Footprints

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 Joyce Clissold – ‘Footprints’ c.1928 for Footprints Ltd. 

The Footprints workshop started life as a printing press for dress and furnishing fabrics using traditional hand-block printing. It was set up in 1925 by Gwen Pike and Elspeth Little in Durham Wharf, Hammersmith and supported by Celandine Kennington (the wealthy second wife of the artist Eric Kennington). The name, Footprints, was chosen because of the foot pressure used to create most of the block prints.

Originally the Pike and Little partnership was one of artist and business; Elspeth Little owning a shop called ‘Modern Textiles’ and Gwen Pike being the artist / designer of ‘Footprints’.

Modern Textiles was opened in 1926 by Elspeth Anne Little, who had studied painting at the Central and Slade Schools. She had become involved with textiles and block printing by being employed in a theatrical workshop after leaving college.♠ 

Elspeth Little was taken on in 1923 as an apprentice at ‘Fraser, Trelevan and Wilkinson’ – the theatrical workshop run by Grace Lovat Fraser, widow of the designer Claude Lovat Fraser. The pressure of work meant that Elspeth Little soon became an employee, not a trainee, and as such she was involved in printing fabrics for theatre sets and costumes.

Encouraged by Paul Nash, she opened a shop to sell a variety of craft made goods. It was the intention of Modern Textiles to promote superior design and production as an alternative to what were seen as the “hackneyed and exhausted” offerings being mass-produced repetitively by many English manufacturers. This was emphasised in the shop’s publicity which stated that:

The object of “Modern Textiles” is to sell work of good design, principally fabrics of various kinds. A few people already know that well designed materials are being made by one or two artists, but the promoters of “Modern Textiles” believe a very much larger public than is generally supposed would be eager to buy stuffs of individuality and beauty, whether for dresses or furnishing, if there were better opportunity for selection”. ♠

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Joyce Clissold – fabric print for Footprints Ltd. c1930s

Elspeth Little sold lengths of fabric, scarves, shawls, cloaks, dressing gowns, velvet jackets and other small ready to wear items, plus some ceramics. Block printed linens and velvets by Phyllis Barron and Enid Marx and batiks by Marion Dorn were offered along side painted and printed fabrics by Miss Little, and artists Paul Nash, Eric Kennington and Norman Wilkinson.Miss Little had a workroom behind the shop where she printed her own textile designs from lino blocks. However, the majority of printing for Modern Textiles was carried out by Footprints, a workshop established to supply the shop. ♠

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 Doris Gregg – ‘Welwyn Garden City’, 1930. Lino block print. Footprints Ltd.

The Footprints workshop became the longest-lasting block printing enterprise of the 1920s and continued (despite the break up of the Pike-Little partnership) until after the war. It was predominantly a female workforce. Workers would enter the studio as an apprentice, working making dyes and assisting with printing before designing their own work, this made sure that all the staff were competent in the main processes of the studio.

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 Doris Scull – ‘Sheep’ for Footprints Ltd.

The most recent group of designers and engravers on linoleum for producing textile patterns is that established by the energy and resource of Mrs. Eric Kennington (nee Edith Celandine Cecil), in a workshop by the river at Hammersmith. The chief craftswoman here is Mrs. Gwen Pike, a most experienced and able engraver and printer. The works, known as Footprints, reproduce patterns by their own staff, and also designs contributed by independent artists.

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 Joyce Clissold – Fabric designed for Footprints Ltd with the original lino block below.

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Joyce Clissold arrived in two years into Footprints life in 1927, and continued Footprints when Pike and Little split in 1929. Clissold studied at the Central School of Arts and Crafts, learning wood engraving and lino cutting in the printing rooms. When she started working at Footprints she was a student and it was a small printing workshop on the Thames outside London, she is mostly to credit for turning it into a viable business. She focused most on the creative input of designing and block cutting but helped Footprints establish their own set of shops independent of ‘Modern Textiles’ after 1929.

