Madeleine Elizabeth Anderson

Following on from my post on Pictures for Schools last week I thought I would post one on a single painting and the artist. In this case there is very little on her but I enjoyed digging out what I could.

Madeleine Elizabeth Anderson was born in Belvedere, Kent on September 18th, 1910, the daughter of Harry Percival Harvey Anderson. He was an engineer and invented ‘the Anderson condensing system’ for improved thermal efficiency and reduced water consumption in trains. The family must have moved up to Glasgow as her father’s office is in the city and Madeleine attended the Airdrie Academy, Lanarkshire.

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 Madeleine E Holtom – Lycaste Orchid, 1947.
(In My Collection / Hertfordshire Pictures for Schools)

In 1931 Madeleine moved to London to study art at the Kingston School of Art where Reginald Brill was principal with other teaching from Anthony Betts, William Ware and John Platt. In 1932 she was awarded a scholarship to study at the Royal College of Art, there she won the painting prize in 1934. She painted in oils and watercolours under William Rothenstein and Gilbert Spencer.

Leaving the RCA she became a professional artist and also worked making advertisements. She married and divorced G. H. Holtom and they had two sons and two daughters, they moved to Northwood near Watford, North-West London. She also exhibited with the New English Art Club.

Her work was bought for the Hertfordshire Collection of Pictures for Schools. The county council’s collection was started in 1949 as part of the School Loan Collection, a post-war project by Sir John Newsom, the Hertfordshire Chief Education Officer at the time. He bought artworks from contemporary British artists so that schools could borrow them for the benefit of pupils’ art education. Painted in 1947 it is likely this is a very early piece bought for the Hertfordshire Collection.

The collection was begun in the late 1940’s by Sir John Newson, the then Chief Education Officer.  It complemented Hertfordshire’s radical post-war schools building programme and sat alongside the art works being commissioned for the new schools.

Newson wanted all pupils in Hertfordshire schools, to have the opportunity to see, use and be inspired by original works of art. Early purchases for the collection included work by artists who are now recognised as very important in post-war British art and craft such as Keith Vaughan, Anne Redpath, Michael Ayrton, Edward Bawden, Josef Herman, Walter Keeler and Michael Brennand.  The collection also has work by notable Hertfordshire artists such as John Akers and the sculptor John Mills. As well as these famous names the collection holds many fine pieces by newer and less well known artists and makers.

Her work is represented in the collections of: Friendship House, Moscow. Queen’s College, Oxford. The Cuming Museum. Cheltenham’s Art Gallery. The Government Art Collection, British High Commission, Accra, Ghana.

 Madeleine E Holtom – View from Flamsteed House, Greenwich Park, 1959

She exhibited at the Royal Academy 1951, 1958, 1960, 1961, 1964, 1972. Holtom died in 8th November 1976. She was living at St. John’s Coach House, St. John’s Street, Lechlade, Gloucestershire, formerly Grosvenor House, Twickenham, Middlesex.

 Herts Memories – The Hertfordshire County Art Collection – 14th May 2009

My Pictures for Schools – Hertfordshire

In Hertfordshire the County Council’s collection of pictures for schools was started in 1949 as part of the School Loan Collection, a post-war initiative by Sir John Newsom, the Hertfordshire Chief Education Officer at the time. The aims of Pictures for Schools were to provide education for children, show children contemporary art rather than reproductions of masters and to liven up classrooms that in post-war Britain would have needed modernisation.

Many of the pieces were purchased from reputable dealers, artists and the ‘Pictures for Schools’ exhibitions which took place from the 1950s and 1960s. I thought I would show some of the pictures I now own and put the biographies of the artists.

