John and Russell

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  Augustus John – Self Portrait, 1920.

After the Second World War had effectively ended with the United States dropping the two nuclear weapons on the Japanese cities of Hiroshima and Nagasaki on August 6th and 9th, 1945, the world was closing one door to war and opening another into the Cold War. This was both an arms-race and a stand-off. Peace movements and rallies had some worth to them then.

Augustus John joined the Peace Pledge Union as a pacifist in the 1950s, and on the 17th September 1961, just over a month before his death, he joined the Committee of 100’s anti-nuclear weapons demonstration in Trafalgar Square, London. At the time, his son, Admiral Sir Caspar John was First Sea Lord and Chief of Naval Staff. It can only be guessed that Caspar John was not happy about it. Further more he was invited to join an CND demonstration by Bertrand Russell.

From Augustus John
Fryern Court,
Fordingbridge, Hants.
(Postmarked 15 Feb 1961)

Dear Lord Russell,
Your message was brought to me while I was working in the studio (not the one you knew, but one further off) by the gardener. I told him how to reply, which he said he understood but I don’t know if he did so correctly. All I wanted to say was that I believed in the object of the demonstration and would like to go to prison if necessary. I didn’t want to parade my physical disabilities though I still have to follow the instructions of my doctor, who I think saved my life when I was in danger of coronary thrombosis. A very distinguished medical authority who was consulted, took a very pessimistic view of my case, but my local doctor, undeterred, continued his treatment and I feel sure, saved my life. All this I meant privately & am sure you understood, even if the gardener garbled it when telephoning.I wish the greatest success for the demonstration on the 18th although I can only be with you in spirit.

Your Augustus John,

A few days later on the 18th February 1961, Bertrand Russell can be seen sitting under the banner of Action for life, a peace protest against nuclear weapons.

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At a peace protest for the commemoration of Hiroshima Day on the 6th August, 1961 Russell was arrested when he took part in a sit down protest.

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At the age of 89, Russell was jailed for seven days in Brixton Prison for “breach of peace” after taking part in the anti-nuclear demonstration in London. The magistrate offered to exempt him from jail if he pledged himself to “good behaviour”, to which Russell replied: “No, I won’t.”

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 Cartoon from the Evening Standard refers to the week-long prison sentence served by Russell in September 1961.

After he had spent a week in jail he was released. In October he gave a speech in Trafalgar Square.

Extract of Russell’s Speech in Trafalgar Square, October 29, 1961

Friends,
During the last decades there have been many people who have been loud in condemnation of the Germans for having permitted the growth of Nazi evil and atrocities in their country. ‘How’, these people ask, ‘could these Germans allow themselves to remain unaware of the evil? Why did they not risk their comfort, their livelihood, even their lives to combat it?’

Now a more all-embracing danger threatens us all-the danger of nuclear war. I am very proud that there is in this country a rapidly growing company of people who refuse to remain unaware of the danger, or ignorant of the facts concerning the policies that enable, and force, us to live in such danger. I am even prouder to be associated with those many among them who, at whatever risk of discomfort and often of very real hardship, are willing to take drastic  action to uphold their belief. They had laid themselves open to the charges of being silly, being exhibitionist, being law-breakers, being traitors. They have suffered ostracism and imprisonment, sometimes repeatedly, in order to call attention the facts that they have made the effort to learn.It is a great happiness to me to welcome so many of them here – I wish that I could say all of them, but some are still in prison. We none of us, however can be entirely happy until our immediate aim has been achieved and the threat of nuclear war has become a thing of the past. Then such actions as we have taken and shall take will no longer be necessary. 

We all wish that there shall be no nuclear war, but I do not think that the country realizes, or even that many of us here present realize, the very considerable likelihood of a nuclear war within the next few months. We are all aware of Khrushchev’s resumption of tests and of his threat to explode a 50 megaton bomb. 

We all deplore these provocative acts. But I think we are less aware of the rapidly growing feeling in America in favour of a nuclear war in the very near future. In America, the actions of Congress are very largely determined by lobbies representing this or that interest. The armament lobby, which represents both the economic interests of armament firms and the warlike ardour of generals and admirals, is exceedingly powerful, and it is very doubtful whether the President will be able to stand out against the pressure which it is exerting. Its aims are set forth in a quite recent policy statement by the Air Force Association, which is the most terrifying document that I have ever read. It begins by stating that preservation of the status quo is not adequate as a national goal. I quote: ‘Freedom must bury Communism or be buried by Communism. Complete eradication of the Soviet system must be our national goal, our obligation to all free people, our promise of hope to all who are not free.’ It is a curious hope that is being promised, since it an only be realised in heaven, for the only ‘promise’ that the West can hope to fulfil is the promise to turn Eastern populations into Corpses. 