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 Footprints Studio, Brentford, 1934-35

In the mid-1930s she relocated Footprints to enable her to live and work on the same premises. The new situation reflected the tradition of textile production by women at home. Household and workshop activities intermingled. The kitchen became known at the “lab”. But the domestic setting belied the fact of an effective business. In its heyday there were 40-50 employees involved in the production, making up, distribution and sale of printing fabrics. The first Footprints shop opened in New Bond Street, London, in 1933 to sell dress and furnishing fabrics; it moved to a more stylish location in 1936, near, near to furriers, milliners and gown markers. An additional shop was established in 1935 in fashionable Knightsbridge. Footprints’ textiles provided interesting alternatives to predictable modernist trends and appealed to artistic customers such as Gracie Fields and Yvonne Arnaud. 

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 Paul Nash fabric design. Printined by Footprints Ltd.

The Footprints shops and represented artists like Paul Nash, Eric Kennington and Marion Dorn. Footprints used a much wider colour range than Barron and Larcher. Block printed fabric was very much the desire of the Avant-garde and influential. Without machines the fabrics were hand printed, this was a slow process. These fabrics were exclusive and expensive with the average price of hand printed fabrics, at 12 shillings per yard, while manufacturers such as Warners could produce printed textiles for 6 shillings per yard.

In 1940 Clissold had to close the shops due to the lack of essential supplies and the female employees being required for war work. The workshop managed to re-open after the war, but with fewer printers and a more modest range. 

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 Paul Nash – Two variations on ‘Big Abstract’ printed by Footprints Ltd. 

Other clients included Deitmar Blow, the architect to the Duke of Westminster, and the stylish and fashionable decorator Syrie Maugham.

† Dictionary of Women Artists by Delia Gaze, 1997. 9781884964213
Modern Block Printed Textiles by Alan Powers, 1992. 9780744518917
‡ The Woodcut No.1 An Annual, 1927.
♠ Printed Textiles: Artist Craftswomen by Hazel Clark, 1989

Moore’s Encounter

Following my post on Henry Moore’s cover for Poetry London, here is another cover Moore did, this time for Stephen Spender’s Encounter Magazine – The 100th Edition. As a magazine cover I think this rather futuristic for 1962. Pink with blue ink over and a wax resist for the text. Sadly this isn’t worth as much as Poetry London – it’s not lithographically printed for one, also Encounter had a larger audience and thus a bigger print run.

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The magazine is full of illustrations and poetry, in this post I have picked out Auden and Spender’s poems below with some of the illustrations.

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 A drawing by Andre Masson


A Change of Air by W.H.Auden

Corns, heartburn, sinus headaches, such minor ailments
Tell of estrangement between your name and you,
Advise a change of air: heed them, but let
The modesty of their discomfort warn you
Against the flashy errands of your dreams.

To grow a sailor’s beard, don monkish garb,
Or trade in an agglutinative tongue
With a stone-age culture would be mollycoddling:
To go elsewhere is to withdraw from movement;
A side-step, a short one, will convey you thither.

Although its chaffinches, maybe, have learned
The dialect of another river-basin,
A fault transformed the local building stone,
It has a priest, a post-mistress, an usher,
Its children know they are not to beg from strangers.

Within its average elsewherishness
Your name is as a mirror answers, yourself
How you behave in shops, the tips you give :
It sides with neither, being outside both,
But welcomes both with healing disregard.

Nor, when you both return (you will, of course)
Where luck and instinct originally brought you,
Will it salute your reconciliation
With farewell rites or populate your absence
With reverent and irreverent anecdote.

No study of your public re-appearance
Will show, as judgement on a cure demands,
A sudden change in love, ideas or diet :
Your sojourn elsewhere will remain wordless
Hiatus in your voluble biography.

Fanatic scholarship at most may prove
That you resigned from a Committee, unearth
A letter from the Grand Duke to his cousin,
Remarking, among more important gossip,
That you seem less amusing than you were.