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 Vera Cunningham – ‘Stooks’

Born in Hertfordshire of Scottish parentage, Vera studied painting at the Central School of Arts and Crafts. She began exhibiting with the London Group in 1922. With Matthew Smith, she exhibited in Paris at the Amis de Montparnasse and the Salon des Indépendants in 1922. Her first one-man show was held at the Bloomsbury Gallery in 1929. She produced a number of theatre designs at the end of the 1930s, but returned to easel painting. During WWII she was involved in the Civil Defence Artists’ shows at the Cooling Galleries. After the war her Paris dealer, Raymond Creuze, mounted three exhibitions in 1948, 1951 and 1954. She lived in London. The Barbican Art Gallery held a retrospective exhibition in 1985. Her work is held in the Manchester City Art Gallery; the Guildhall Gallery, London and at Palant House, Chichester.

Cuningham modeled for and had relationships with fellow artists Bernard Meninsky and Matthew Smith.

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 Vera Cunningham – ‘Garden Scene’

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 Thomas William Ward – ‘Charmouth Manor’

Thomas William Ward, was born at Sheffield. Studied part-time with Eric Jones (Harold Jones’s twin brother) at Sheffield 1937-1939. After service during the Second World War, Bill continued his studies at the Royal College of Art 1946-1950, winning a silver medal in 1949. He married at Kensington, London in 1949, sculptor Joan Palmer Ward. He taught at Harrow College of High Education 1950-1980, finally as principal lecturer, retiring to Suffolk in 1980. Elected a member of the Royal Society of Painter Etchers in 1953 and the Royal Society of Painters in Watercolour in 1957. This painting was bought from Whitworth Art Gallery, Manchester in 1957.

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 Alistair Grant – ‘The Weight-lifter’

Although best known as a printmaker, Alistair Grant also painted throughout his career and in the 1980s he adopted an expressionist style using vibrant colours. He was born in London and studied at Birmingham College of Art (1941-43). After serving during the war, Grant returned to art school and the Royal College of Art, where he was taught by Carel Weight and Ruskin Spear. Grant was to work in the printmaking department of the Royal College for 35 years (1955-90), ending his career as Emeritus Professor of Printmaking at the RA.

The Weight-lifter was bought from the Whitechapel Art Gallery at their Pictures for Schools exhibition: 8 October – 29 October 1949. It is likely ‘Eva’s House’ came from a similar exhibition.

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 Alistair Grant – ‘Eva’s House’, 1955

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 Vincent Lines – ‘Old Hereford Wagon’

Vincent Lines was awarded a scholarship to the Royal College of Art in 1928. The principal, William Rothenstein described him as ‘one of the best students of the painting school’. While only in his twenties, he was appointed principal of Horsham School of Art and later became principal of Hasting School of Art. Lines was a prolific and talented topographical watercolourist, with an intimate knowledge of the countryside, which he recorded on the spot, in the open air.

He was chosen as an artist for the Recording Britain project, to which he contributed twenty watercolours. He was a close friend of Thomas Hennell and the pair often painted together in the countryside around Hennell’s home at Ridley, near Meopham in Kent.

Lines survived the war and went on to become Vice-president of the Royal Watercolour Society. He wrote the biography of Mark Fisher and Margaret Fisher Prout, illustrated Rex Waites ‘The English Windmill’

The war years brought deepened friendships in particular with Mildred Eldidge and Thomas Hennell, both fellow watercolourists of the R .W .S . Through contact with Hennell he became fascinated by country crafts and together they hunted out the potter and the cooper, wheelwright and blacksmith, hurdlemaker and charcoal burner.

During 1943-4 he painted a series of eight watercolours recording the avenues of elms in Windsor Park, before the trees were felled. The pictures are now in the Royal collection. A further commission for Vincent during these years was the contribution to Arnold Palmer’s four-volumed Recording Britain, published in association with the Pilgrim Trust.

Due to Thomas Hennell’s death in 1945 the illustration of Rex Wailes’s book The English Windmill, which would certainly have been done by him, passed instead to Vincent Lines. Wailes’s definitive survey presents English windmills in their history, construction and mode of working.

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 Molly Field – ‘Farm Implements’

Molly Field was born in Keighley, Yorkshire. She originally worked under the name Molly Clapham but then married the artist Dick Field. Attended Leeds College of Art (1932-33) then the Royal College of Art (1934-38), with Ernest Tristram. Showed at the Royal Academy, Women’s International Art Club and the Wakefield. Also known under Mary Field.