The noble patriots who make this pronouncement omit to mention that Western populations also will be exterminated. ‘We are determined’, they say, ‘to back our words with action even at the risk of war. We seek not merely to preserve our freedoms, but to extend them.’ The word ‘freedom’, which is a favourite word of Western warmongers, has to be understood in a somewhat peculiar sense. It mains freedom for warmongers and prison for those who oppose them. A freedom scarcely distinguishable from this exists in Soviet Russia. The document that I am discussing says that we should employ bombs against Soviet aggression, even if the aggression is nonnuclear and even if it consists only of infiltration. We must have, it says, ‘ability to fight, win, and purposefully survive a general nuclear war’. This aim is, of course, impossible to realise, but, by using their peculiar brand of ‘freedom’ to cause belief in lies, they hope to persuade a deliberately uninformed public opinion to join in their race towards death. They are careful to promise us that H-bombs will not be the worst things they have to offer. ‘Nuclear weapons’, they say, ‘are not the end of military development. There is no reason to believe that nuclear weapons, no matter how much they may increase in number and ferocity, mark the end of the line in military systems’ development.’ They explain their meaning by saying, ‘ factor in the international power equation’. They lead up to a noble peroration: “Soviet aims are both evil and implacable. 

The people (i.e. the American people) are willing to work toward, and fight for if necessary, the elimination of Communism from the world scene. Let the issue be joined.’ This ferocious document, which amounts to a sentence of death on the human race, does not consist of the idle vapourings of acknowledged cranks. On the contrary, it represents the enormous economic power of the armament industry, which is re-enforced in the public mind by the cleverly instilled fear that disarmament would bring a new depression. This fear has been instilled in spite of the fact that Americans have been assured in the Wall Street journal that a new depression would not be brought about, that the conversion from armaments to manufactures for peace could be made with little dislocation. Reputable economists in other countries support this Wall Street view. But the armament firms exploit patriotism and anti-communism as means of transferring the taxpayers’ money into their own pockets. Ruthlessly, and probably consciously, they are leading the world towards disaster. Two days ago The Times published an article by its correspondent in Washington which began: ‘The United States has decided that any attempt by East Germany to close the Friedrichstrasse crossing between West and East Berlin will be met by force.’ These facts about both America and Russia strengthen my belief that the aims that I have been advocating for some years, and upon which some of us are agreed, are right. I believe that Britain should become neutral, leaving NATO to which, in any case, she adds only negligible strength. I believe this partly because I believe that Britain would be safer as a neutral, and without a bomb of her own or the illusory ‘protection’ of the American bomb, and without bases for foreign troops; and, perhaps more important, I believe it because, if Britain were neutral, she could do more to help to achieve peace in the world than she can do now. †

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  Augustus John’s portrait of Bertrand Russell.

Bertrand Russell’s America: His Transatlantic Travels and Writings. Volume Two 1945-1970: 2

Shell – Landmarks

Both beautiful and inspiring, the artwork that Shell used on their posters was a shift in advertising for two reasons: They were selling the ambitions of the motorist beyond commuting; a generation of day-trippers without trains. Also they were presenting modern art to the public in an era when museums charged admission. The posters were pasted on the sides of petrol stations, lorries and billboards with that simple line “You Can Be Sure of Shell”.

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 Edward Scroggie – Temple Bar

The respectability of motor touring was reinforced by the list of artists commissioned by Shell. It reads like a Who’s Who of the British art establishment of the period – Paul Nash, Graham Sutherland, Vanessa Bell, Ben Nicholson, Rex Whistler and Edward McKnight Kauffer – who between them produced some of the finest examples of commercial art while promoting a nostalgic view of England at the same time. At this stage of the century the motor car itself was not perceived as a threat to the countryside. Buying a car meant buying into a new world.

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 Richard Guyatt – Ralph Allen’s Sham Castle

Ralph Allen’s Sham Castle:
Ralph Allen was an entrepreneur, philanthropist and was notable for his reforms to the British postal system. He his home, Prior Park, a Palladian house, built to demonstrate the properties of Bath stone as a building material, Allen happened to own a few stone mines in Bath. On the crest of Bathwick Hill facing the city of Bath is the colloquially dubbed “Ralph Allen’s Sham Castle”, built in 1755. Guyatts poster is the most modernist in this post, making use of positive and negative line drawing in the shade and light.

