As some of you might have noticed I love illustrated cookery books. Not just Edward Bawden and John Minton’s work but David Gentleman and here, Adrian Daintrey. I think they are an important part of middle class history and one of the first signs of social change and aspiration.
The bottle on the cover, an Italian Chianti with the raffia, flirts with what is now a taboo bit of decor, but at the time would have graced a table with a candle inside and stylistic wax drippings. It was an age where after an extended postwar rationing and the rise of supermarkets, more interesting items were being introduced to a public that didn’t frequent delis.
This cookery book by Elizabeth David features illustrations by Adrian Daintrey.
Iced Russian Soup This is a very simplified version of a Russian summer soup called Swekolnik.
1/2lb. of the leaves of young beetroots, 4 small beetroots, half a fresh cucumber, 2 or 3 small pickled cucumbers, a few leaves of tarragon, chives, mint, fennel, ¼ pint of cream, salt, pepper, tarragon vinegar.
Wash the beet leaves, remove the stalks. Cook the leaves in a little salted water for a few minutes. Drain, squeeze perfectly dry, chop finely. Put them in a bowl.
Cut the cooked beetroots into small squares, salt them, add them to the leaves, and pour in a coffee-cupful of tarragon vinegar. Add the diced fresh and pickled cucumber, and a little of the liquid from the pickle. Pour in the cream.
Put the bowl in the refrigerator, and before serving add the chopped herbs, thin with iced water, and serve with little pieces of ice floating in the soup tureen.
This soup comes out a rather violent pink colour, but is very good on a really hot evening.
Laitue a la creme
A salad for people who cannot eat olive oil. Make a cream dressing in the following way: mix together in a cup half a teaspoon of made English mustard, a teaspoon of sugar, 2 teaspoons of tarragon vinegar, half a crushed clove of garlic (this can be left out) and the yolk of a hard-boiled egg. Stir in a teacupful of fresh cream.
Pour the dressing, very cold, over the crisp hearts of cos lettuces, and over the salad sprinkle the chopped white of the egg. Serve very cold. A very beautiful summery looking salad. If you have fresh tarragon or chives add some, chopped, to the dressing.
Below is an essay on Iain Macnab. Someone who is talked about for his and Claude Flight’s Grosvenor School. I didn’t really know a lot about Macnab but the text and illustrations are from The Artist, April 1937.
The old adage that “Those that can, do; those that can’t, teach” is one of those half-truths that are dangerous from their very speciousness. It is a good thing to dissect and expose them once in a while. So far as the fine arts are concerned, one need not look far for examples to prove the frequent falsity of this cruel and facile allegation.
Iain Macnab – LNER Poster
Sickert is one conspicuous case; Tonks (whose recent loss we mourn) is another; and among the younger men one could hardly select a better subject than lain Macnab, who can both ‘do’ and ‘teach’ with talent and finish, and who is an artist teacher because he has the two-fold vocation.
The clarity of his exposition, the whole-hearted enthusiasm with which he descants on art, the breadth and catholicity of his views, mark him out a born teacher; while his own production as a painter and engraver is proof of his capacity as a practising artist.
Macnab is of Highland ancestry, and comes of an ancient and celebrated line of Scottish armourers, the Macnabs of Barachastalain. He has always found his hand respond easily to any new technique, and he is inclined to attribute this manual aptitude to the ingrained hereditary habit produced by an age-long tradition of fine engraved work on pistols and other arms. Also, there were artists on both sides of his family. His father was in the Hong Kong & Shanghai Bank, and Macnab was born on 21st October, 1890, at Iloilo, in the Philippine Islands, which were then under Spanish control. He lisped in Spanish as an infant but at the age of four he was brought home to Kilmalcolm, in Renfrewshire.
Iain Macnab – Fisherman at Portofino, 1937
During a holiday in Ireland at the age of seven a gypsy foretold that he would become an artist. He was educated at Merchiston and left school at eighteen. Already as a boy his interests were turned to sculpture, painting and cartooning, with the first perhaps pre-eminent, but the career chosen for him was that of chartered accountant, and he duly served his artiles thereto in Glasgow for five and a half years. He was due to sit for his final examination in October, 1914; with the prospect if he passed, of an excellent post in the Philippines, leading to the early reversion of a complete business.