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 M Murphy – ‘Geranium’

This is a mystery as it is one of the best paintings in the collection but there is no detail in the archives about who it is by.

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 Berard Gay – ‘Ivy Plant’

Bernard left school at the age of 14 and after various jobs, just before the Second World War joined the merchant navy. In 1947 that he returned to education, studying textile part-time at the Willesden School of Art (1947-52) and changed course to fine-art under Maurice de Sausmarez and Eric Taylor. He began drawing classes at St Martins School of Art and quickly established himself as a painter. It may have been in the Pictures for Schools exhibition 23 January – 14 February 1954.

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 David Koster – ‘Cat and Lilies’

Koster studied at the Slade School of Art (1944-47). Taught drawing and print-making at Medway College of Design. One-man shows at Everyman Foyer Gallery (1958, 60, 62, 64, 66, 68, 70); Glasgow Citizen’s Theatre (1965); Stable Theatre Gallery, Hastings (1967). Taken several illustration commissions including work for the RSPB and a front cover for their ‘Birds’ Magazine.

David Koster was born in London and attended the Slade School of Fine Art from 1944 to 1947. He was a founder Member of the Society of Wildlife Artists in 1964.

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 Raymond Croxon – ‘View in the Lake District’

Raymond Coxon enrolled at the Leeds School of Art, and the Royal College of Art. While he was there, between 1919 and 1921, he not only met his future wife but also became friends with a fellow student, Henry Moore. In 1922 Moore and Coxon visited France and met a number of artists there, including Pierre Bonnard and Aristide Maillol. Coxon continued his studies in London at the Royal College of Art between 1921 and 1925 under Sir William Rothenstein.  Coxon took a teaching post at the Richmond School of Art in 1925 and in 1926 he married Edna Ginesi, with Moore acting as his best-man. Coxon would later perform the same service for Moore when he married Irina Radetsky in July 1929. He became a member of the London Group in 1931 and of the Chiswick Group in 1938.

During the WW2 he became a war artist and was commissioned to produce some paintings of Army subjects in Britain. Then working for the Royal Navy as a war artist. The painting of this print is in the collection of Palant House. The lithograph made for the Contemporary Lithographs Ltd. Other artists in the series were Eric Ravilious, John Piper, Vanessa Bell, Barnett Freedman and so on.

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 Julia Ball – ‘East Coast Storm’

Julia Ball is a Cambridge artist and this woodcut came up for sale with the Cambridge collection of Pictures for Schools but due to a cataloguing error on the auctioneers I didn’t win it as they had labeled it as a different lot. For years I smoldered about that. But when the Hertfordshire sale came up, I had to have it. Made in the 1960s this woodcut is of a storm over the east coast. Her painting are mostly abstract and works can be found in Kettles Yard and in the New Hall art collection. This picture was bought from the Royal Academy Diploma Galleries, 1967.

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 Joseph Winkelman – ‘Winter Morning’

Joseph Winkelman has specialised in intaglio printmaking since 1975 after completing the Oxford University Certificate course in Fine Art at the Ruskin School of Drawing. As an active member of the Royal Society of Painter-Printmakers (RE), he served as President from 1989 to 1995 and was recently artist in residence at St John’s College, Oxford.

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 John Sturgess – ‘Black and White Leaf’

A student at the Royal College of Art in the 1950s. He would have been taught by Julian Trevelyan, Edwin La Dell, Edward Ardizzone and Edward Bawden. He worked with John Brunsdon as a printer, printing other artists work, rather than going into teaching. They set up a press in Digswell Art Centre and that is likely how his work ended up in the Hertfordshire Collection. This work of a leaf looks more like foil, it is rather beautiful and a lithograph on stone. Though I haven’t photographed it the frame is a John Jones frame made of aluminium and is as beautiful as the print.