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 Edward McKnight Kauffer – Dinton Castle, Near Aylesbury

Dinton Castle:

A most charming, innocent folly, standing on a little mound by the Aylesbury-Thame road and circled by pine trees. It was built in 1769 by Sir John Vanhatten to house his collection of fossils, some of which are let into the random rubble walls. The plan is a hexagon with towers at two opposite corners, one for fireplaces and the other for a spiral staircase. ♠

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 Graham Sutherland – Bringham Rock, Yorkshire

Bringham Rock, Yorkshire.

Sutherland visited this site in the autumn of 1935 at the suggestion of Jack Beddington, who wanted it to figure as one of a series of Shell posters. The result is a dreamlike lithograph, more in the style of Paul Nash. There are other rock structures on the site, all unique. ♣

There are many variations of rock formations, caused by Millstone Grit being eroded by water, glaciation and wind, some of which have formed amazing shapes. ♣

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 Paul Nash – Kimmeridge Folly, Dorset

Kimmeridge Folly, Dorset
When Paul Nash was working for Shell in 1937 it was to produce the Shell Guide of Dorset. He relocated for the project. His boss for the guide was not just Jack Beddington but also John Betjeman. It was Betjeman who suggested he paint Kemmeridge Folly for the ‘Landmark’s’ campaign. Paul Nash was paid 50 guineas when the picture was accepted as a poster in 1938.

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 Denton Welch – Hadlow Castle, Kent

Hadlow Castle, Kent

The first few months of 1937 saw Denton working on a large-scale panel of Hadlow Castle, a building some three miles east of Tonbridge. Although the main part of the house dated from the end of the eighteenth century and had been inspired by Strawberry Hill, the 170-foot tower, built between 1938-40, was modelled on William Beckford’s Fonthill. The whole ambience of the place appealed greatly to Denton’s love of the Gothic. His naive painting, which shows the puny tower rising above the other parts like a coffee-iced wedding cake, was designed specifically to be reproduced as a poster. †

Hadlow Castle was built on the site of Hadlow Court Lodge, a country house. The Castle was built over a number of years from the late 1780s, commissioned by Walter May in an ornate Gothic style, it became known as May’s Folly. The architect was J. Dugdale.

His son, Walter Barton May inherited the estate in 1823. It was he, who added a 170 feet (52 m) octagonal tower in 1838, the architect was George Ledwell Taylor. The tower was based in part on James Wyatt’s at Fonthill Abbey. A 40 feet (12 m) octagonal lantern was added two years later in 1840 and another smaller tower was added in 1852. This was dismantled in 1905. Walter Barton May died in 1858 and the estate was sold.

The property passed from many owners in the early twentieth century. During the Second World War it was used as a watchtower by the Home Guard and Royal Observer Corps. The unoccupied castle changed hands several times after the war too, until it was demolished in 1951, except for the servants’ quarters, several stables and the Coach House, which was saved due to campaigning from the society portrait painter and local resident, Bernard Hailstone. The Tower was Listed as a historic structure on 17 April 1951.

Denton Welch: Writer and Artist by James Methuen-Campbell, 2003
The English Landscape in the Twentieth Century by Trevor Rowley 2006
♠ Follies & Grottoes by Barbara Jones, 1953
♣ Wikipedia: Brimham Rocks

Map of Suffolk

Designed by E.W. Fenton, this is a map of Suffolk produced for Barclays Bank Limited. The map folds out and is double sided, one side is a pictorial map and the other has historical information of the places and the people of Suffolk.

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On the edges of the map is a pictorial history of Suffolk and I have included it in order below. Ernest William Fenton was educated at Selby School of Art, Leeds College of Art and the Royal College of Art. He designed posters for London Transport 1952-1976.

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Eric, John and the War.

In 1940 Eric Ravilious became one of the first official war artists. During the summer he was posted to HMS ‘Dolphin’ in Gosport, drawing the interiors of submarines and sometimes sent out to sea. He had already conceived the idea of a set of submarine lithographs intended as a children’s painting book, and in November he set to work.

The drawings inevitably lack the distinctive texture and colour of the lithographs. In this post they are set next to the finished lithographs with the colours and textures produced at W. S. Cowell Ltd over the original drawn and watercoloured pictures by Ravilious. But we must start first with his appointment as a war artist:

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 Eric Ravilious – Drawing for Commander and Periscope, 1941

Dear Ravilious,                                                         23rd December, 1939
You may have heard rumours of a scheme which is now being launched for having various phases of the war recorded by selected artists working for the Government. The Admiralty has already appointed one official whole-time artist, and you and John Nash have been selected to work for the Admiralty on a part-time basis, if you should be willing. We very much hope that the idea will appeal to you; indeed it would be a great disappointment to the Admiralty, the Ministry of Information, and, I may add, myself, if you should feel unable or unwilling to undertake work of this kind. 