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 A drawing by Eduardo Paolozzi

The Generous Days by Stephen Spender.
His are the generous days that balance
Soul and body. Should he hear the trumpet
Behind the sun that sends its thinning ray
Penetrating to the marrow –
At once one with that cause, he’d throw
Himself across some high far parapet,
Body die to soul down the sheer way
Of consummation in the summons.

His also are the days when should he greet
Her who goes walking, looking for a brooch
Under broad leaves at dusk beside the path
 – And sidelong looks at him as though she thought
His smile might hide the gleam she sought –
He would run up to her and each
Find the lost clasp hid in them both,
Soul live to body where they meet.

Body soul, soul body, seem one breath,
Or the twined shadows of the sun, his will,
In these his generous days, to prove
His own true nature only is to give.
Wholly to die, or wholly else to live!
Body to soul, and let the bright cause kill,
Or soul to body, let the blood make love.
Giving is death in life and life in death.

After, of course, will come a time not this
When he’ll be taken, stripped, strapped to a wheel
That is a world, and has the power to change
The brooch’s gold, the trumpet scarlet blaze
 – The lightning in the bones those generous days –
Into what drives a system, like a fuel.
Then to himself he will seem loathed and strange
Have thoughts yet colder than the thing he is.

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 A drawing by Ghika

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 A drawing by Sidney Nolan

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 An advert for Guinness by Edward Bawden to the left

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 An advert for the Everyman series with the logo, designed by Eric Ravilious

The Dunmore Pineapple

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The tropical pineapple was first grown in England in the reign of King Charles II, and a painting was made of the royal gardener, John Rose, presenting the first one to the king. Perhaps at that point, the two distinct forms, the pine-apple (cone) and the pineapple (tropical fruit) were merged into a single emblem. London architects of the post-Great-Fire period used the pine-apple freely. †

The Dunmore Pineapple is an 18th century summerhouse building with a giant stone pineapple as its central architectural feature. It is located in Dunmore Park, in Stirlingshire, Scotland, and has been described as one of the United Kingdom’s greatest follies, and ‘the most bizarre building in Scotland’.٭

 Illustration of Dunmore’s Pineapple with the house-houses.

The two-storey building contained a hothouse along the lower front level and was built around the time of 1761 by John Murray, the 4th Earl of Dunmore. The hothouse was used, among other things, for growing pineapples which were considered to be exotic fruit that travellers to the Indies and America would bring back as trophies.

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Built into a hill, from each side they appear to be on ground level. The south side (as depicted by Barbara Jones) had the hothouses lining the edge of the building, backing on to the walled orchard and gardens. The north side (as depicted by Ed Kluz) has the top of the Pineapple folly.

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 South Elevation of the Dunmore Pineapple by Barbara Jones.

The pineapple is around 14 metres high and is intricately carved in stone to form an elaborate cupola on top of an octagonal pavilion. Conventional architraves put out shoots and end as stone-shaped ‘prickly leaves’. According to its intended purpose as a hothouse, the walls are of double construction with a cavity for the circulation of hot air for the old greenhouses.

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 North Elevation of the Dunmore Pineapple by Ed Kluz.

Sacred Architecture of London by Nigel Pennick, 2012. 9781904658627
The Pineapple: King of Fruits by Francesca Beauman 2006 p117 9780099469445
٭ Collins Encyclopaedia of Scotland – p22, 2000 9780007103539

Coronation Lithographs

For the Coronation of Elizabeth II, a group of artists were invited to create lithographs for the Royal College of Art. Following the success of the Schools Prints series and Contemporary Lithographs, these prints were sold in limited editions and helped boost the RCA’s skills at reviving lithographic techniques. They were exhibited at the Redfern Gallery from April – May, 1953.

Most of the prints are held in Government collections and gain large prices at auction. It’s one of the least known lithographic collections but showcases some of the best British Artists of the mid twentieth century. 

