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’.
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.
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.
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.
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.
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.
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.
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
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.
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.
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 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.
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.
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.
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.
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.
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. ♠
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.
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.
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. ♥
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.
The journey of any work of art can be interesting in how it is used, forgotten and then reused. As I write this I think it’s endemic of Ravilious’s life that there can be no area or topic on him that hasn’t been probed or turned into a book, but onward I go with my quest for originality.
Eric Ravilious – Sketch for Tea in the Garden, 1936
In 1936 Eric Ravilious made a wood engraving for London Transport. Tea in the Garden was made to be used in newspaper advertisements for the Green Line bus service, a decorative vignette to go with commuter information. It is a rather abstract design but it was the start of the commuter lifestyle as London was building a new wave of suburbia and you can imagine the print being used with slogans like “home in time for tea” or “enjoy the garden, 20 mins from the city by bus”
Eric Ravilious – Finished print of Tea in the Garden, 1936
Soon after Ravilious reused the design for a commission with Wedgwood, he was so busy during this point that many designs where recycled from wood engravings to watercolours or china. Below you can see a sketch drawing for a teapot design using the woodblock above. Carving out the legs of the bench and inverting the colours of the table so when printed the transfer will be black and an enamel colour wash painted over.
Eric Ravilious – Sketched idea for Teapot design, 1938
The finished design below, with the colouring in yellow, blue and green. The design has been made simpler and the shading is able to be more subtle as it will be printed on a metal plate, so there is more detail in the halftone lines. It was first used on a preserve jar for Wedgwood.
The preserve jar was introduced six months in advance of the rest of the pattern. The design was advertised in 1939 as being available also in breakfast and coffee sets; the war prevented production of these. At first unnamed, later called ‘Teaset’, the design was finally named ‘Afternoon Tea’.
Here the tea-set is advertised in ‘The Studio Year Book of Decorative Art 1943-1948′ (the gap in printing is noted in the introduction due to WW2, lack of paper and designers being commissioned to do essential war work, this year book covers a wide range of time).
The Bone china tea ware decorated with motifs illustrating Afternoon Tea, printed in sepia and hand-coloured green. Designed by Eric Ravilious A.R.C.A. for Josiah Wedgwood and Sons. †
Here is a tea-plate from the set with the simple wave decoration on the perimeter of the plate and washed in blue enamel paint.
In this prototype photograph from 1938 the design is painted around with a pink glaze to the edge of the design and the Ravilious vignette and border uncoloured but printed in a brown sepia with the pink flooding over the whole plate. These are the rarest of all the designs as they were not put into production and the designs were modified to use less colour glaze after the war.
Twenty five years later the original woodblock design would be resurrected and used in a reduced size for advertising and on the covers of Country Walks booklets.
Country Walks with the Ravilious Engraving on the cover, 1978
A rather fun and unusual poster for the Country Walks books by Harry Stevens, 1978.
Ravilious Engravings by Ravilious Jeremy Greenwood, Wood Lea Press, 2008. Country Walks, London Transport, 1978. Ravilious and Wedgwood: The Complete Wedgwood Designs of Eric Ravilious, 1995. † The Studio Year Book of Decorative Art 1943-1948
When he was commissioned to design murals for the platforms of Charing Cross underground station, artist David Gentleman (born 1930) chose as his theme the building of the medieval Charing Cross, one of the twelve memorial crosses commemorating Queen Eleanor (who died in 1290). He devised a scheme to take into account the architecture of the station, allowing spaces for entrances and exits and litter bins. He collaged together nearly 50 wood engravings which were then screen-printed onto melamine sheets by Perstorp Waterite Limited. This was the first large-scale application of wood engraving. †
A view of the station platform when decorated in 1979.
As with many works by any artist, what came before proved to be important. Before the Charing Cross commission Gentleman had been working in wood-engraving commercially for Penguin Books and their Shakespeare reprints. Steeped in a medieval theme and having to produce one image that would summarise a whole play it was useful training.
Penguin Books, Shakespeare collection with covers designed by David Gentleman.