But the outbreak of the war formed a pretext for abandoning accountancy, and Macnab enlisted at once as a private in the Highland Light Infantry. Being already trained in the school cadet corps, he found himself in France by the end of October, 1914 and is a Mons Star man. In April, 1915 he was granted a regular commission in the 2nd Argyll and Sutherland Highlanders. During the battle of Loos he was blown up by a shell. After some little time symptoms of grave internal injury became evident; and in July, 1916 he was invalided out of the service.
Iain Macnab – Spring Landscape, Tossa, 1936
His cure was by no means complete, however, and it was not until 1918 that he was well enough to take the art course he had promised himself.
In that year he became a student at Heatherley’s. He had already seen and studied many good paintings; he had an uncle who knew several of the Impressionists, and who used to talk art with him; and in general his mind was well stored with paintings lore. He started work with the determination to be a professional artist or nothing; the amateur status had no attraction for him. His rapid progress, his fertility in ideas, and his clear and ready exposition of them, led Henry Massey, the Principal of the School, to see in him a potentially valuable teacher. So strongly did Massey feel this that after only a year he offered Macnab the post of joint Principal of Heatherley’s.
With this offer Macnab closed, and as a teacher worked with enthusiasm at the School till temporarily put out of action again, in 1925, by a too-vigorous pull at the etching press. While convalescent in a nursing home he decided that the time had come when he needed, for the proper expression of his educational theories, a school under his sole personal control; so, once well again he found a big house in Warwick Square, Belgravia, and on 19th October, 1925 opened there the Grosvenor School of Modern Art.
Iain Macnab – Illustrations for Burns’s Tam o’Shanter, 1934
Macnab had thought out the broad principles on which he wished to run his school. His idea was not so much to train students to paint what they saw, in the crude sense, as to teach them to isolate from nature the elements that are truly pictorial, and then to develop their own personalities. His ambition was to make artists.
To be an artist, as distinguished from a mere competent draughtsman, he felt, it is necessary first to have a personality to express. It is indispensable to the production of a work of art that an emotional reaction shall take place. Of that reaction the drawing is only a vehicle. He stresses the cardinal importance of composition; the students are encouraged to approach every problem in terms of design from the beginning, and to build up their drawings gradually on logical principles.
The preliminary visualisation of a subject in planes and its resolution by successive steps into a picture giving the illusion of three-dimensional form are clearly expounded in his recent book on ‘Figure Drawing.’ He is a firm believer in the virtues of wood-engraving as a discipline for all artists, since in this medium every mark must have its significance, and the whole thing must be thought out thoroughly in advance, for there is no scope for fumbling or retouching.
Iain Macnab – Figure Drawing, 1936
Macnab considers himself lucky to have attracted, from the first, a serious-minded type of student, took kindly to his inexorable rule of silence while at work in the studio. This rule shows his common sense, and is by no means the mark of the martinet. No one, indeed, could be less like the more starched kind of pedagogue than Macnab; and when the time comes for exposition and discussion he not only admits but encourages the criticisms of students.
He believes in the thorough ventilation of the subject, and strives to train his pupils to see the inwardness of widely-differing styles. Side by side with his teaching activities Macnab has pursued a versatile course as an artist. He began painting in 1918, and has developed, both in oils and water-colours, a distinctive style that, while it has nothing outré about it, is thoroughly in the modern trend of design.
In October, 1922 he decided that he would like to etch. He was told of five-year courses and suchlike, but this did not suit him, so he bought copper, tools, acid and a book on etching, and within three months had produced six prints which were good enough to secure his election as an Associate of the Royal Society of Painter-Etchers. For some years he exhibited etchings at the Academy, but in 1929 he decided that the copper was altogether too facile and deserted it for wood engraving.
Iain Macnab – Illustration from Burns’s Tam o’Shanter, 1934
This medium he took up largely because of its recalcitrance, because of the stern discipline it imposes. In it he has done some of his finest work; and one might go a long way before finding wood-engravings to equal the ‘Tam of Shanter’ illustrations here Shown, with their beautiful distribution of blacks and whites and their admirable translation of the famous story into graphic terms.