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 John O’Conner – ‘Boy and the Heron’

John O’Connor A.R.C.A. R.W.S, is today best known for his woodcuts, but during his lifetime he was also celebrated as a watercolourist. In 1930 he enrolled at Leicester College of Art before moving on to the Royal College of Art in 1933. His teachers at this time were Eric Ravilious, John Nash and Robert Austin. He graduated in 1937.

On a visit to Eric Ravilious’s home at Bank House, Castle Hedingham in Essex, O’Connor was captivated both by the directness of the wood-engraving technique, and by the simple domestic scene in which Ravilious engraved by a lamp in one corner of the room while his wife Tirzah played with their small son by the fire in another. It was due to Ravilious that O’Connor got his first commission of work aged 23, illustrating Here’s Flowers by Joan Rutter for the Golden Cockerel Press in 1937.

He taught at Birmingham and Bristol before serving in the Royal Air Force form 41-45. On being demobbed he illustrated two books for the Golden Cockerel Press and taught in Hastings for two years before moving to Colchester to become the head of the School of Art in 1948. He was affectionately known as ‘Joc’ to his students, using his initials. His colleagues included Richard Chopping, who designed dust jackets for the James Bond novels, his own former teacher John Nash, and Edward Bawden, one of the finest British printmakers.

He saw his favourite painting places in Suffolk – the ponds, willows, briars and honeysuckle – disappear beneath the bulldozer and combine harvester. In 1964 O’Connor retired from teaching full time at Colchester, to concentrate on painting and engraving. He wrote various ‘How to’ books and taught part time at St Martin’s School of Art. In 1975 he and his wife, Jeannie, went to live by Loch Ken in Kirkcudbrightshire, where his love of light and water inspired his many watercolours and oil paintings. He took up a post teaching at Glasgow School of Art from 1977 to 1984.

In the 1950s and 60s, O’Connor exhibited at the Zwemmer Gallery, in London, and had many exhibitions throughout Britain. His work was purchased by the Arts Council, the Tate Gallery, the British Museum and the Contemporary Art Society, as well as by several local education authorities; it can also be found in the Oslo Museum, the Zurich Museum and at New York central library. He was elected to the Royal Society of Painter-Etchers and Engravers in 1947, and, in 1974, to the Royal Watercolour Society. He was an honorary member of the Society of Wood Engravers.

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 June Berry – ‘High Meadow’

June Berry studied painting at the Slade School of Fine Art, London. She has had nineteen solo exhibitions including a retrospective at the Bankside Gallery, London in 2002. Her paintings have been exhibited frequently at the Royal Academy Summer Exhibition, London since 1952. Berry was Vice-President of the Royal Watercolour Society from 2001 to 2004.

Her work is included in the collections of HM the Queen, the British Government Art Collection, the Victoria & Albert Museum, London, the National Museum of Wales, the Royal West of England Permanent Collection, the Graphothek, Berlin, Germany and the All Union Society of Bibliophiles, Moscow, Russia. Her work has also been purchased by many private collectors in the UK, USA, Germany and Russia. She is a Member of the Royal Watercolour Society, the Royal Society of Painter-Printmakers, the New English Art Club and is a Royal West of England Academician.

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 Madeleine Holtom – ‘Orchids’

Madeleine Elizabeth Anderson was born in Belvedere, Kent. She studied art at the Kingston School of Art where Reginald Brill was principal with other teaching from Anthony Betts, William Ware and John Platt. In 1932 she was awarded a scholarship to study at the Royal College of Art, there she won the painting prize in 1934. She painted in oils and watercolours under William Rothenstein and Gilbert Spencer.

Leaving the RCA she became a professional artist and also worked making advertisements. She married and divorced G. H. Holtom and they had two sons and two daughters, they moved to Northwood near Watford, North-West London. She also exhibited with the New English Art Club.

Her work is represented in the collections of: Friendship House, Moscow. Queen’s College, Oxford. The Cuming Museum. Cheltenham’s Art Gallery. The Government Art Collection, British High Commission, Accra, Ghana.

