Here is the link to the pictures I am selling this Christmas in the Cambs Antique Centre. The shop should be open every day, but in these times who knows, but, if in doubt, please call 01223 356391 or email me.
In 1930, two couples, Henry & Irina Moore (married in 1929), and John Skeaping & Barbara Hepworth (married in 1923) holidayed together at Church Farm, Blacksmiths Lane, Happisburgh, on the Norfolk Coast. The holiday was intended as a working one and it was hoped the time in a new location might help Skeaping / Hepworth marriage, but it did not.
In 1931 Hepworth met Ben Nicholson and later invited him and his wife Winifred Roberts to join them on another trip with the letter below:
I enclose a photo of the farm – the colour is very lovely. The country is quite flat but for a little hill with a tall flint church and a lighthouse… The beach is a ribbon of palesand as far as the eye can see. The Moore’s and ourselves should be so pleased if you came… If you can get away the farm will be less full the first week we are there – 9 Sep – 16 Sep †
Winifred was looking after their three children (Jake, Kate and Andrew) and stayed with her family in Boothby, Cumbria, while Ben went to the farmhouse. The Skeaping / Hepworth marriage hadn’t resolved itself and divorce had been spoken of before the holiday, so at first John Skeaping stayed in London. On changing his mind to join his wife in Norfolk, he found she had fallen in love with Ben Nicholson. The next week into the holiday they were joined by Ivon Hitchens and Mark and Douglas Jenkins.
(left to right) Ivon Hitchens, Irina Moore, Henry Moore, Barbara Hepworth, Ben Nicholson and Mary Jenkins, Happisburgh in Norfolk, 1931. Mary’s husband Douglas took the photograph.
Left: Ben Nicholson and Ivon Hitchens
Right: Henry Moore carrying stone
Ben Nicholson with camera
Barbara Hepworth and Ben Nicholson, by the Church Farm Gate, 1932
Skeaping divorced his wife in two years later. But it wasn’t until 1938 that the Nicholsons got a divorce. In 1932 Hepworth found herself pregnant with Nicholson’s issue, she gave birth to triplets: Rachel, Sarah, and Simon. This would mean Ben Nicholson was the father of six children by two women.
The rest of the photos are taken in 1932 and show the fashion for naked bathing and games. I am sure one day a scriptwriter will turn what must have been an emotionally tense holiday into a screenplay.
† A nest of gentle artists in the 1930s Barbara Hepworth, Henry Moore and Ben Nicholson, 2009
Looking in magazines during the First World War, there were adverts from tailors to domestic products all taking on a patriotic flare, as well as appeals for money to help various charities. There isn’t a great deal to say about it all, other than it looks to be profiteering somehow. The child above in the Pears soap advert looks to be sitting on a coffin with wreaths, very odd.
As the years go on the adverts become a little bit more distressing, the advert for Pears’ Soap again just is bizarre, I can’t help but think of the mothers who couldn’t afford it and wondered if they were letting their sons down after they had been slaughtered.
Good-bye dear, off to get blown up by the Germans, You won’t forget to send me some Wright’s Coal Tar Soap.
The charity adverts here also seem remarkably bossy. Have you helped yet?
The Samaritan Free Hospital was for Women and they found themselves with less funding.
In 1964 Edward Bawden went to Dublin. It is not known if it was a commision for House & Garden or not, but regardless, he illustrated a tour of the city. The magazine follows with a historical account of each of the locations, but below I have scanned the images in for you all to see, as I doubt there are many editions surviving.
Edward Bawden – St Stephen’s Church
Edward Bawden – Lower Baggot Street
Edward Bawden – Upper Mount Street
Edward Bawden – Wellington Bridge
Edward Bawden – Campanile Road
Edward Bawden – Trinity College
Edward Bawden – J O’Meara’s Irish House,
Edward Bawden – Cranes Near the Custom House
Edward Bawden – The Four Courts
Edward Bawden – The Botanic Gardens
Last week, in a box outside a bookshop I found this book for a pound. It is the The Countrywoman’s Year, 1960. Paid for by the Women’s Institute, it is a curious book of crafts, recipes, instruction and advice on making wine, beekeeping, growing indoor plants and all the mumsey crafts of made-do-and-mend. Why it is singled out to appear on my blog? Because it is peppered with Eric Ravilious illustrations. I am unsure how, or why, but I would guess that the illustrations were in the sample books of the Curwen Press and in those days you had books of designs and devices used by the press, as well as typographic books too, a high class version of clipart.