Macnab is a member of the Royal Institute of Oil Painters, Honorary Treasurer of the National Society, and was made a full R.E. in 1935. He has held only one one-man Show, at the old Albany Gallery, Sackville Street. He exhibits each year at the Royal Scottish Academy, and frequently at the London Group, the Royal Institute of Oil Painters, the New English Art Club and the National Society. He has achieved much, and much more may be expected from him in the future.
What inspires my collecting is always unknown to me, it is just “If I like it”. But I rather like the simple looking Phases of the Moon by sculpture Lynn Chadwick. So different from the triangle shaped aliens he normally represents.
Lynn Chadwick, Moon in Alabama, 1963
Chadwick’s Moon in Alabama series of 1963, variations on a faceted sphere, is a sculptor’s image, yet developed with a consciousness of the potential of printmaking for changing colour ways. †
Lynn Chadwick – Moon in Alabama (colour variant), 1963
Moon in Alabama reminds one of those evil-looking mines, horned with detonators, that were sown at sea and whose shape Chadwick may subconsciously have recalled from his Fleet Air Arm days as he worked on the maquettes. ‡
Lynn Chadwick – Moon in Alabama (colour variant), 1963
Lynn Chadwick – Moon in Alabama (colour variant), 1963
Lynn Chadwick – Maquette II Moon of Alabama
Lynn Chadwick – Maquette III Moon of Alabama
Lynn Chadwick – Full Series of Maquettes and Bottom right the final piece.
J. S. Lewinski – Lynn Chadwick with Moon of Alabama,
† Alan Powers – Art and Print: The Curwen Story, 2008 – p118 ‡ Dennis Farr – Lynn Chadwick, 2003 – p52
Artists International Association was an exhibiting society founded in London in 1933, which held exhibitions and events to promote and support various left-of centre political causes. Having come out of the First World War and then seeing the global effect of the Great Depression in 1929 many of these artists wanted to promote a better world. Though the Spanish Civil War and the Second World War erupted it was important to have a society where artists could still publicly protest war in a subtle way.
Vanessa Bell – London Children in the Country, 1939
The principal founders of the A.I.A. were Misha Black, James Boswell, Clifford Rowe and Pearl Binder. The guiding ethos was to promote a radical response to political events in the world. A unity against Fascism, both home and abroad.
Its membership quickly grew throughout the 1930s and 1940s (930 members by 1945) so that in 1947 it was able to acquire permanent premises in Lisle Street. In the 50′s the political aims of the group were dropped after they broadcast support for an alliance between Britain and the Soviet Union. In 1953 it became an exhibiting society.
In the Second World War the A.I.A. started a series of prints but due to the economic climate of WW2 it wasn’t a vast success.
In 1942 it was reported to members that the scheme had run into production and retailing difficulties and with ultimately only about 5,000 prints sold, the royalities could not have been very remunerative. †
The print series ran from 1939 to 1942 and all the images in this post are taken from the series.