If you should be willing, please let me know here as soon as you can and tell me when you could come and see me to discuss details. From our point of view, the sooner you get to work the better. Perhaps I should say that the Treasury have already approved the necessary expenditure.

Yours sincerely
            R. Gleadowe

During World War II Reginald Gleadowe was an Admiralty representative on the War Artists’ Advisory Committee.

Below is a letter from fellow artist (and Ravilious’s tutor) John Nash. Nash had been a war artist in the First World War found himself being asked to become a war artist again.

My dear Eric,
  I was at the M.of l. (Ministry of Information) on Friday playing truant part of the time from College and heard from Dickey that you had been there. I don’t suppose I have anything more to report than you have they talk of sending us a ‘contract letter’ but that only deals with the finance and I have heard nothing from the Admiralty since I went there. When I was there I broached the subject of commissioned rank to Gleadowe and there seemed no difficulties. Captainships seemed as cheap as farthing buns and it seemed as if one only missed being made a Major because one had to recognize Muirhead Bone’s seniority! But I begin to doubt now if Gleadowe really has the authority to promise these insignia – we must continue to wait and see I suppose… .
  I went to College yesterday and saw most of ‘the boys’. Form was good or even above average and Percy [Horton] made a fine story of a week spent teaching the Punch artist H. M. Bateman to paint. Dickey tells me that the Army War Artists are to be dressed in War Correspondents’ uniform with W.C. on the hat band rather shaming so I’m glad you and l are in the Senior Service!

Let me know if you hear anything fresh.
Yours ever,
               John

It is fitting that they both should be chosen so early for this as a lot of the work for both of them was to be painting docks and the boats. Below are paintings each by Ravilious and Nash. They had got to know each other at the Royal College of Art, where Ravilious was a pupil and now they were both on the staff. A year before Gleadowe’s invitation, and on Nash’s recommendation they both went to sketch at Bristol Docks. They painted the same location at night, when the docks were quiet and the boats tied up.

John Nash had been much inspired by painting in Bristol, and he told Eric it was the best port in England, so they planned together a painting visit there. 

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 Eric Ravilious – Bristol Docks, 1938

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 John Nash – Nocturne: Bristol Docks’, November 1938 

The Second World War, unlike the First, was not much recorded by printmakers and the Ravilious Submarine series, perhaps the most important such work, was eventually turned down for publication by the Artists Advisory Committee.

The difference of print-making in WW1 and painting in WW2 was that in WW2 the Blitz brought the war to the artists, they could see defences, barrage balloons and blitz bomb damage while still in Britain and record it with most of their materials at hand. The paintings and drawings were recorded quickly as a reaction. In contrast to the prints made in WW1 mostly depicted life in France and Belgium on the front-lines. Works would have to be sketched out and when back in Britain, the prints made from memory and worked up from sketchbook studies for a wider publication. The bridge of a month would mean that the art of WW1 was already retrospective of conditions. People living in the south of England would have been aware of defences, blacked out road signs, and the blitz.

Much of what we know from the process of the lithographic Submarine series comes from letters sent to Dickey (Edward Montgomery O’Rorke Dickey.) At the beginning of the Second World War ‘Dickey’ was seconded from the Ministry of Information and, from 1939 to 1942, was secretary of the War Artists’ Advisory Committee. He was a full member of the committee from 1942 to 1945. During this period he established his close relationship with Eric Ravilious.

Bank House, Castle Hedingham, Essex                      24th January 1940.
Dear Dickey,
The Curwen Press have sent me an estimate for the lithographs I spoke to you about – to do six, in five workings each about 15″ x 22″ will cost £36. This seems reasonable to me, if your committee think the idea a good one. Paints and materials will bring the total expenses to, say, £40; so that the choice is actually between £4 or £40, whatever they feel inclined to do. I very much want to do some lithography if that is possible, also it will make a change of medium. Will they call on us to begin work soon, do you think? It is now I see just a month today since the Admiralty wrote about this appointment, and nothing more seems to have happened since then. ♠

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 Eric Ravilious – Study for Ward Room #1, Pencil and Watercolour, 1941

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 Eric Ravilious – Ward Room #1, Lithograph, 1941