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 Frank Freeman – ‘Flower Piece’, 

Frank Freeman is a bit of a mystery to me at the moment. I can find mention of him in a few places but sadly due to the blitz and poor archiving many are the lost. What is known is he was supported for a while by Lucy Carrington Wertheim and he was based in the Manchester area. One flower painting is mentioned in her book Adventure in Art.

Visitors who came to see me about this time. Among these were Frances Hodgkins, who stayed for months at a time at my flat, Henry Moore and his lovely Russian wife, John Skeaping, Barbara Hepworth, Cedric Morris, Lett Haines, John Alford, William Plomer, Leon Underwood, John Gould Fletcher, Pavel Tchelitchew, Komisarieysy, David Fincham and his wife Sybil, Jim Ede and Frank Freeman.

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 John Wynne-Morgan – ‘Christmas Roses’

John Wynne-Morgan was born in Harrogate, Yorkshire and enrolled at the Heatherley School of Fine Art in London in 1945.

In a 1962 London catalogue foreword, Wynne-Morgan is described as ‘primarily a portrait painter’ (though the show contained scenes of Paris, Ibiza, Venice and London, and he also painted many Bonnard-ish nudes). His studio was in Hampstead and he was the author of three books for aspiring artists. In Oil Painting as a Pastime: A Complete Course for Beginners (Souvenir Press, London, 1959), he evokes how hard it is to embark on a portrait:

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 Edna Rodney – ‘Parrot Tulips’

Of all the artists I bought Edna Rodney eludes me, I can not find her anywhere and it might be she was an art student who gave up art for a family or she might have been one of Hertfordshire’s pupils that ended up in the collection as sometimes happened. It is rare to find nothing however.

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 Chloë Cheese – ‘Lucky Fish’, 

Chloëʼs childhood was spent in the Essex village of Great Bardfield observing the printmaking of her mother Sheila Robinson and she remembers in particular often visiting the studios of fellow printmakers Edward Bawden and Michael Rothenstein.

She has contributed to a recent book Bawden, Ravilious and the Artists of Great Bardfield published by the V&A. Chloë studied at Cambridge Art School from 1969 and the RCA from 1973 to 1976.

She has lived in South London since the 70s, investigating her home and surroundings first through drawing which is then used as a basis for the creation of monoprints, lithographs and etchings. Her engagement with still life subjects has widened to include figures against the palimpsest of an urban life.

Chloë has exhibited widely and her work is held in various public collections including The V and A Museum London and The Arts Council of Great Britain.
Bio via St Judes.

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 Chloë Cheese – ‘Pink Carnations’

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 Michael Rothenstein – ‘Coronation Cockerel’

Born in Hampstead, London, on 19 March 1908, he was the youngest of four children born to the celebrated artist, Sir William Rothenstein and his wife Alice Knewstub. He studied at Chelsea Polytechnic and later at the Central School of Arts and Crafts. Affected by lingering depression, Rothenstein did little art making during the late 1920s and early 1930s. Despite this, he had his first one-man show at the Warren Gallery, London in 1931.

During the late 1930s the artist’s output was mainly Neo-Romantic landscapes and in 1940, like Vincent Lines, he was commissioned to paint topographical watercolours of endangered sites for the Recording Britain project organised by the Pilgrim Trust. In the early 1940s he moved to Ethel House, in the north Essex village of Great Bardfield.

At Great Bardfield there was a small resident art community that included John Aldridge, Edward Bawden and Kenneth Rowntree. In the early 1950s several more artists (including George Chapman, Stanley Clifford-Smith, Audrey Cruddas and Marianne Straub) moved to the village making it one of the most artistically creative spots in Britain. Rothenstein took an important role in organising the Great Bardfield Artists exhibitions during the 1950s. Thanks to his contacts in the art world (his older brother, Sir John Rothenstein, was the current head of the Tate Gallery) these exhibitions became nationally known and attracted thousands of visitors.