Helen Binyon – The Flower Show, 1939 – Everyman Prints AIA
James Boswell – Hunger marchers in Hyde Park, 1939 – Everyman Prints AIA
Helen Binyon – Summer Holiday, Walton-on-Naze, 1939 – Everyman Prints AIA
Lowes Dalbiac Luard – The Rescue, 1939 – Everyman Prints AIA
List of Artists International Association print series – 1939 to 1942
Mary Adshead – Sprint on Woodhouse Moor
S R Badmin – A British Common & Down for a Refill
Durac Barnett – Bread and Circuses
Vanessa Bell – London Children in the Country
Pearl Binder – Evacuation Scene, 1939
Helen Binyon – The Flower Show
Helen Binyon – Summer Holiday, Walton-on-Naze
Helen Binyon – The Gate
Stephen Bone – Village on coast
Arthur Boyce – Upheaval
James Boswell – Candidate for Glory
James Boswell – Gitte Business
James Boswell – Hunger Marchers in Hyde Park
Herbert Budd – September, 1939
Robert Butler – The Station
David Caplan – Liverpool Station
Raymond Coxon – Evacuated Children at a Yorkshire Village
Moira Evans – August Bank Holiday
Moira Evans – November 11th, 193 9
Chris Fontaine – The Library
Kathleen Gardiner – Market Day
Phyllis Ginger – Chimps at the Zoo
Rowland Hilder – Landscape
James Holland – ‘Here They Come’
James Holland – Country Town the Militia
James Holland – News Reel
Henry Holzer – Barrage Balloon
Diana John – On the Beach
Diana John – Evacuees, Bradford-on-Avon
Helen Kapp – ‘My Marmaduke’
Helen Kapp – A Queen’s Hall Prom
Helen Kapp – English Rose
Helen Kapp – Black-out; Listening to Beethoven
L D Luard – The Rescue
Peter Barker Mill – The Threat
Mona Moore – Draught Players
Theodore Naish – Underground
Freda Nichols – Fun Fair
Russel Reeve – Barrage Balloons ascending over Hampstead
Geoffrey Rhoades – Blackout
C H Rowe – Unemployment Assessment Board
Kenneth Rowntree – Wartime Hoardings
Maurice de Sausmarez – A Garden – God Wot
Edward Scroggie – Street Market
Beryl Sinclair – The Row
Elizabeth Spurr – Washing Day
Feliks Topolski – Drawing
William Townsend – W E A Meeting
Henry Trevick – The Fair
Kathleen Walker – The Mother’s Union in War Time
Carel Weight – Blockade
John Piper – The Font and Tortoise Stove: Britwell Salome
† Lynda Morris and Robert Radford – A.I.A. The Story of the Artists’ International Association, 1999. p58
One of the nicer parts of my researches into the histories of Edward Bawden and John Nash is looking at the works they created on holiday together. As artists visiting a place together it seems they would look at a subject (the bridge at Ironbridge) and wonder around to get a perspective that pleased them both. Here with the Quarry I would imagine they had less opportunity to wander about, as it was then and is still now, a working Quarry. This has given a forced subject and view. I find it interesting how they both have translated it into a painting.
On five occasions we shared a painting expedition in Wales, on the Gower Peninsula & again near Haverfordwest at Littlehaven; in Cornwall during a cold wet spell of misery in the De Lank Quarry at Blisland; at Dunwich in Suffolk & in Shropshire at Ironbridge. †
Located near Blisland, not far from Bodmin, the De Lank Granite Quarry was a particularly engaging subject for Bawden as, ‘unlike many granite quarries on or near the moors it is still being actively worked, & for that reason retains an interest that others have lost ‡
The forced perspective of where it was safe to paint gives an interesting view to how both Nash and Bawden worked. I like mostly the blash pressure and fuel tank behind the workers hut on the crane.
Edward Bawden – The De Lank quarry no.2 , 1960
John Nash – The De Lank Quarry, Cornwall, 1960
John Nash – The De Lank Quarry at Blisland, Cornwall , 1960
The paintings below likely were made on the same trip, Sharp Tor was exhibited at the Royal Academy Summer Exhibition 1960 and The De Lank River, De Lank Quarry No 2 and The Engine House all exhibited in the 1961 Royal Academy Summer Exhibition. The last two – likely worked upon in Bawden’s studio – are sad gloomy images.
Edward Bawden – Sharp Tor, Cornwall, 1960
Edward Bawden – The De Lank River, Cornwall, 1960
Edward Bawden – The Engine House, Cornwall, 1960
† Edward Bawden to John Rothenstein, 24th April, 1979.
‡ Letter from Edward Bawden, 12 July 1961
Camouflage and its part in WW1 has a curious and quaint history. Most people know of the dazzle ships and how the painter Norman Wilkinson found that painting the ships not to fit in made them harder to target by the enemy. But other areas of WW1 where more subtle.
Leon Underwood – Looking Toward Ardregne, 1917
It was another artist, Leon Underwood who worked with Solomon J Solomon on making a fake tree Observation post. With so much of the war being fixed with both sides in trenches, any height was an advantage to see what the enemy was up to. You can see how trees ended up looking after months of shell-fire from the Paul Nash painting below, a fractured set of stumps piercing the sky.