HMS Dolphin, Gosport, Hans.                                        2nd August 1940.
…At the moment I am living here having been to sea at different times for the last two weeks in the submarine, trying to draw interiors. Some of them may be successful I hope, but conditions are difficult for work. It is awfully hot below when they dive and every compartment small and full of people at work. However this is a change from destroyers and I enjoy the state of complete calm after the North Sea – there is no roll or movement at all in submarines, which is one condition in their favour, apart from the smell, the heat and noise. The scene is extraordinarily good in a gloomy way. There are small coloured lights about the place and the complexity of a Swiss clock…

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 Eric Ravilious – Study for Ward Room #2, Pencil and Watercolour, 1941

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 Eric Ravilious – Ward Room #2, Lithograph, 1941

Dear Dickey
…Neither Curwen, Ripley, Murray or Lane can produce these submarine pictures, for all sorts of reasons, so I’ve not abandoned the idea of a book and yesterday went to see the lithographic printers at Ipswich. They will produce the things simply as pictures in a small edition for £100; and if I can manage it this shall be done…
The Leicester Gallery say that they are willing to sell the lithographs if I produce them, so that with luck (if they are not bombed meanwhile) it may pay the expenses. ♣ 

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 Eric Ravilious – Testing Davis Equipment, Pencil and Watercolour, 1941

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 Eric Ravilious – Testing Davis Equipment, Lithograph, 1941

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 Eric Ravilious – The Diver, Pencil and Watercolour, 1941

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 Eric Ravilious – The Diver, Lithograph, 1941

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 Eric Ravilious – Working Controls While Submerged, Pencil and Watercolour, 1941

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 Eric Ravilious – Working Controls While Submerged, Lithograph, 1941

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 Eric Ravilious – Diving Controls #2, Pencil and Watercolour, 1941

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 Eric Ravilious – Diving Controls #2, Lithograph, 1941

The final lithographs were printed in a small run in 1941. In 1996 a limited edition reprinting of 375 was made. Ravilious died in 1942, he was reported missing, presumed dead while on flight over Iceland. He was 39 years of age.

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 Eric Ravilious – Commander and Periscope, Pencil and Watercolour, 1941

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 Eric Ravilious – Commander and Periscope, Lithograph, 1941

Had Ravilious’s idea of a children’s book proceeded it is hard to tell if it would have been just outlines of the men and nautical instruments or with the base watercolour and pencil drawings that he used for the lithographs. Either-way a child could paint over with their own colours. That is really what the printers at

W. S. Cowell Ltd did with the lithographs anyway.

Eric Ravilious: Memoir of an Artist – By Helen Binyon
The Modern Spirit in British Printmaking, 1910-1950. Garton & Cooke, 1987
Submarine Dream – Lithographs and Letters – The Camberwell Press, 1996
Avant-garde British printmaking, 1914-1960

Cycling to Ely

The sights that can be seen from the riverbank and farm roads.

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Discover H.E.Allen

Harry Epworth Allen I think is the next big thing to come to publishing. It can surely only be a matter of time before publishers look upon his work as something to be spotlighted, having almost been forgotten. A mixture of the locations of Eric Ravilious but painted in a more surreal style than Stanley Spencer or Grant Wood, he is worth looking into.

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 Harry Epworth Allen – The Derelict Farm, 1949

Allen was recognised as one of the Yorkshire Artists group. His style is often regarded as surreal. Allen’s paintings are held in the art collections of a number of British institutions including Sheffield Museums, Derby Art Gallery, The Hepworth Wakefield and the British Museum. 

In 1915, Allen enlisted with the Royal Garrison Artillery of the Regular Army and in June 1916 was posted to the British Expeditionary Force to France. He worked as assistant to the observation officer, sketching enemy equipment and locations in the field. In August 1916, he was moved to the front line.

In 1917, he was awarded the Military Medal for conspicuous gallantry. He was badly wounded. His school magazine for 1917 recorded his experience:

Private H.E.Allen (R.G.A.) has been awarded the Military Medal for conspicuous gallantry under heavy shell fire on January 25th 1917. He was an assistant to the observation officer, and had many exciting times in this post. Under heavy shelling of the enemy, he found his officer completely buried in the dug-out, and, though under heavy fire, tried to extricate him. A shell falling within a yard of him buried and bruised him, but he managed to get free and obtain further assistance and save the officer’s life. Unfortunately, Allen himself was badly wounded in both legs and lies in hospital in France.

One leg had to be amputated above the knee, while the other leg was seriously injured by shrapnel. Allen was discharged from the Army in 1918 with an artificial leg.