The most interesting and taxing commission to come my way so far did not begin as an engraving job at all. Late in 1977 London Transport asked me to design a mural for Charing Cross Underground station. The practical aspects were clear enough; it was to be fabricated in screen-printed melamine laminate, curved to follow the profile of the tunnel; it would be about two metres high and it would have to find room not only for numerous platform entrances and London Transport roundels but also for various staff letter boxes, telephones, plus litter bins and wooden benches for people to sit on. The subject-matter however was pretty vague. At that time the words Charing Cross suggested little more than a closed-down hospital and a run-down British Rail terminus, and the only brief was that the mural should remind passengers of what the name Charing Cross had once meant. Graphically I was given a free hand, and also the vital assurance of being directly responsible to the two people with real authority: The Chairman, Kenneth Robinson and the Chief Architect, Sidney Hardy. ‡
Having recently been working not only on the Shakespeare covers but also on lithographs for an American edition of The Ballards of Robin Hood, medieval imagery in illuminated manuscripts and paintings was still much in my mind, both for its epigrammatic clarity and for the way it often depicts a sequence of related events in one picture. This narrative technique suited the hundred-metre long strip of platform, and the idea of showing how the original Charing Cross had been constructed came to my mind straight away. ‡
Original Woodblock by David Gentleman
Here one of the early proofs of the woodcut above for the project before the black background had been carved out.
The only proviso they made before they committed themselves absolutely to it was that a strip of it, about twenty yards long, but just as it would be finally, should be built (a mock up) in the disused Aldwych station where there are empty platforms available for such things and I got blown up (photographically) a few engravings and a few roundels… ♠
Underneath the roundel bulls-eye with ‘Charing Cross’ there was a bench where people can sit. So there was a bench built into the mock up, and then as the idea developed I got the idea that I could have the figures in my design sitting on the bench or using it as a work table. ♠
Many stations also feature unique interior designs to help passenger identification. Often these have themes of local significance. Tiling at Baker Street incorporates repetitions of Sherlock Holmes’s silhouette. Tottenham Court Road features semi-abstract mosaics by Eduardo Paolozzi representing the local music industry at Denmark Street. ♥
Building the first Charing Cross
The original Charing Cross was built in 1291-1294 by Edward I in memory of his wife, Queen Eleanor of Castile. It was the most splendid of the twelve Eleanor Crosses erected to mark the successive places where her body rested on its way from Lincoln to Westminster Abbey, and stood near here until it was destroyed in 1647.
Richard of Crundale and Roger of Crundale were the master masons. The stone came from Corfe in Dorset and Caen in Normandy; Richard of Corfe and John of Corfe cut the English stone. Alexander of Abingdon and William of Ireland carved the statues of Queen Eleanor which stood halfway up the Cross, and Ralph of Chichester carved some of the decoration. Many others whose names are forgotten took part in the work: quarry-men, rough-hewers, masons, mortarers, layers, setters, carpenters, thatchers, scaffolders, labourers, falcon or crane-men, apprentices, hodmen, drivers, horsemen and boatmen. These pictures of them are by David Gentleman ♣
The historical plaque with the text (above) and the enlarged wood engravings by David Gentleman.
† David Gentleman – V&A Website.
‡ The Wood Engravings of David Gentleman, David Esslemont p114, 2000.
♠ Oral History – David Gentleman – Reel 4, Imperial War Museum, 2008-07-03. ♥ London Underground – An overview. Pediapress
♣ Mural text in Charing Cross Station, London.
Guide to the Archive of Art and Design, Victoria & Albert Museum by Elizabeth Lomas, 2001.
In The Listener, April, 1941, there is a tribute by Stephen Spender on the death of Virginia Woolf. Below is the full text.
Vanessa Bell’s Portrait of Virginia Woolf
In these dark times, the death of Virginia Woolf cannot strike her circle of friends and admirers except as a light which has gone out. Whatever its significance, her loss is irreparable. Her strength-and perhaps also her weakness lay in her rare mind and personality. Moreover, the quality of what she created had the undiluted purity of one of those essentially uncorrupted natures which seem set aside from the world for a special task by the strangest conjunction of fortune and misfortune.