Leonard Rosoman – Two Pipers in the Sunlight, 1953

 Michael Ayrton – Kettledrums, 1953

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 Kenneth Rowntree – Country Celebrations

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Bernard Cheese – Drum Major

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 Edwin La Dell – Bandsmen in the City

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 Edwin La Dell – Horse Guards Parade

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 Alistair Grant – Hampton Court

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 Julian Trevelyan – The Mall

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 Robert Austin – Heralds

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 Barbara Jones – Prepairing the Coronation Coach

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 John Minton – Horseguards in their Dressing Rooms at Whitehall

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 Edward Bawden – Horse Guards

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 Ceri Richards – Costers Dancing

 William Scott – Busby

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 Charles Mozley – Buckingham Palace Guard

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 Peter Downing – Celebration Dancers 

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 Michael Rothenstein – Night illuminations

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 John Bowles – The Royal Barge

The Cotton Mechanical Music Museum

The Mechanical Music Museum has an extensive collection that includes gramophones, music boxes, street pianos, fairground organs, street pianos, fairground organs and polyphones, as well as the marvellous Wurlitzer theatre pipe organ. 

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It also has an extensive collection of Victorian and Twentieth Century gaudy and barge ware china. It seams like a place where Barbara Jones or Peter Blake could have been enchanted. This post is more about the decorative items – rather than the organs, but it was just my love of extreme collections that inspired it.

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Above is is the traditional painted style of a street organ and below are a set of novelty music boxes and music box discs. 

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From the late 1950s, Robert Finbow ran a house clearance and furniture business in Finningham. During house clearances, Robert occasionally obtained musical boxes and street pianos. Other pieces of memorabilia which caught his eye were quickly acquired and stored away. 

Over the years he amassed a sizeable collection, but there was nowhere to show these treasures to the public. The Museum was built to house Robert Finbow’s collection of automatic instruments and David Englands collection of cinema memorabilia. It opened on Sunday 10th of October 1982.

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Below are some of the antique Tobacco jars on display.

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A mechanical mannequin, in this case a clown playing a piano, and below a banker at a table with a safe of money. 

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The roof beams of the barn are decorated with shellac records.

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In the picture below you can see in the mirror a very small part of the extensive teapot collection they have at Cotton.

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The paintings below are by a local artist and in a native style. Today it would be called ‘outsider art’.

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A screen decorated with cigarette cards is one of the main things that made me think of Peter Blake, as they are all of ‘Empire’ images of famous icons of the age.

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Their website can be seen here.

Bartlow, Cambridgeshire

Bartlow is one of two churches in Cambridgeshire with a round tower, the village is on the edge of a county border with Essex, so these boundaries have fluctuated over the past hundred years between Cambridgeshire and Essex. It’s listed in the Royal Commission on Historical Monuments book of Essex, 1911 and in the 2014 Pevsner guide as Cambridgeshire.

Churches with round towers are almost exclusive to East Anglia, especially Norfolk and Suffolk. The other church in Cambridgeshire with a round tower is Snailwell and that is on the border of Suffolk and likely was once part of Suffolk too. Why these churches where built with round towers is a mystery; there was once the suggestion it was to be a defence against Viking raiders, but many of the churches where built long after the age of the Vikings.

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Below are two strange pieces of graveyard furniture. One is a Greek omphalos decorated in a Georgian style, and below it a rather beautiful, tall, grave marker cast in metal.

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The In spite of the belief that Bartlow church was built by King Cnut near the site of the battle of Ashingdon (Assandun) in the early 11th century, no documentary references to the church have been found earlier than the 13th century, and the building dates from the late 11th or early 12th. 

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Inside the church, the stained glass windows seam to have a jumbled amount of completion.The tops of the windows however are almost all complete and feature these Lions.

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The Lions faces to me are comic and fun. I am unsure whom they are depicting. They are designed like a burning sun, but the representation is likely to be God even though it could be more abstract than that, it could be Richard I, or the reigning monarch or the country’s spirit. They are usually represented either side of a Saint or Jesus portrait.