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 Harry Epworth Allen – Burning Limestone

Born at 20, Kirkstall Road, in the Hunter’s Bar district of Sheffield, England, the city would remain his home for the rest of his life. His father was Henry Allen, a steel mark maker, and his mother, Elizabeth Epworth Allen (née Blacktin). Epworth was the maiden name of Elizabeth’s mother, who was also called Elizabeth. 

He was a member of a number of art societies including Sheffield Society of Artists, Hallamshire Sketch Club (from 1932 known as the Hallamshire Art Society), Heeley Art Club, and later the Pastel Society 1952. He exhibited at The Royal Academy over 23 years from 1933 and he had 39 works accepted by them. 

Allen died on 25 March 1958, at home, at 67 Banner Cross Road, from a coronary thrombosis.

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 Harry Epworth Allen – Derbyshire Walls

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 Harry Epworth Allen – Outskirts of the village

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 Harry Epworth Allen – A Derbyshire Farmstead

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 Harry Epworth Allen – Northern Winter, 1941

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 Harry Epworth Allen – The Road to the Hills

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 Harry Epworth Allen – Road mending, Derbyshire

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 Harry Epworth Allen – Summer

A Window in Bucks

This week’s post all started with a book token that I found being used as a bookmark. It was of the John Nash painting ‘A Window in Bucks’. 

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 John Nash – A Book Token featuring A Window in Bucks

The painting was a view from John Nash’s house ‘Lane’s End’ in Meadle, Buckinghamshire. John Nash and his wife Christie moved to the village in 1922 and stayed until 1939. During his time there many friends visited including Eric Ravilious, Barnett Freedman and his brother Paul Nash.

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 Eric Ravilious, Barnett Freedman and John Nash photographed by Christie Nash in April 1940. †

Meadle is a hamlet in Buckinghamshire, England. It is located to the north of the village of Monks Risborough and near Little Kimble. Today the population of Meadle is about 75. A village of barn conversions and very few new housing, most of the properties are farmhouses and labourers’ cottages build in traditional red clay brick with thatched roofs. A small stream rises in the village and ultimately joins the Thames.

The view of the book token is taken from the window at Meadle, The same view can be seen from the painting below.

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 John Nash – Winter Landscape

 

The field line of this painted study line up to the bookplate above, the shape of the hedges and the three colours in the fields too. 

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 John Nash – Window in Bucks, auto-lithograph, 1928.

In this lithograph the view out of the window is to the left-side, but still lines up with hedgerows today. What some have called ‘willow style fencing’ is actually a traditional hedgerow of what is most likely Hawthorn. 

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 John Nash’s home ‘Lane’s End’, Meadle, Buckinghamshire.

One of the upstairs windows at the front of the house would have been where the paintings where made as the hedgerows in the painting line up to the hedges and field layouts today.

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 Paul Nash – Lupins and Cactus, 1928

The painting  Lupins and Cactus is believed to have been painted by Paul Nash while staying at Meadle in 1928. The windows fit the style painted in the house and the flowers are likely to have been grown by John in the garden.

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 John Nash – The Garden under Snow

The Garden under Snow is believed to be a view from the back of the house and the garden of Lane’s End

Ravilious: The Watercolours By James Russell

A Holiday Afloat by Ardizzone

Featured in The Saturday Book #11 there is a drawn graphic diary by Edward Ardizzone. A Holiday Afloat is listed as having ‘a slight misspelling or two’. It includes 20 pen drawings, most of which depict the artist and his family.

Some of the Ardizzone sketchbooks later developed into illustrated diaries, but on certain occasions Ardizzone would start with a diary in mind from the beginning. As an illustrator, the conjunction of text and drawing attracted him and he enjoyed the making of a written and pictorial record. After the war he made a number of small diaries. 

The first was of A Holiday Afloat when he took a boat with his wife and his youngest child, Nicholas, in September 1949, and journeyed from Lechlade to Oxford. There were miseries and mishaps but some good moments, and the weather was awful, cold and wet. 

The drawings are some of his happiest in this vein and at the end the reader is left wishing for more. A Holiday Afloat was later published with some spelling mistakes in The Saturday Book, edited by Leonard Russell (1951).

Edward Ardizzone: Artist and Illustrator by Gabriel White p99, 1979.

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John Nash – The Countryman

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The Countryman magazine was founded in 1927 by J. W. Robertson Scott, who edited it from his office in Idbury in rural Oxfordshire for the first 21 years, since then it has had many editors but is still going today. In the Spring issue of 1958 it described itself as “A quarterly non-party review and miscellany of rural life and work for the English-speaking world”. Its editor at that time was Johnathan Cripps.

