Artwork of the Month: St George’s Hospital, Hyde Park Corner by Edward Bawden
21 January 2022
Have you ever wondered what has influenced the names of the various Wings of St George’s Hospital? The answers are often embedded in the rich heritage of the organisation. Hunter Wing, for example, is named after famous physician John Hunter, who was appointed to work for the hospital in 1768. Jenner Wing, is named after Edward Jenner, the pioneer of the Small Pox vaccine…
This month, we’re reflecting on a painting which illustrates where Lanesborough Wing inherited its name. This image by Edward Bawden is of the hospital’s original premises on Hyde Park Corner in central London, a regency building, now occupied by the Lanesborough Hotel.
In 1733, St George’s was established in Lanesborough House on Hyde Park corner, however after several decades of changes to the site to increase capacity, it was decided the hospital move to a new location – in South London.
In 1974, the hospital was relocated to the current site in Tooting. It was at this point that St George’s commissioned artist Edward Bawden to create this work, illustrating a view of its prestigious heritage, to be hung (as it is today) in the main entrance of the Grosvenor Wing. The placement of the piece acts as a nod to the architecture of the hospital’s past, within that of the new.
The painting with paper collage is an interesting portrayal of both the regency-style architecture and the artist’s then-present-day surroundings, casting light on the moment in history the hospital was relocated.
The architecture is ruled using a pencil, with more specific detail such as the tops of the columns drawn on paper which were then suck in place. Simultaneously, Edward adds the cars in the foreground using painted paper.
About the artist:
Edward Bawden is a highly celebrated mid C20th British illustrator and artist, well known for both large scale paintings and smaller illustrative works.
He is perhaps most well-known for his illustrative images of London scenery, documenting the people, architecture and culture of his day in a distinctive and recognisable style.
Alongside his portfolio of personal work for general sale and exhibit, Edward often took on commercial briefs, such as Christmas catalogues for Fortnum & Mason, embedding his work in the richness of life and commerce in the capital.