Yet when one thinks of what Virginia Woolf achieved, her life appears far more a wonderful triumph over many difficulties than in any sense a defeat. In a different time or in different circumstances, she might well have died far younger and with far less finished. As it is, although she died at the height of her powers, she had completed the work of a lifetime. The history of other writers who have suffered from ill-health shows how much there is here to be grateful for.
Her best novels, or prose poems in the form of fiction, are The Voyage Out, Jacob’s Room, Mrs. Dalloway, To the Lighthouse, Orlando, The Waves. Although all of these novels have tn common the qualities which distinguish her writing, they differ not merely in portraying different material, but in having different artistic aims. Indeed the artistic aims in Virginia Woolf‘s novels are far more varied than the material, which is somewhat narrow and limited.
Most novelists having achieved, by about their third novel, a mature style, continue to write novels in that style, but covering different aspects of experience. With Virginia Woolf, however, style, form and material are indivisible. With every new novel she was ‘trying to do something different’, especially with time. For example, the whole action of Mrs. Dalloway takes place in one day: the first long section of To the Lighthouse describes a scene lasting for perhaps an afternoon ; this is followed by a very short section describing the passage of several years, illustrated by the decay of an empty house. Orlando is a fantastic account of someone who lives for several hundred years. beginning as a man and turning into a woman. The Waves is a poetic account of people seen through each other’s minds through all their lives, speaking their thoughts in poetic imagery to each other. A new way of writing a book was simply a new way of looking at life for Virginia Woolf : she held life like a crystal which she turned over in her hands and looked at from another angle. But a crystal is too static an image; for, of course, she knew that the crystal flowed.
It is a well known device of composers to take a theme and write variations on it. The same tune which is trivial in one light passage in a major key is profound in a minor key scored differently; at times the original tune seems lost while the harmonies explore transcendent depths far beyond the character of the original theme; now the tune runs fleetingly past us; now it is held back so that time itself seems slowed down or stretched out. This musical quality is the essence of Virginia Woolf ’s writing. The characters she creates – Mrs. Dalloway, Mrs. Ramsay, Mr. Ramsay are well defined to be sure, but they are only the theme through which she explores quite other harmonics of time, death, poetry and a love which is more mysterious and less sensual than ordinary human love.
A passage from To the Lighthouse will illustrate the ’ beauty which she could achieve Mr. Ramsay, who is a philosopher – almost a great Victorian – faces the sense of his own an failure: and what are two thousand years? (asked Mr. Ramsay ironically staring at the hedge). What, indeed, if you look from a mountain top down the long wastes of the ages? The very stone one kicks with one’s boot will outlast Shakespeare. His own little light would shine, not very brightly, for a year or two, and would then be merged in some bigger light, and that in a bigger still. (He looked into the darkness, into the intricacy of the twigs.) Who then could blame the leader of that forlorn party which after all has climbed high enough to see the waste of the years and the perishing of stars, if before death stiffens his limbs beyond the power of movement he does a little consciously raise his numbed fingers to his brow, and square his shoulders, so that when the search party comes they will find him dead at his post, the line figure of a soldier. Mr. Ramsay squared his shoulders and stood very upright by the urn. This passage has all Virginia Woolf ’s virtues, and perhaps some of her defects. It starts off by being very faithful even in its irony to the thoughts of Mr. Ramsay. She takes one of those plunges beyond the present situation of her character into the past and the future which strikes one often in her writing as a night of pure poetic genius. But then the focus shifts and the writer has forgotten her character’s thoughts, or perhaps she is regarding him from the outside. But the image of the leader of the expedition in the snow is a little too general, and one begins to wonder whether she hasn’t strayed too far from the particular.