The magazines are amazing things to look in as you never know what you will read, from blacksmiths who make Dragon shaped door locks to the development of archaeology and farming. The size is also charming, being A5 it slips in a bag better than most modern magazines. 

In 1959 the magazine was published quarterly, all four of the covers were designed by John Nash. Nash at this time lived in Bottengoms, a house in Wormingford, Essex, near Colchester. He taught botanical illustration at the Colchester School of Art in the 60s and 70s. He is most famous for his country paintings and was at the forefront of the revival of British landscape painting.

These copies with the John Nash covers are not that rare but many booksellers online have not noticed the illustrator.  

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Nash’s most important association with The Countryman was over the four cover designs he did for their 1959 issues. Prior to 1959 the covers had always tabled the list of contents, but Cripps wrote to Nash in May 1958 explaining that for some time he had been investigating the possibility of introducing an illustration onto the cover, and he invited Nash’s comments on the matter. Obviously this was an important step for such a well established periodical and one that could win or lose a lot of readers. John Lewis was also asked to come in on the project to advise on the design and layout of the new covers. It was decided that Nash would design the first four covers and Cripps wrote to him accordingly: 

… to confirm that you will prepare four roughs with some relation to the seasons, to occupy approximately the top half of the space on our cover now filled with the titles of articles and their authors. For these I would pay a total sum of thirty guineas.

By September 1958 Nash had done four designs which he sent to John Lewis for his comments. Nash apologised that they were carried out in biro, he also pointed out that his final drawings would be twice the size in order to simplify any cross-hatching work he had to do. The drawings were sent on to Cripps who then wrote back to Nash with various suggestions. 

He liked Nash’s drawing of Skye best and he asked him if he could perhaps include some lambs in the illustration so they could use it for the first cover for Spring. Nash checked to see whether there would in fact be lambs on Skye in spring and as there were be revised his drawing accordingly. 

The drawing for Winter of a lane at Stoke-by-Nayland was also approved of, but Cripps pointed out that as this design had trees in it, it would be inappropriate to precede it with Nash’s drawing for Autumn of a wood. Nash therefore produced

another drawing for Autumn, a more seasonal one of apple-picking with a sprig of a blackberry bush across the foreground. 

Nash’s fourth drawing of a lake in Cornwall also had to be re-done because the paper for the cover was too absorbent and would not pick up the detail in his design. This he substituted with the drawing of ‘A Suffolk Stream’. 

Apart from a somewhat lengthy discussion about whether there should be a line round Nash’s illustrations or not, and a few minor revisions to the positioning of the blackberry sprig for the Autumn cover, the printing went ahead according to plan. Nash’s designs were obviously a success because from now on all The Counterman covers were illustrated. The next six were on the same deep green paper, but in the autumn of 1961 this was replaced with a bright green and the design was inset on a white background. Nash was not asked to contribute further cover designs. 

Clare Colvin – John Nash – Book Designs, p74, 1986

Rosemary Ellis

Rosemary Ellis née Collinson was born in Totteridge, North London in 1910. Her grandfather was the leading designer of furniture company Collinson & Lock and her father trained as a cabinet maker and started the firm Frank Collinson & Co.

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 Clifford Ellis – The Farm, 1945, from my collection.

Rosemary’s father served in WW1 in France and Italy. Having survived this conflict he died of Spanish Flu in 1919 and so Rosemary and her siblings moved in with her mother’s parents in their large house at Netley Marsh in the New Forest. In this environment she developed a love of the forest and its animals. Some time later, the family moved to London.

Rosemary went to study art at the Regent Street Polytechnic in 1928. It was here that she met her future husband Clifford Ellis who was her tutor at the Polytechnic.

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 Rosemary Ellis – View of Holcombe from Dawlish, 1945, from my collection.

Clifford and Rosemary Ellis were at once husband and wife and an artistic partnership. Their collaboration began in 1931, the year of their marriage, and subsequently almost all their published freelance work is signed jointly. By the time the New Naturalist jackets were designed they had taken to using the cipher C&RE to express their joint authorship. Such consistent use of a joint cipher is unusual, and needs a little explanation. The initials were put in alphabetical order, not out of any sense of seniority.

The couple as artists and designers joined the ranks of Ben Nicholson, Eric Ravilious, Barnett Freedman and Edward Bawden as artists who could create both posters for advertising and book dust jackets. They would join many of these artists in working for Shell Mex and for London Transport on posters.