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Above is the shadow of George and the Dragon, though only the base paint of the dragon remain with a few details of flowers and crosses. With the wave of puritanical iconoclasm during the sixteenth century, all the beautiful paintings and details of churches where whitewashed over. Today with luck and careful restoration these are being uncovered. Below on the opposite wall of the church is a better preserved wall painting.

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 Saint Christopher Carrying the Christ Child

Saint Christopher was a man of great size and strength who devoted himself to Jesus by helping travellers cross a dangerous river. One day a child asked to ride on Christopher’s shoulders across the river, but the infant seemed to grow heavier and heavier with every step. When they arrived on the opposite shore, the child identified himself as Christ, telling the holy man that he had just carried the weight of the world. Saint Christopher became one of the most popular patron saints for travellers in the Middle Ages.

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I would guess the organ is a restoration project as it is highly decorated all over, from the ornamental pipes at the front to the boxing holding the mechanism.

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An angel blows the wind at the base of a wall plaque.

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To the rear of the church is the rest of the graveyard and the way to the roman hill burials. Below is a picture of the wall sundial and the carving and wall painting from it.

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† A History of the County of Cambridge and the Isle of Ely: Volume 6.

Edwin and Edward

In writing the previous post I thought how Edwin Smith’s photos looked like some of Edward Bawden’s Linocuts. This isn’t to strike a claim of copycat, it’s just by chance. A nice chance and so here are three instances. 

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 Edwin Smith – West Smithfield, 1953

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 Edward Bawden – Smithfield Market, 1967

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 Edwin Smith – Limetree Cottage, 1953

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 Edward Bawden – The Road to Thaxted, 1956

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 Edwin Smith – Post Office Underground Railway, 1957

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 Edward Bawden – Post Office Tube Railway, 1935

Edwin Smith in Pompeii

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It seams more and more in ‘second hand books’ that the photographic content and illustrations are boosting prices more than the topic of books themselves – easy examples are High Street by J. M. Richards, or anything with an Edward Bawden or John Minton dust jacket, it’s a mad rush for any artistic ephemera. But it extends to what were cheap magazines with articles by John Nash or Graham Sutherland, once they were disposed in the bin, now they are rare and so are getting expensive. Times past, there were high class standards like Verve or Derrière le miroir but a copy of The Country Life Cookery Book from 1937 can now equal those prices.

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This week I bought a book of ‘Pompeii and Herculaneum’ by Marcel Brion. Noting what I wrote above, I am more interested in the artistic content of the book rather than the subject matter, but happily I am interested in history and archaeology too. This book is full of the photography of Edwin Smith.

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As it happens, books with the photos of Edwin Smith seam to be very cheap, due to how popular he was in the 1950s and 60s. There were many reprints and print runs so you can find good copies on Amazon for 1p, or £2.81 with postage – but still a pittance. There are a Thames & Hudson series of books co-written with Edwin Smith’s wife Olive Cook too; English Parish Churches (1952) and English Cottages Farmhouses (1954) being the most popular and thus, cheap to buy. I bought ‘Pompeii and Herculaneum’ for £2.99 in a charity shop.

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In the introduction Brion writes ‘I am indebted to Mr. Edwin Smith for his photography which I trust the reader will find as brilliantly evocative as I myself do’.

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Edwin George Herbert Smith (15 May 1912 – 29 December 1971) was an English photographer. He was born in Canonbury, Islington, London, the only child of Edwin Stanley Smith, a clerk, and his wife Lily Beatrice. After leaving school he was educated at the Northern Polytechnic, transferring to the architectural school at the age of sixteen. He then won a scholarship to the Architectural Association, but gave up his course and worked as a draughtsman for several years.

He became a freelance photographer in 1935, working briefly for Vogue as a fashion photographer. However he concentrated his artistic efforts on subjects such as the mining community of Ashington in Northumberland, the docks of Newcastle, and circuses and fairgrounds around London.

