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
Kenneth Rowntree – Country Celebrations
Bernard Cheese – Drum Major
Edwin La Dell – Bandsmen in the City
Edwin La Dell – Horse Guards Parade
Alistair Grant – Hampton Court
Julian Trevelyan – The Mall
Robert Austin – Heralds
Barbara Jones – Prepairing the Coronation Coach
John Minton – Horseguards in their Dressing Rooms at Whitehall
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.
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.
Above is is the traditional painted style of a street organ and below are a set of novelty music boxes and music box discs.
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.
Below are some of the antique Tobacco jars on display.
A mechanical mannequin, in this case a clown playing a piano, and below a banker at a table with a safe of money.
The roof beams of the barn are decorated with shellac records.
In the picture below you can see in the mirror a very small part of the extensive teapot collection they have at Cotton.
The paintings below are by a local artist and in a native style. Today it would be called ‘outsider art’.
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.
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.
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.
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. †
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.
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.
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.
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.
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.
An angel blows the wind at the base of a wall plaque.
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.
† A History of the County of Cambridge and the Isle of Ely: Volume 6.
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.
Edwin Smith – West Smithfield, 1953
Edward Bawden – Smithfield Market, 1967
Edwin Smith – Limetree Cottage, 1953
Edward Bawden – The Road to Thaxted, 1956
Edwin Smith – Post Office Underground Railway, 1957
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.
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.
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.
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’.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
John O’Connor A.R.C.A. R.W.S, is today best known for his woodcuts, but during his lifetime he was also celebrated as a watercolourist. He was educated between the wars at the Royal College of Art in London under John Nash and Edward Bawden.
John O’Connor – Self Portrait, The Ruth Borchard Collection
A quote about Ravilious mentions O’Connor: Through his work and his teaching he became a very real influence both in design and wood engraving. One of his
students was John O’Connor. As an engraver O’Connor is an illustrator and very sensitive draughtsman. In style he is influenced by the Ravilious manner, with an emphasis on pattern and book design techniques. He has made a valuable contribution to book design through his technical experiments which include colour. O’Connor has
also brought wood engraving and other media together in the same work. These are essentially book designing experiments rather than experiments in engravings as such. †
John O’Connor was was born in Leicester in 1913. In 1930 he enrolled at Leicester College of Art before moving onto the Royal College of Art in 1933. His teachers at this time were Eric Ravilious, John Nash and Robert Austin. He graduated in 1937.
On a visit to Eric Ravilious’s home at Bank House, Castle Hedingham in Essex, O’Connor was captivated both by the directness of the wood-engraving technique, and by the simple domestic scene in which Ravilious engraved by a lamp in one corner of the room while his wife Tirzah played with their small son by the fire in another. It was due to Ravilious that O’Connor got his first commission of work aged 23, illustrating Here’s Flowers by Joan Rutter for the Golden Cockerel Press in 1937.
He taught at Birmingham and Bristol before serving in the Royal Air Force form 41-45. He arrived with the allied troops during the fall of Berlin, and sketched the ruined city. Back in England, but still in his flight lieutenant’s uniform, he met his future wife, Jeannie Tennant, who was a teacher, in Filey, North Yorkshire. They married in 1945, and spent their honeymoon cycling around the Yorkshire dales.
John O’Connor – Kersey Church, Suffolk
On being demobbed he illustrated two books for the Golden Cockerel Press and taught in Hastings for two years before moving to Colchester to become the head of the School of Art in 1948. He was affectionately known as ‘Joc’ to his students, using his initials. His colleagues included Richard Chopping, who designed dust jackets for the James Bond novels, his own former teacher John Nash, and Edward Bawden, one of the finest
British printmakers.
John O’Connor – Heron and Ducks
In 1950, O’Connor wrote and illustrated ’Canals, Barges and People’. The book had colour illustrations; wood-engravings by overprinting coloured linocuts. This was something of a revolution, as wood-engraving had till then been largely considered a black-and-white process.
The book also stood out as part of a Folk-art scene looking into the artistic past of Britain. Other writer/artists to be doing this would be Enid Marx, Barbara Jones and Noel Carrington. ’Canals, Barges and People’ was an immediate success, but only 1,000 copies were printed by Shenval Press and the colour made a reprint impractical and too expensive.
John O’Connor – Orange Field. Clare College, University of Cambridge
He saw his favourite painting places in Suffolk – the ponds, willows, briars and honeysuckle – disappear beneath the bulldozer and combine harvester. In 1964 O’Connor retired from teaching full time at Colchester, to concentrate on painting and engraving. He wrote various ‘How to’ books and taught part time at St Martin’s School of Art. In 1975 he and his wife, Jeannie, went to live by Loch Ken in Kirkcudbrightshire, where his love of light and water inspired his many watercolours and oil paintings. He took up a post teaching at Glasgow School of Art from 1977 to 1984.