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 Clifford and Rosemary Ellise – Appledore – ‘Shell Landmark’ Series No. 491

Work that would welcome further investigation includes posters by Barnett Freeman, Edward Bawden, Richard Guyatt and Clifford and Rosemary Ellis. Another area that was constrained from further investigation by lack of space was the way in which Beddington provided opportunities for women to produce art for commercial use. Women artists were given very little press attention in the 1930s and, although artists such as Barbara Hepworth were active exhibitors, critics rarely reviewed their shows. Apart from Vanessa Bell, six other women artists produced posters for Shell, including Pamela Drew, Eve Kirk, Cathleen Mann and Margaret Brynhild Parker. The reason for the prominence of women in poster design is a potentially interesting area of research that could illuminate issues of female participation in the arts, gender prejudice, and education in the 1930s.

By the time of WW2 Clifford Ellis was the headmaster of the Bath School of Art. He then served as a camouflage artist and official war artist with Grenadier Guards during Second World War.

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 Rosemary Ellis – Tombstones, Bathampton Cemetery, Bath for Recording Britain, 1943, V&A.

Rosemary too was a official war artist working on the Recording Britain project with Clifford. Above is a beautiful view of a graveyard in Bath. It is one of the most gothic and romantic works she produced and looks more like a John Piper study. The painting above ‘View of Holcombe from Dawlish’ also has elements of John Piper in it: the loosely constructed house, the abstract boat off the shore and the dark sky.

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 Rosemary Ellis – Teignmouth Bay, 1945, from my collection.

The couple would also be selected as artists for the Lyon’s Lithograph series in 1947. The aim was to produce large lithographs that could cheaply be bought by members of the public but also be displayed to brighten up the tearooms Lyons owned. The Ellis’s submission of Teignmouth was described as almost being a painting rather than a lithograph.

Between 1946 and 1955 the company commissioned three series of prints, some 40 in all, from most of the leading British artists of the day. The lithographs were not advertising per se (the Lyons name only appeared in small type at the bottom of each), but they were branding by association. 

To help, he brought in the artist Barnett Freedman as the technical director. He had long experience as a lithographer and had been both an official war artist and a teacher at the Royal College of Art. ♠

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 R&CE – Teignmouth From the Lyons Lithographs First Series 1947.

The painting of Teignmouth Bay from 1945 would have been a study around the time of the Lyons lithograph above but looking back and forth onto each other.

Teignmouth Painted by Clifford and Rosemary Ellis: For the lithographs worked up at Chromoworks from originals, (Barnett) Freedman’s input at the proofing stage was crucial. In response to his comments about the proof of Teignmouth, for example, (Frank) Oppenheimer noted at the printers that they would ‘try a light grey printing over the sails etc … alter the colour of the light brown high light in the hills in printing [and] … make the colour of the sky and sea slightly warmer. ♣

Rosemary Ellis worked with her husband Clifford to design over 60 of the dust jackets for the New Naturalist book series, after volume 71 the artist Robert Gillmor took over.

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 R&CE – Butterflies by E. B. Ford, Collins, 1945

Today these jackets are their best-known work, though book lovers may know some of their other jackets before and after the war, for the Collins Countryside series in the 1970s, or their design for John Betjeman’s Collins Guide to English Parish Churches. Within the art worked they are remembered more as innovative teachers, Clifford Ellis having run the Academy of Art at Corsham Court for a quarter of a century with his wife Rosemary as a leading member of the staff. 

The pair also designed two of the covers to the King Penguin Series.

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 R&CE – A Book of English Clocks by R.W.Symonds, 1946, King Penguin Books.

The original idea for King Penguins came from the small Insel-Verlag books which were published in Germany before the war. Why, we felt, should there not be a similar series of books in this country? The experiment, started a few weeks after war broke out, turned out to be successful. One of the most distinctive features of this series is their decorative covers. ♦

The King Penguin series itself struggled to make money, because of the costs of colour printing, and it was cancelled in 1957. ♥

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 R&CE – Flowers of the Woods by E.J.Salisbury, 1947, King Penguin Books.

† Collecting the New Naturalists by Tim Bernhard and Timothy Loe, 2015.
Shell’s England by Malcolm V. Speakman, 2014.
♠ Bawden and battenberg by Michael Prodger, The Guardian 12 July 2013.
Tea and a Slice of Art: The Lyons Lithographs 1946-1955 by Charlie Batchelor.
Reading Penguin: A Critical Anthology by William Wootten and George Donaldson, 2014.
♦ Pevsner: The BBC Years: Listening to the Visual Arts – Page 75
Recording Britain. Volume 4, Edited by Arnold Palmer, 1949.