The title page image is a thresholded image of Raviliouses design for Wedgwood’s Garden design. Appearing on a soup bowl, the print likely taken from the transfer plate would have been reversed as in the book.
The image below appears on the back of the contents is The Village, for the cover of a journal by the National Council of Social Science, 1933.
Below is a design for Wedgwood again, but this time for a Lemonade set in 1939. You can see how the image appeared on the jug when it was first released and how it looks without the enamel colouring over the top.
The baking kitchen scene is a December Headpiece to a calendar in The Twelve Months, by Nicholas Breton, ed. Brian Rhys and published by the Golden Cockerel Press, 1927. The image below of the dustpan is from the same book and is the headpiece for February.
The block below of pancakes in a pan is from the Kynoch Diary 1933 that Ravilious illustrated in 1932, it’s title is Block 122. The book is below.
Below is another block from the Kynoch Notebook, this time, Block 110
Kynoch Press, 1933 illustrated by Eric Ravilious.
The illustration for summer is a larger version of the title page image, and the illustration as previously seen for Wedgwood’s Garden plates.
The illustration by Eric Ravilious below was originally used for the Country Life Cookery Book, June, 1937.
The wood engraving below was a bit of a mystery, I thought it was Ravilious but it wasn’t in any of the reference books on him (Greenwood) and it was identified by David Wakefield as being a wood engraving for a Apple box label for the Ministry of Agriculture in 1934. In 2018 it was published in the ‘Eric Ravilious Scrapbooks‘.
For the chapter ‘Painting for Pleasure‘ uses part of the cover to the BBC Radio Talks Pamphlet on British Art. January 14th – February 18th, 1934.
Eric Ravilious – BBC Radio Talks Pamphlet on British Art, 1934
The wood-engraving used above can be seen below, called Two Cows and was used for the cover of a London Transport Walking and touring guide.
1936 cover to Country Walks, 3rd Series with a Ravilious Design of Two Cows.
Below you can see the work re-cycled into a watercolour also named Two Cows. Here keeping the study of a cow in the same pose and doubling it, both cows are the same tracing but coloured differently.
Eric Ravilious – Two Cows, 1936, The Fry Gallery
Above and below are both from the Country Life Cookery Book, July (above) and October (below), 1937.
The last little wood engraving was a projected design for a book plate but looks to illustrate a chocolate log and christmas pudding,
Eric Ravilious – Projected Bookplate, 1937
The editor of the book was Elizabeth Shirley Vaughan Paget, Marchioness of Anglesey, DBE, LVO, Shirley Morgan began her career in the Foreign Office as personal secretary to Gladwyn Jebb until her marriage to Lord Anglesey in 1949. As Marchioness of Anglesey, she served as President of the National Federation of Women’s Institutes 1966–1969, a board member of the British Council 1985–1995, chairman of the Broadcasting Complaints Commission 1987–1991, and vice-chairman of the Museums and Galleries Commission 1989–1996.
This is a short cartoon by Anthony Gross & Hector Hoppin from 1934. It is interesting to think about how Gross went on to become a war artist, and became famous for his etchings. But this short film is full of joy and the verve of the age. I added colour in places.
There are many examples of Eric Ravilious recycling designs for work and it’s something I hope to focus on in a few weeks time on a post, but here is a snippet showing how he recycled a woodcut illustration from The Hansom Cab and the Pigeons, L.A.G Strong, published in 1935 by The Golden Cockerel Press and this design for Wedgwood’s Travel china in 1938.
This might be a short post but it is from something I discovered this week that is extraordinary to the western mind. When we think of leaving our mark behind on something we have owned it is normally a bookplate in our books, or maybe a label on the back of a painting we once bought from an exhibition, but in China and Japan there is a history of stamping the front of a work with the owners mark. They are called ‘collector’s seals’.
This is special type of seal are used by collectors. This tradition started in Tang Dynasty. When collector gets a valuable piece of art work, for example, painting, calligraphy, or book, he would use his collector seal to stamp on the art work. However, you need to be careful with where you stamp the seal. The principle is not to destroy the original painting balance. However, this principle is very easy to be broken since every collector wants to leave a stamp on the art work.
Ma Hezhi – ‘Illustrations to the Odes of Chen’, 1131-1162
Ma Hezhi – ‘Illustrations to the Odes of Chen’, 1131-1162
Wang Xianzhi – Xinfu Dihuang Tang Tie ,Tang Dynasty