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Smith was also a prolific artist. He produced water and oil paintings, drawings, linocuts and woodcuts throughout his life, and in later years at Saffron Walden, he drew up architectural plans for local properties.

He became ill in the spring of 1971, but cancer was not diagnosed until a few weeks before his death on 29 December. It was only after his death that exhibitions of Smith’s work appeared, with a monograph finally being published in 1984.

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After Cook’s own death in 2002, her papers and some of those of her husband were placed in Newnham College Archives, Cambridge.

A collection of over 60,000 negatives and 20,000 prints were given by Olive Cook, Smith’s widow and collaborator, to the Royal Institute of British Architects Library. From urban scenes documenting British social history to evocative landscape images and atmospheric interiors, the images displayed reveal the genius and breadth of his work.

Edwin Smith was also an avid collector and creator of Toy Theatre. On his wife’s death, the collection passed to the Pollock’s Toy Museum Trust. A collection of his paintings, woodcuts and photographs is held by The Fry Gallery.

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Christopher Wool

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Since leaving university I have found my tastes have changed in many things, mostly in decor, some life choices; like shortly after leaving university I became a vegetarian (and still am). 

Another thing that hasn’t changed is my love for Christopher Wool’s work. In Cambridge we were lucky enough to have a bizarre book shop called Galloway and Porter, it was fantastically cheap, mostly for paperback books but they had sections on everything. It was in there I bought a set of books on the painter and photographer Christopher Wool.

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His artworks seam remarkably simple at first when viewed in a book, but only when you see them in real life you acknowledge the scale of some of the pieces. Many of the paintings are on white enamelled aluminium. 

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Wool is best known for his paintings of large, black, stencilled letters on white. Wool began to create word paintings in the late 1980s, reportedly after having seen graffiti on a brand new white truck of the words SEX LUV. Using a system of alliteration, with the words often broken up by a grid system, or with the vowels removed (as in ‘TRBL’ or ‘DRNK’), Wool’s word paintings often demand reading aloud to make sense.

Many of the paintings and prints use repeating patterns and motives. Such a patterned painting roller, spray paint and black blotches. When these are all merged together the parts fight for attention with areas of it erased and degraded, over stencilled and destroyed.  

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Wool was born in Boston to Glorye and Ira Wool, a molecular biologist and a psychiatrist. He grew up in Chicago. In 1973, he moved to New York City and enrolled in Studio School studies with Jack Tworkov and Harry Krame. After a short period of formal training as a painter at the New York Studio School, he dropped out and immersed himself in the world of underground film and music.

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Traveller From Tokyo

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 Traveller From Tokyo by John Morris, 1943, reprinted by Penguin 1946.

I bought the Penguin copy of this book. Major Charles John Morris, CBE (1895–1980), known as John, was a British mountaineer, anthropologist and journalist, and controller of BBC Radio’s Third Programme. 

It’s rather amusing in places to read the views of an British man in Japan, Morris’s adventures with Japanese cooking especially. But I thought his chapter on the events after the Japanese bombing of Pearl Harbour were worth typing up as it’s a rare insight into what life would have been like for an British man with international contacts in Japan days after.

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 The front page of the Gettysburg Times the Day after the Pearl Harbour attack.


After Pearl Harbour 7th DECEMBER 1941 to 29th JULY 1942

THE OUTBREAK OF WAR

Sunday the 7th December 1941 was much the same as any other. I had got up rather late, played over a few records before lunch, and spent the afternoon writing an article on Virginia Woolf. It was never published and is now, I believe, in the archives of the Japanese police. My article was for Japan News Week, the American paper that had somehow managed to keep its independence right up to the outbreak of war. Its acknowledged policy was to promote amicable relations between the United States and Japan. This it attempted to do by means of extremely outspoken leading articles, which criticised impartially the attitude of both countries.