From the mid-1950s Rothenstein almost abandoned painting in preference to printmaking which included linocut as well as etchings. Like his fellow Bardfield artists his work was figurative but became near abstract in the 1960s. Although little known as a painter, Rothenstein became one of the most experimental printmakers in Britain during the 1950s and ’60s.

Rothenstein was elected an Associate of the Royal Academy (ARA) in 1977 and a Royal Academician (RA) in 1984. Near the end of his life there was a retrospective of his work at the Stoke-on-Trent City Museum and Art Gallery (1989) and important shows followed at the Fry Art Gallery, Essex.

The print I have (The Cockerel) was made for the Festival of Britain series of prints in 1951 and is signed under the mount. Likely bought from Redfern Galleries.

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My blog of some of my pictures from the Cambridgeshire Collection of Pictures from Schools is here.

For areas of research I am indebted to Catherine Davis and Natalie Bradbury.

Resurgence Magazine Issue 141, Jul 1990.
Lucy Carrington Wertheim – Adventure in Art, 1947 p10-11

The Family Unit

After a previous post of Henry Moore’s shelter drawings I wanted to move on to his series of the Family Unit. The shelter drawings were met with a wave of public success as they captured the public’s imagination of hardship without conflict. The drawings were on show at the National Gallery while the gallery’s permanent works were relocated into air-conditioned huts in caves.

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 Henry Moore – Family Groups, 1944

The Government used the now empty National Gallery for lunchtime concerts of music and displaying the work of War Artists. So the public where being introduced to modern art by Government patronage.

The Family unit works feel like perhaps a natural progression of the shelter themes, the drawing is in that new style of wax and watercolour. Moore abstracted forms down to crash-test-dummy basics. Draped in fabric it was this period of his work that defined the styles he would continue for the rest of his life. Before the war his work being more abstract and less figurative. 

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 Henry Moore – Family Group, 1944

The works date from 1948-1950 though due to chaotic recording of dates and sketches on Moore’s behalf (pages cut out for sale, for exhibitions, etc) some of the works may have started in 1943. The bulk of the work came from a commission from Henry Morris for a sculpture, this acted as a catalyst for the theme and the work in the sketchbooks.

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 Henry Moore – Family Group, 1944 

The educationalist Henry Morris asked Moore for a sculpture to be placed in the grounds of a proposed village college in Impington, Cambridgeshire. It was to be the first Village College in the Britain. Moore later wrote: 

The Family Group in all its differing forms sprang from my absorbing [Morris’s] idea of the village college – that it should be an institution which could provide for the family unit at all its stages.‘ †

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 Henry Moore – Studies for Family Groups, 1944  

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 Henry Moore – Studies for Family Groups, 1944  

The picture above has a notation ‘Family Group (Impington)’. Below are a series of maquette studies for the sculpture. 

  

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 Henry Moore – Maquette for Family Group, 1944

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 Henry Moore – Maquette for Family Group, 1944

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 Henry Moore, Family Group, ca. 1943-1944

Between the commission of the sculpture and the reality of it, Cambridge Council got colder feet about the projected costs. They had started a program of building more Village College Schools all over the county and filling them with art from the Pictures for Schools series too. Cambridge was a county with money but they were spending it quickly. In the end Henry Moore sold the sculpture to Hertfordshire Council Council, who like Cambridge sold off their pictures for Schools. Cambridge didn’t have any sculptures to retain but Hertfordshire kept their sculpture and only sold off the framed works.

The commission was delayed and finally refused due to lack of funds, but a cast of the resulting Family Group 1948-49 was installed at Barclay School, Stevenage, in 1950. †

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 Henry Moore – Family Group, 1949 cast 1950-1

One great regret for Morris was his failure to acquire a sculpture by Henry Moore for Impington. Moore at that time was not a fashionable artist; the general public found his work shocking. Morris went to see him; they discussed the idea of the village college and Moore agreed to attempt a major sculpture which would stand in front of Gropius’s Impington. 