As with the impressionist painters, there are opposing tendencies in her novels. The one is centrifugal, the tendency for everything to dissolve into diffused light and in the brilliant detachment with which their surroundings flow through her characters’ minds. The other is centripetal-the tremendous preoccupation with form which nevertheless holds her novels together and makes them far more significant than if they were just the expression of a new way of looking at life. This doubtless reflects an acute nervous tension in her own mind between a two great sensitivity which tended to disintegrate into uncoordinated impressions, and a noble and sane determination not to lose hold of the central thread.
To have known Virginia Woolf is a great privilege, because it is to have known an extraordinary and poetic and beautiful human being. Some critics describe her as forbidding and austere. Her austerity was not that of a closed-in or a prudish mind. As with all genuinely intelligent people, one could discuss anything with her with the greatest frankness; she was far too interested in life to make narrow moral judgements. Perhaps she was a little too impatient towards stupidity and tactlessness; it is a gift to writers to suffer fools gladly. To be with her was a joy, because her delight and her awareness of everything around her communicated themselves easily and immediately to her friends. What was written on her beautiful unforgettable face was not severity at all, though there was some melancholy; but most of all there was the devotion and discipline which go with the task of poetic genius, together with the price in the way of nervous strain and physical weakness which doubtless she had to pay.
Ronald Searle was born in Cambridge and studied at the Cambridge School of Art for two years. Aged 19 in April 1939, realising that war was inevitable, he abandoned his art studies to enlist in the Royal Engineers. In January 1942, he was stationed in Singapore. After a month of fighting in Malaya, he was taken prisoner along with his cousin Tom Fordham Searle, when Singapore fell to the Japanese. He spent the rest of the war a prisoner, first in Changi Prison and then in the Kwai jungle, working on the Siam-Burma Death Railway.
Searle contracted both beri-beri and malaria during his incarceration, which included numerous beatings, and his weight dropped to less than 40 kilograms. He was liberated in late 1945 with the final defeat of the Japanese. After the war in 1961 he worked as a courtroom artist for the Adolf Eichmann trial.
The illustrations here are from Lilliput in 1946. It was the start of a flood of illustration work for Searle in magazines, it was just as he was developing the ideas for the ‘St Trinian’s’ books. Searle’s job here is to illustrate is a set of quotes about being ill. The original layout is at the bottom of the post. One signed in full and the other monogrammed RS.
Last Saturday night I came home, and the drab had just washed my room, and my bed-chamber was all wet, and I was forced to go to bed in my own defence, and no fire: I was sick on Sunday, and now have got a swingeing cold… I detest washing of rooms; cant they wash them in a morning, and make a tire, and leave open the windows? I slept not a wink last night for hawking and spitting: and now everybody has colds. – ‘The Journal to Stella’ by Jonathan Swift. 1711.
I am at this moment deaf in the ears, hoarse in the throat, red in the nose, green in the gills, damp in the ,eyes, twitchy in the joints and fractious in the temper from a most intolerable and oppressive cold, caught the other day, I suspect, at Liverpool, where I got exceedingly wet… – Charles Dickens to H. Ainswarth. 1843
…it seems the Duchess had caught a violent cold by a hair of her own whisker getting up her nose and making her sneeze …“ – Horace Walpole to Lady Harvey. 1758
Afterwards I happened to be alone with this charming Princess, and her sister Elizabeth, in the Queens dressing-room. She then came up to me: Now will you excuse me, Miss Burney, if I ask you the truth of something I have heard about you? … It is such an odd thing, I dont know how to mention it; but I have wished to ask you about it this great while. Pray is it really true that, in your illness last year, you coughed so violently that you broke the whale bone in your stays in two? As nearly true as possible, ma’am; it actually split with the force of the almost convulsive motion of a cough that seemed loud and powerful enough for a giant. I could hardly myself believe it was little I that made so formidable a noise. – Diary. Frances Burney 1786
I collect many books, but I have a passion for old travel books and it is while shopping I came to pull this book off the bookshelf outside the shop.
George Borrow’s ‘The Bible in Spain’, it is thankfully not too religious. It has three photogravure plates and a pull out map at the back. The main reason for buying the book however was the ex-libris bookplate and the name pencilled inside.