In the same spirit of impartiality it also published, in adjacent columns, two weekly summaries of the war situation in the exact form in which they were supplied by the British and German Embassies respectively. These, taken together. often formed amusing reading. As relations between Germany and Japan became closer, however, the German Embassy hinted at the desirability of editing the British summary in such a way that it should not contradict the official German news. This the editor flatly declined to do, upon which the German Embassy ceased to supply him with its own summary. 

For some months before the outbreak of war three or four of us who were working for the paper had been accustomed to meet every Sunday night at the house of Paul Rusch, one of the best friends Japan has ever had. Paul had originally come to Japan as a voluntary Y.M.C.A. worker to help the Japanese after the terrible earthquake of 1923. He had later become an educational missionary and, in the course of years, had brought into being, almost entirely through his own efforts, what was probably one of the finest social service camps ‘for boys in the world. This camp was well on the way towards completion when the war put an end to Paul’s activities. He is also known as the introducer of American football into Japan.

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 A memorial bust of Paul Rusch

Paul’s dinners were much appreciated by all his guests. He had a high regard for the pleasures of the table, was an extremely skilled cook, and would often give us a dinner prepared and cooked entirely by himself. In these feasts, dishes peculiar to his own Kentucky would take a prominent place. Long after the rest of us had been forced by rationing difficulties to give up all forms of entertainment, Paul’s hospitality continued. How he did it we never found out, and it still remains his secret.

On the night of 7th December we had gathered as usual at Paul’s home; W.R.Wills, the Editor of Japan News Week, Phyllis Argall, the managing Editor of the paper, Air-Commodore Bryant, the British Air Attache, and myself. It was not often that we had a member of the diplomatic corps to give tone to our Sunday night parties. Besides, he brought other advantages. The petrol restriction, which had now made it almost impossible to get a taxi late at night, did not apply to members of the Embassy; when they went out to dinner they travelled in their own private cars, and it had become more or less understood that before returning to their own houses they should first see home any fellow guests who did not share their privileges. As this happened to be an unusually wet night, we were delighted to see Bryant’s saloon standing in front of Paul’s door. There would, at any rate, be no need to rush away early; no standing in a dripping bus queue, no strap-hanging on an overcrowded last suburban train.

But, of course, we were glad to see Bryant for his own sake, and to hear the latest news from home. It was only when we happened to meet someone from the Embassy that we had a chance of hearing what was really happening; for, although it was in theory possible for Englishmen in Tokyo to go to the Embassy and collect a copy of the daily bulletin, in actual practice this was seldom done, as regular visits to the British Embassy placed even British Subjects under grave police suspicion. In fact, after Japan entered the war a number of our nationals were arrested for the “offence” of having paid regular visits to their own embassy. The Japanese police were unwilling to believe that one might go there with no more dangerous object than to drink a cup of tea.

After dinner we all sat talking round the fire. Most of us had realised for some time that Japan’s entry into the war was now inevitable, but no one thought the moment was yet at hand. I think if anyone had told us that, as we sat there enjoying our quiet chat, the Japanese fleet was already in position in front of Pearl Harbour, we should have laughed at the idea. No one had received any hint that the crisis had been reached. 

We left Paul’s house at about eleven o’clock, and Bryant, after seeing Wills and Phyllis Argall home, took me on in the direction of my house which was not very far from his. As it was getting late and he had to be up early in the morning, I asked him to drop me at the crossroads near his own house. There, accordingly, he stopped the car and we sat in it, smoking a last cigarette, before I got out and walked home. The streets were deserted; I cannot remember seeing a single soul on my way. And yet it later transpired that not only did the police know exactly who was dining at Paul’s house last night, but that they had also kept an eye on Bryant and me talking in his car at the crossroads. No doubt I was shadowed all the way to my house, but such is the efficiency of the Japanese police that I was totally unaware of it. During the whole of my four years’ stay in Japan I cannot recall a single occasion when I so much as suspected that I was being watched, and yet reports which I subsequently received made it clear that the police had kept an eye on me the whole time.