John O’Connor – Chestwood Meadows, Lewisham Local History & Archives Centre
His engraving continued into yet another decade with the imaginative commission from Richard Ingrams for O’Connor to produce a monthly illustration for The Oldie magazine. These pieces – 36 of which were preserved in hard covers in People and Places – have all the sparkle and wit of the early work, and he only laid down his tools in 2001, a 65-year span which is surely unique.
John O’Connor’s last book of engravings, The Country Scene, a collection for the Whittington Press of his early and largely unknown work, was on the press when he died. As printing was about to begin, the instruction came from his hospital bed that colour was to be introduced wherever possible. Proofs were hurriedly made by his son, Mike, and taken to him, and delightedly approved days before his death.
John O’Connor – Little Garden in the Evening, 1947
In the 1950s and 60s, O’Connor exhibited at the Zwemmer Gallery, in London, and had many exhibitions throughout Britain. His work was purchased by the Arts Council, the Tate Gallery, the British Museum and the Contemporary Art Society, as well as by several local education authorities; it can also be found in the Oslo Museum, the Zurich Museum and at New York central library. He was elected to the Royal Society of Painter-Etchers and Engravers in 1947, and, in 1974, to the Royal Watercolour Society. He was an honorary member of the Society of Wood Engravers. He retired to Stable Cottage, Danevale, Castle Douglas.
He died March 5 2004
Bibliography 1937 – Here’s Flowers by Joan Rutter. Golden Cockerel Press
1945 – Together and Alone by Christopher Whitfield. Golden Cockerel Press
1946 – We Happy Few by Owen Rutter. Golden Cockerel Press
1950 – Canals, Barges and People by John O’Connor, reprinted 2014
1951 – An Essex Pie by T.M. Hope
1959 – A Pattern of People by John O’Connor
1967 – Landscape painting, reprinted 1977
1973 – Introducing relief printing
1971 – The Technique Of Wood Engraving 1979 – A View of Kilvert by John O’Connor. Foulis Archive Press
1989 – The Wood-engravings of John O’Connor
1990 – The Four Elements by Seamus Heaney. Whittington Press 1991 – Wood Engravings From La Vida Breve
1991 – Twins (Came with Matrix 11) by John O’Connor. Whittington Press.
1999 – People and Places by John O’Connor. Whittington Press.
2004 – The English Scene by John O’Connor. Whittington Press.
Selected list of Exhibitions 1954 Zwemmer Media Arts, London
1955 Royal Academy of Arts, London
1973 The Minories, Colchester
1976 The Minories, Colchester
1977 Graphic Work Retrospective, Glasgow School of Art
1990 Royal Watercolour Society, Bankside, London
On the corner of the road into Cambridge, in Trumpington, is a very simple looking war memorial. Up close, you notice the detail and the figures. With no information or makers mark near-by you have to google the sculptor. In this case and rather unexpectedly it is by Eric Gill. Gill is remembered today as a typographic designer and sculptor, this most famous in Britain being Prospero and Ariel on Broadcasting House, London.
The four pictograph designs (an individual design for each side) for the Trumpington Cross are subtlety arranged at the base of the cross. Below that on the pedestal are Norman looking arches with the names of the fallen from WWII between.
For Trumpington, Cambridgeshire, he created a plain ‘cross of vaguely medieval form’ adorned with four small reliefs. One of the reliefs was based on a design by the author David Jones (like Gill a convert to Roman Catholicism), who had joined Gill’s radical ‘guild […] of craftsmen’ which sought to revive the communal spirit of medieval society. †
This was memorial was commissioned by the village itself, although the Pemberton family who owned Trumpington Hall has lost their son, Francis, in October 1914 and where the main donors to the village’s war memorial fun. The memorial cross that Gill designed was unveiled in 1921 and stands outside the gates of the hall. This spot was the most prominent corner of the village, on the junction of the village street and the main road to Cambridge.‡
It is the four images carved in relief on panels at the base of the cross which are so striking. Two of these represent religious subjects – St Michael triumphant in defeating the Devil, and the Madonna and Child (the parish church is dedicated to SS. Mary and Michael) – while the third depicts St George slaying the dragon. So far, so conventional. However, the fourth panel shows an exhausted soldier returning from the war, and this is one of the most profound, though least known, images of the experience of war to appear on any war memorial in Britain or Germany.‡
The Madonna and Child side below, seams to need some restoration as it’s weathering away.
The four sides of the shaft are inscribed with the names of 36 men from WWI and on the base a later addition of 8 men from WWII and what I believe is one from a subsequent war.
† The Great War and Medieval Memory: War, Remembrance and Medievalism in Britain and Germany, 1914-1940 by Dr Stefan Goebel, 2007. 9780521854153 p.60.
‡ The silent morning (Cultural History of Modern War) by Trudi Tate, Kate Kennedy, 2015, 9781784991166 p.326.