The book is signed Violet Granby, who was Marion Margaret Violet Lindsay, Marchioness of Granby, Duchess of Rutland. It is dated, Madrid, 1906. Under the name is a sketch of sorts, the outline of a bay or mountain.
Lady Diana Olivia Winifred Maud Manners was one of Violet Lindsay’s daughters (Diana’s biological father was the writer Henry Cust but she grew up thinking Violet’s Husband, Henry Manners was her father). Diana married 1st Viscount Norwich, Duff Cooper, a British Conservative Party politician, diplomat and author.
The bookplate inside is for Duff Cooper by Rex Whistler. It is likely the book was inherited and he pasted in his bookplate over the drawing on the end-papers. Whistler was a fashionable artist and illustrator of the 20s and 30s, one of the Bright Young Things.
With Lady Diana comically decorated as a bust of Diana the Hunter, the image has grapes in bloom and bottles of champagne, warrants and travel cases. Below are some detail shots, the work in the image of line and shading is best seen in close-up. The bookplate was designed in 1931 for Duff and Lady Diana Cooper.
Arthur Fleischmann was a Slovak-born, London-based sculptor, who pioneered the use of Perspex in sculpture. He spent time in Bali, and in Australia, where he was at the centre of the Merioola Group, before settling in London in 1948. He married his wife Joy in 1959 and their son, the photographer Dominique Fleischmann, was born in 1961.
For the 1951 Festival of Britain, Fleischmann was commissioned to produce a sculpture entitled “Miranda”. The larger than life-size Mermaid was sponsored by the Lockheed Brake and Clutch Company.
Miranda fountain in a press advert for the Lockheed Company, to the left the Festival of Britain and their logo’s are combined, 1951.
Miranda graced the exhibition area in Battersea Park and, after the Festival closed, it was transported to the Lockheed headquarters in Leamington Spa.
Arthur Fleischmann with the statue and on the sofa, the model Joyce Odiase (née Taylor). Photo by Russell Westwood, NPG, 1951.
The statue stayed at the Lockheed headquarters for nearly 50 years before “disappearing” mysteriously over the Christmas holidays of 2000.
A historic bronze statue by sculptor Arthur Fleischmann has been stolen from its home in Leamington Spa. Miranda, a bronze sculpture 2.5m long and 1.2m high, was stolen some time between 14 and 17 December 2001 from the main entrance of the AP (Automotive Products) company in Tachbrook Road.
The sculpture, commissioned by AP’s predecessor, the Lockheed Hydraulic Brake Company, was created for the 1951 Festival of Britain and first displayed in London’s Festival Gardens. A spokeswoman for Leamington Spa police put the value of the work at between £50,000 and £100,000. So far police have no idea as to its whereabouts or who might have stolen it.
Miranda attracted a great deal of press coverage during the Festival of Britain, in part for its unconventional portrayal of a mermaid with two legs instead of a fish’s body, and fins instead of feet.
Mr Fleischmann said at the time: “I think that mermaids with fish tails are rather dull. “Why should not a beautiful mermaid have nice legs? She can still swim with her fins on her feet. At least that is how I imagine a mermaid.”
The work, intended as a tribute to the skill and industry of the people of Britain, took three months to create and involved two models. The bronze was cast by Vincent Galizia foundry at Battersea, south London, and was returned to Leamington Spa after the Festival closed. It was set in a fountain and was listed as a Grade II building, and remained on its site until the theft. †
Front cover of Precision Magazine, 1951.
The Henry-Moore Institute acquired two terracotta maquettes of Miranda created by Fleischmann in around 1948 (at the same time that he did the portraits of the actor Trevor Howard) and these are on display in the Institute gallery space in Leeds. When a cheeky reporter quipped at Fleischmann during the Festival that everyone knows a mermaid has a tail and not two legs with fins, my father replied that he had never seen a mermaid and so couldn’t comment.
Joyce Odiase (née Taylor) in a riske shot with the maquette of Miranda.