On the following morning I came down to breakfast as usual at about half-past eight. At this hour there was a daily broadcast of gramophone records, and I generally listened to it as I ate my breakfast. I switched on the radio, but instead of hearing a symphony, I heard the announcer talking rapidly in Japanese. He seemed to be saying the same thing over and over again, so I thought I had better try and make out what it was all about. As far as I could understand, the announcer was saying that a state of war now existed between Japan and the United States. (The news of the actual attack on Pearl Harbour was not made public until about an hour later.) As I was not quite certain whether I had understood correctly, I called in my cook and asked her if the news was true. “ Yes,” she said, “ but go on with your breakfast,or you’ll be late for your work.” 

I was uncertain what to do, so I thought first of all I would go and talk things over with Reuters correspondent, Richard Tenelly, who was now my next-door neighbour. As soon as I had stepped out of my door, however, I noticed four or five policemen on guard outside Tenelly’s. They told me their chief was inside and that I had better see him. .He came down almost at once and I asked what I should do. “We have no orders to arrest you,” he said, “so you had better carry on with your work as usual.” I told him that I was due to give a lecture at ten, and he advised me to go away and deliver it. He refused to let me see Tenelly.

On arriving at the University I went straight to my classroom and set about delivering my lecture. There was nothing abnormal in the behaviour of the students and we carried on as though nothing had happened. At the end of the lecture, however, I was told that I had better do no further teaching pending the receipt of instructions from the Department of Education, in the meantime, it occurred to me that I would do well to visit the Foreign Office in order to find out exactly what my position now was. I have already explained that I originally went to Japan under the aegis of the Foreign Office, and although the matter was never committed to writing it was understood that in the event of war I should be afforded what practically amounted to diplomatic immunity. 

I found the office in a turmoil; indeed, the officials with whom I spoke seemed just as much surprised and stunned by the news as the ordinary man in the street. To-day it is widely believed that the sending of Mr. Kurusu to Washington with the ostensible purpose of making a last minute attempt to prevent war was one of the most underhand diplomatic actions ever committed, since the plans for attacking Pearl Harbour had already been made and the Japanese navy was actually moving into position while Mr. Kurusu’s negotiations were still in progress. It is doubtful if the whole truth will ever be known, but when I call to memory my conversations with members of the Japanese Foreign Office on the morning of 8th December I am inclined to believe that the Japanese Government acted in good faith. I think it is not unlikely that the attack on Pearl Harbour was launched by the Armed Forces without the previous sanction of the Government in Tokyo. I I am well aware that this opinion will not be generally acceptable, but it should be remembered that the Japanese army chiefs already had established a precedent for taking independent action by their seizure of Manchuria in 1931 without obtaining the prior sanction of their Home Government.

I was told by the Foreign Office that orders had already been issued to the effect that I was not to be arrested. But it was added that I should be well advised to remain at home for the next few days, or at any rate until it was possible to see how the situation was developing. If I myself did not feel uneasy, however, there was no objection to my going out in the neighbourhood of my own home. Nevertheless, before going back to my house, I decided to visit my friend Frank Hawley, who was director of the British Library of Information and Culture, an institute which had recently been opened under the auspices of the British Council. It is remarkable that, in spite of the close relations we have maintained with Japan for many years, no one had apparently ever thought it worth while to establish such a library in the days of peace. A British institute could have had very considerable influence in increasing the already great interest in, and respect for, things English. In the event, the British Library was not opened until relations between the two countries had already become strained, and it came under the suspicion of the police from the start. But even during Its short existence it did valuable work, many teachers. and students taking advantage of the excellent selection of books which had been sent out from England by the British Council, although this often made them liable to police questioning.

When I arrived at Hawley’s house I found that both he and his Japanese wife had been arrested early in the morning and taken to the local police station. His cook told me that she thought it would be unwise to make any attempt to get in touch with him; she herself, when taking food and bedding to her master and mistress, had been denied access to them.