First a maquette was sent to Morris, who was eager to have it executed; but for the Cambridge county councillors of the time, Moore, and the price asked, were too much. They refused to order it. Two years later, Henry’s adoptive county of Herefordshire commissioned the piece. 

John Newsom, Hertfordshire’s imaginative county education officer, was an admirer of Henry Morris and knew that Moore still had the models for the Impington project up his sleeve.

The Family Group above was Moore’s first larger scale bronze sculpture. Now based in Stevenage, the piece has been seen as symbolising aspects of the values of the post-war era of austerity and reconstruction.

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 Postcard of the statue in situ.

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 Grouping outside Harlow Church

When the work was produced Henry Moore made a few more drawings of the Family Group, I would guess to sell on the back of the publicity. There was also a Penguin Print of the sculpture too at the same time in 1948.

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 Henry Moore – Family Group, 1948. A Penguin Print.

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 Henry Moore “Family Group” 1948

† Harry Ree – Educator Extraordinary, 1973, p72
Roger Berthoud – The Life of Henry Moore, 1987 p223

About Warwick Hutton

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 Warwick Hutton – Interior of Noah’s Ark, 1977

The work of Warwick Hutton is a bit of a rarity in the UK sadly. In Cambridge (where I live) he is known as a teacher as he was head of Fine Art at the Cambridge School of Art. Across the UK he is known as a painter and wood engraver and internationally he is remembered as an illustrator.

Hutton was born in England to an artistic family originally from New Zealand. His father was the glass engraver John Hutton (famous for the windows at Coventry) and his mother was Helen (Nell) nee Blair a talented painter. In 1939 the couple had twins, Macaillan (Cailey) John Hutton and Warwick (Wocky) Blair Hutton.

Warwick attended the Colchester School of Art where John O’Connor was the Principle and John Nash was teaching Botanical drawing. Richard Chopping was also teaching there. There Hutton met Elizabeth Mills and they were married in 1965.

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 Warwick Hutton – Two illustrations from Cats Free and Familiar, 1975

Warwick was working as an illustrator while helping his father engrave and install the windows for Coventry Cathedral. He worked for small private presses and major publishers, from the The Keepsake Press (Throwaway Lines, Cats Free and Familiar, Rider And Horse.) to the Cambridge University Press and their limited edition Christmas Book series (Waterways of the Fens, A Printer’s Christmas Books).

One of Hutton’s illustrations appeared in John O’Connors book The Technique Of Wood Engraving. Three years later Warwick published his own book Making Woodcuts with Academy Editions Ltd.

The major successes for Warwick Hutton were to come with a series of retelling of Bible Stories (Noah and the Great Flood, Jonah and the Great Fish, Moses in the Bulrushes) and Grimm’s Tales (Beauty and the Beast, The Nose Tree, The Tinderbox, The Sleeping Beauty) all of these internationally published.

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 ウォリックハットン – ねむりひめ, 1979

My two favourites are the Adam and Eve story for it not being shy about nakedness in children’s books and Sleeping Beauty for the wonderful use of the rose thorns and the patterns used throughout the book.

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 Warwick Hutton – Illustration from The Sleeping Beauty, 1986

The most attention came for Hutton when he worked with Susan Cooper, the author best known for The Dark Is Rising series. Hutton illustrated three books for Cooper: The Selkie Girl, Tam Lin and the Silver Cow for her, many of these are still in American libraries.

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The later series of books by Hutton were re-telling of Greek Myths, Odysseus and the Cyclops, Persephone, Perseus, Theseus And The Minotaur the latter gaining much attention as mentioned in the New York Times Children’s Book Award review below:

The gifted British watercolorist turns to Greek myth and captures the bravery of young Theseus, the terrifying half-human Minotaur and the haunting beauty of ancient Crete. Here, as in all his other books, the ocean scenes have astonishing intensity and power. 

Hutton collaborated with other authors illustrating their books: Margaret & Raymond Chang on The Cricket Warrior: A Chinese Tale and James Sage on To Sleep.

