major artists to be included in an exhibition arranged by Hilary Paynter (Chairman of the Society of Wood Engravers) at the Bankside Gallery, London. This exhibition featured artists who were members of both The Royal Society of Painter-Printmakers and the Society of Wood Engravers. In 1997, Bostock's work was included in Hal Bishop's landmark exhibition at Exeter Museum, Twentieth-Century British Wood Engraving: A Celebration... and a Dissenting Voice. This exhibition received an Arts Council award and is possibly the most important display of British wood engraving to occur during this period. Printmaking and illustration Bostock is a wood engraver, an artist and a craftsman in technique. His engraving of cacti shows classical form interpretations of pure engraving. "Bostock’s eye and burin can sharpen a form and make it too easy to see, beautiful to read and a memorable encounter. He has the ability to compress the form to square inches." [Self Portrait] of Bostock is painted with a burin, achieving the volumetric egg from rendering a light beam hitting a solid object. The main interest shown in the portrait of the author is the pure volumetric expression with the minimum number of lines, conveying a taut, wire-like quality. Bostock’s portrait is plastic fluidity...the volume-tric bird caught in a cage. Engravers have experimented with materials other than boxwood. Bostock has produced engravings on Perspex, vulcanite and xylonite. Bostock begins a sort of ‘apostolic succession’, for he taught Kenneth Lindley, who re-directed blackline engraving and taught Ray Hedger. In 1936, he went up to the Royal College of Art where he was officially doing mural decoration, with etching, wood engraving and lithograph. "Paul Nash was at the college every Thursday and available to any student who took the trouble to take a folio to his room. Once I visited him and in a tutorial of about 1½ hours I think learned more about Art than from anyone else. He made such a vivid impression that I could relate in some detail what he told me all those years ago". Bostock chose to print small editions by hand burnishing, normally about 30 or 40 impressions. Some blocks that were experimental, or to be used commercially, were not editioned. About five to ten proofs were printed from these blocks, they were usually signed. In some cases where demand was high, Bostock printed a further 10 to 30 impressions from the block as a second,