Artwork by FC Dixon (1902 -1992) and his RCA contemporaries
Staged by Sally Taylor and Suzy Williams, great nieces of FC Dixon
An exciting new exhibition of 1920s printmakers is showing in Bath this Easter. Two sisters based in Bath have recently uncovered a collection of 40-50 etchings by a group of artists who were students together at The Royal College of Art in the 1920s.   
In clearing a house recently on the death of a family member, Suzy Williams and Sally Taylor were astonished to find not only some fine prints by their Great Uncle, F C Dixon but also the etching plates and diaries from his time at the RCA.
The diaries provide a wonderful insight to what student life was like studying alongside his contemporaries such as Edward Bawden, Eric Revillious, Charles Tunnicliffe and Grace Golden; so they were delighted to find, in addition to Dixon's own work, 20-30 etchings by his colleagues including Grace Golden, Kenneth Holmes, Marion Adnams and Geoffrey Wedgewood. In total about 25-30 of Dixon's works will be on show (including some of his oils, water colours and drawings) as well as the etchings by his colleagues.
The sisters have also managed to find Master Printer Martin Ridgwell RE. Martin has done wonders in breathing new life into the old etching plates, enabling Dixon's prints to be on sale as well as exhibited.
These works certainly bolster the growing interest in 20th & 21st century printmaking, evidenced by a growing number of fine artists using printmaking media/skills and more printmaking exhibitions coming to the fore. In addition there are an increasing range of items retailing by printmakers past and present such as Edward Bawden and Angie Lewin.


The exhibition of work by FC Dixon and Colleagues at the Bath Artists' Studios over Easter attracted much interest and some excellent feedback:
 "What a superb find ? a real treasure-trove of art"
"An exquisite exhibition. Thank you for providing the opportunity to see such wonderful work"
A very inspiring introduction to the world of etching and its' ability to capture such detail"
"A great artistic legacy of a talented man"
 "Such a wonderful and varied collection ? so pleased to see it."
"Very interesting and wonderful to learn about the history of the prints and his life history"

Around 50 people attended the private view on the Thursday evening and a further 60 or so visitors came to the exhibition over the Easter weekend (record breaking numbers for the gallery we gather). We really appreciate the encouragement and support of everyone who came, thank you.

We participated in some lively discussions about "which is your favourite etching and why?"  The choices were very different which pleased us as it's led us to believe the exhibition held wide appeal for a good range of different people. The most common reason for delight was the level and attention to detail, each etching potentially providing hours of exploration and pleasure.

There were some enlightened guesses as to which specific town "A Northern Town" was ? Ashton-under-Lyne being a hot favourite (3 visitors all thought/hoped it was). There was also some heated debate about the missing step of how Dixon translated the pencil sketches of Regent Street and Putney Hill to become the image on the etching plate.

One visitor said she would have liked to walk away with his "After Nash" oil painting (since discovered to be have been done in the 1930s and based on Water-cum-Jolly in the Peak District) and others were amazed that the oil painting of his Mum's char lady had been accomplished when he was just 21 years old. Many visitors were equally charmed by the small selection of Dixon's water colours and the skill of execution shown.

All the information about the colleagues had been pulled together from some of FC Dixon's notes and diary entries, along with information that we had managed to find via the internet and so it was with great interest that we began to learn more about these artists from some of our visitors;  For example:
•    We had hypothesised that the print by Arthur Dalby (?) entitled Blast was possibly a cover illustration for a magazine of that name produced by the group of Artists known as the Vorticists (www.vorticists.co.uk) who were formed just before the First World War. We have since got in touch with them and discovered only 2 magazines were produced and this was not the cover for either. We can only guess it was maybe a practice piece inspired by the Vorticists (and possibly Edvard Munch?)
•    Kenneth Holmes' prints of the Industrial Scene (cement works) and Ship in Harbour were thought to be in the USA,  given the detail in the prints themselves and that it his work is known in the USA where he spent time after the war, and that some of his work is held by the Smithsonian Museum.

We met a fantastic eclectic range of visitors and have 3-4 new contacts who have offered their support in trying to take the exhibition to new locations and to test the wood engraving block of the Non-Conformist Chapel for us ? so many thanks to all of them.