Paul Nash – The Menin Road, 1919
The plans for the Trees were drawn out in blue print to look like Shelled Trees and then would be transported to the place and erected side-wards and hope the enemy didn’t notice one new tree on the horizon
Construction blueprint plan of the Observation Tree.
Below is a photograph of one of the trees in the state of manufacture. In front of the men are the shredded crowns of the trees.
Below is another photograph of a tree in situ on the field with a warren for the men to get in and out of. In the side would be a slit for the men to look out of, rather than looking over the top.
The painting below is a large Leon Underwood of how the tree was erected, foundations laid into the side of a trench so men could get under and in, others carrying the sides ready to be grafted together.
What I like about the camouflaged tree is how bonkers it is but also how obvious. Below is a painting in the epic, almost religious style by Leon Underwood, not unlike Jesus at the Cross.
The school had no formal curriculum and students studied what and when they wished
The Grosvenor School of Modern Art sounds like it was a liberal progressive place, but what I have always wondered was, what was the teaching like? I find it a curious place in how much of the teachers hand has been passed on to the pupils.
In Wood:
The Grosvenor School of Modern Art was a private British art school. It was founded in 1925 by the Scottish wood engraver Iain Macnab in his house at 33 Warwick Square in Pimlico, London. From 1925 to 1930 Claude Flight ran it with him.
The influence of the teaching of Iain MacNab is a strange one. I have noticed that many of his pupils at the
Grosvenor School of Modern Art made prints under his direction with a Spanish flare to them, mostly in the buildings. It is a signature look for MacNab, so I can’t help wondering if he was such a dominant presence that he got his pupils to mimic his work? Was it a way to succeed under him? Were the pupils expected to pick up a style and mimic it in the same way old masters like Rembrandt used to with their pupils?
The main characteristic is the buildings have have a roof that slopes down with no central pitch. I wonder how many of the pupils travelled to Spain in the late 30s or were they showing a solidarity towards the Spanish Civil War? This post is full of questions I have no answers for.
I do know that Macnab did travel to France, Spain and Corsica himself. Many of his later works in the 50s were of such landscapes. The Grosvenor School was closed in the Second World War.
Iain MacNab – A Southern Landscape, 1941
Peter Barker Mill – Spanish Lane
Tom Chadwick – Unknown, c1930s
Suzanne Cooper – Back Gardens, c1930s
Rachel Reckitt – The Farm or House in Catalonia, c1930s
Guy Malet – Gran Canaria, 1939
Alison Mckenzie – Staithes
In Lino
When it came to Linocut, in the School they followed the external fashions of Futurism. A movement that started publicly in 1909 it inspired many British artists in the First World War, mostly C R W Nevinson. But these prints are much later from the 1930s. So maybe they are post-futurist? The mechanical features, repeating patterns and graphic devices made a beautiful set of prints. Ending up looking so similar to each other I still find it hard to know what is Power and
The painting series by Bawden named as ‘Pengwern’ is really in ‘Dyserth’ in Wales. The limestone quarry is in the hills above Dyserth in Denbighshire and it was closed in the 1980s.
Bawden’s paintings capture a curious geometry in the landscape with the sides of the quarry looking like large pieces of flint. Paintings two and three are the same view so are interesting to compare. At this time Bawden would start the paintings off with a drawing and then finish them in the hotel or at his Saffron Walden studio.
Edward Bawden – Quarry at Pengwern I, Llanrwst, 1977
Edward Bawden – Quarry at Pengwern II, Llanrwst, 1977
Edward Bawden – Quarry at Pengwern III, Llanrwst, 1977
The David Parr house is a new discovery for Cambridge. The exterior was very shabby and the interior was a mystery to most of the world, but it is highly decorated in the Arts & Crafts style. The house was owned by David Parr, who worked for F. R. Leach & Sons.
The company Leach & Sons were mostly employed in Cambridge restoring and painting churches and the university. Most noted is the work at All Saints Church, Jesus Lane, Cambridge in 1870 for
George Frederick Bodley. William Morris was previously employing Leach at Jesus Chapel as early as 1866.