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 Warwick Hutton – Illustration from The Cricket Warrior, 1994 

Becoming Head of the Foundation course at the Cambridge School of Art Hutton was able to encourage the students to publish their works and set up and edited

Private View: The Journal from the Cambridge School of Art. The magazine republished works by famous artists as well as the students own work.

As a teacher at the Cambridge School of Art, Warwick provided the Council with a painting as part of the Original Works for Children in Cambridgeshire, part of the Pictures for Schools series. The Pictures for Schools project came out of, and alongside many other famous ‘utopian’ projects like Contemporary Lithographs (1937-38), AIA Everyman’s Prints (1940) and the School Prints series of lithographs where major artists would be paid to design a lithograph that would be printed in thousands and then sold to schools cheaply.

In the founding of the Pictures for Schools project Nan Youngman wanted to have paintings more than prints from artists. Early contributors were L. S. Lowry, Tirzah Garwood, Stephen Bone and Bernard Cheese. After some decades it was taken over by Walter Hoyle who was the head of Printmaking at the Cambridge School of Art. Together they encouraged their student’s to donate works to the collection to be hung in schools.

Hutton’s painting of ‘Adam and Eve’ followed with a book he published in 1987 under the same name by Hutton with Atheneum Books.

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 Warwick Hutton – Adam and Eve, 1986 (In My Collection)

Hutton died of cancer in 1994 in Cambridge, England. An audiobook of Jonah and the Great Fish is for sale in the USA as an audiobook and a video can be found here. Interior of Noah’s Ark can be purchased as a card from Orwell Press Art Publishing.

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 Private View: The Journal from the Cambridge School of Art. 

Bibliography

Throwaway Lines
by Gavin Ewart, Illustrated by Warwick Hutton, 1964

Waterways of the Fens
by Peter Eden, Illustrated by Warwick Hutton, 1972

Making Woodcuts
by Warwick Hutton, 1974

Practical Gemstone Craft
by Helen Hutton. Illustrated by Warwick Hutton. 1974.

Cats Free and Familiar
by Robert Leach, Illustrated by Warwick Hutton. 1975

Rider and Horse
by Martin Booth, Illustrated by Warwick Hutton. 1976

Noah and the Great Flood
re-told and Illustrated by Warwick Hutton, 1977

Mosaic Making Techniques
by Helen Hutton, 1977

The Sleeping Beauty
re-told and Illustrated by Warwick Hutton, 1979

The Nose Tree
re-told and Illustrated by Warwick Hutton, 1981

Private View – Cambridge School of Art Magazine
Editor and co-editor, 1982-1989

The Silver Cow: A Welsh Tale
by Susan Cooper. Illustrated by Warwick Hutton, 1983

Flesh of His Flesh – Poems
by Florence Elon, Illustrated by Warwick Hutton, 1984

Beauty and the Beast
re-told and Illustrated by Warwick Hutton, 1985

Jonah and the Great Fish
re-told and Illustrated by Warwick Hutton, 1986

Moses in the Bulrushes
re-told and Illustrated by Warwick Hutton, 1986

The Selkie Girl
by Susan Cooper. Illustrated by Warwick Hutton, 1986

Adam and Eve – The Bible Story
re-told and Illustrated by Warwick Hutton. 1987

The Tinderbox
by Hans Christian Andersen and re-told and Illustrated by Warwick Hutton, 1988

Theseus And The Minotaur
re-told and Illustrated by Warwick Hutton, 1989

To Sleep
by James Sage. Illustrated by Warwick Hutton, 1990

Tam Lin
by Susan Cooper, Illustrated by Warwick Hutton, 1991

The Cricket Warrior – A Chinese Tale
retold by Margaret & Reymond Chang, Illustrated by Warwick Hutton

Perseus
re-told and Illustrated by Warwick Hutton, 1993

Persephone
re-told and Illustrated by Warwick Hutton, 1994

Odysseus and the Cyclops
by Homer and re-told and Illustrated by Warwick Hutton, 1995.

Published: New York Times. November 5, 1989