Jesus College Chapel, Cambridge. William Morris Designed Ceiling. Executed by F.R.Leach & Sons
After working as Morris’s executant painter at Jesus College and for Bodley and Kempe at All Saints’ F.R.Leach developed a flourishing practice as a decorative artist on his own, and also branched out into the design of stained glass. Further research is needed to establish the complete corpus of his work, but during the 1870s and 1880s he carried out schemes of decoration in the Churches of St Clement, St Edward, Holy Sepulchre and St Michael. Painted work inside Scott’s new Master’s Lodge at St John’s College is also ascribed to him.
In St Michael’s, he worked under the younger Gilbert Scott to decorate the chancel arcades and east wall in 1874. Four years later he also painted the nave and designed stained glass for the west window. The firm was continued by his son, Barnett Leach, at the original premises of 36-37 City Road, until well into the middle of this century. †
Interior of All Saints Church, Jesus Lane, Cambridge. Designed by George Frederick Bodley and executed by F. R. Leach and Sons.
We may state that the roof of the nave has been richly decorated with black monograms of the Holy Name, and varied scroll work in red colour on the plaster ground… Great praise must be given to Mr F. R. Leach, our fellow-townsman, who is carrying out these works, for it is no small credit these days to be able to work out such details in free hand drawing… and we rejoice that so important a step in the education of the Art workman should be so successfully illustrated in Cambridge. †
My memories with the Parr house don’t factor him at all, but I do remember Mrs Palmer. The shop that I have my artworks in is just over the road from 186 Gwydir Street and I would see her walking up and down the road with her walking stick and large coat. Elsie Palmer came to Gwydir St in 1927 aged 12 to look after her grandmother, David Parr’s wife. She lived there for 85 years and inherited the house, got married and had a family within this gothic revival interior.
When she died the property was preserved and has been in the process of being cleaned and restored. As when the house was opened I wasn’t allowed to take photographs inside all of the photos are scavenged from other people who could.
† Duncan Robinson – Morris & Company in Cambridge, 1980
The power of the Great Bardfield artists over the past few years is being tested, the prices they command when exhibitions happen and how much they command at different times. I have lot of people who sell me work tell me how they could pick up a Olive Cook or Bawden so cheaply years ago, but this is now not the case. It’s the power of the Fry Art Gallery and their sales over the years. Fry Art Gallery is now coming into force and artists are being called Bardfield Artists, just because they are in the Gallery, but they are not. One is John Bolam. Lately I just corrected the Wikipedia page on him as it stated he was a Bardfield artist but I have found no evidence of this.
John Bolam – North Down Visit III, 1991
John Bolam was born in Amersham, Buckinghamshire in 1922. He originally studied painting at Hornsey School of Art and furniture design at High Wycombe School of Art. From 1970 to 1983 Bolam was Head of the Cambridge School of Art working with Warwick Hutton and Walter Hoyle.
John Bolam is painting is influenced by John Piper, Ivon Hitchins and Graham Sutherland. His first major exhibition was the the AIA Gallery. Further exhibitions were at Whitechapel Art Gallery, Arts Council Gallery, the Leicester Galleries and the New Art Centre. He is in the collection of the Fry Gallery, P&O Orient Line, Nuffield Trust, Contemporary Art Society of Wales, Cambridge Pictures for Schools Scheme, Rank Xerox, Barclays Bank and Touche Ross.
Mr Bolam is an imaginative abstractionist who l;eaves nothing to chance.. such work of Bolam’s that I have seen persuades me that no artist could have cultivated his chosen plot with more delicate care and refinement. †
Due to being in the Fry Art Gallery collection there is a myth that Bolam was part of the Bardfield Group but I have been unable to find any evidence to substantiate it. It is not in any of the books of Artists in the Fry or any of the reports about the exhibitions at Great Bardfield.
What he did do was move to Saffron Walden later in his life and so would have contended as an artist in North West Essex and thus for The Fry Art Gallery collection. But this myth is commonplace within a lot of the auction houses and galleries that sell his work. What is amazing is how no one does research anymore. It’s all copy and pasted from wikipedia.
