I found some photographic contact sheets by James Ravilious and I thought it was rather interesting to look at the way he took photos. The way he circles a subject, or photographs from one place. It shows that he worked at subjects he found interesting rather than taking just one photo alone.
James Ravilious was born at Eastbourne, England, the second son of Eric Ravilious, the war artist, wood-engraver and designer, and Tirzah Garwood, also an artist and wood-engraver. James studied art at St Martin’s School of Art, London, and then taught painting and drawing in London for some years. He married Robin (daughter of the glass-engraver Laurence Whistler) in 1970, and in 1972 they moved to Devon to live in a cottage near her family home in Dolton. They had two children: Ben and Ella. †
In various books throughout time, you can read about the vulgar arts; it is mostly a term for any mass production and in art that means printmaking. From an art history perspective, the patron and the artist was a system that was more or less redundant in the 20th century. It was at this time that printmaking came into fashion because if an artist didn’t have one major sponsor, they would need many smaller incomes from the public.
The history of printmaking and the taboo also follows publishing technology. After 1800 the wood-engraving was considered to be un-artisan and best left to newspaper printing and advertising. When wood-engraving was embraced by artists as a reaction to various exhibitions of Japanese woodcuts, the artists who used colour printing aped the Japanese styles of carving with British scenery. Sylvan Boxsius is a good example printing in a traditionally Japanese way.
Sylvan G. Boxsius – A Devon Village, 1930s. From My Collection
With more traditional styles of English wood-engraving colour wasn’t welcome. Linocut had a vogue with Cyril Powers works but for printmaking it would be the 50s when colour came in for most artists; much like how colour photography wasn’t considered artisan until the 1980s.
It is important to add this is only in Britain. In France artists had worked in colour. Many of the big artists even worked in advertising making large lithographic posters. Pissarro made colour woodcuts in a medieval style. The French also had the fantastic Atelier 17 – a studio founded in 1927 by Stanley William Hayter. He was a British artist and working mostly in intaglio prints, but he developed new printing methods for colour etchings. Towards the end of the 40s the studio had encouraged mixed media printing methods that crossed over the sea to Britain.
Stanley William Hayter – Cinq Personnages, 1946
But the biggest taboo to some would be to mix medias, pen and ink with wood-engraving or an etching with a lino-cut. It was the 20th century when nothing was classed as holy. For me I should also add there is a thrill when you see something new. When was the last time you saw something new?
The images below are a series of John O’Connor wood-engravings with pen and ink continuations of the illustrations surrounding it. It might look to be obvious, but it is something new to me and I can’t recall seeing it before or after. The book is E. L. Grant Watson’s Departures from 1948.
John O’Connor – Illustration from Departures, 1948
On the face of it John O’Connor doesn’t look to be a rebel. A student of Eric Ravilious and Edward Bawden at the Royal College of Art his wood engravings always have an old-world charm to them. But I think adding the ink drawings really worked with these illustrations. Below, I love the way the woodcut ends at the child ankles and the ink drawing takes over to show the feet submerged in water.
John O’Connor – Illustration from Departures, 1948
John O’Connor would go on to surprise me with printmaking by making colour wood-engravings. After spending a great deal of time carving the main black inked block, rather than waste time with wood to make the colour layers he would instead use Lino to make his abstract shapes that are loosely thrown over the engraving. Below I have over-saturated the colour layer to make the point, and it might look lazy but I think it’s fantastic and gives a lovely quality to the prints. So many artists fail in printmaking by trying to be too technically accurate, I think of
Stephen Whittle for example.
John O’Connor – Illustration from A Pattern of People, 1959
Michael Rothenstein – Horse and Sunrise, From my collection, 1974.
The other artist that thrills me somewhat is Michael Rothenstein. He is an artist that doesn’t get the credit he deserves and different people who represent his collection push the agenda that suit them.
Having a diverse career in art he started making accurate and twee illustrations of the countryside. As part of the Record Britain project he was sent out to document areas of Britain as artworks before the start of the Second World War. But after the war is where his life and work is far more interesting. He became one of the real innovators of printing and an early British Pop Artist, before the term was coined.
His first print was made in 1947 and after that he went to study at Atelier 17 with Hayter. There he developed skills with lithography and etching but abandoned them for their time consuming preparation processes and influenced by Edward Bawden he moved into Linocut.
Michael Rothenstein, for instance, has applied boundless energy to extending the range of the relief process of wood and lino, sometimes combining them with screenprint and photo-screen. ‡
Michael Rothenstein – Marilyn I, From my collection, 1978
This Rothenstein print is made up of two screen prints of a photograph of Marilyn Monroe with a pink frame over printed impressions of a burnished planks of wood in green. I think it may need repeating; printed planks of wood.
When I was at art school at the end of the previous century I thought my printing of pavements and blocks of wood were new ideas, however Rothenstein had already penned a book on the topic called Frontiers of Printmaking – New Aspects of Relief Printing in 1966. In the book he shows printed Tree-trunks, metal cans, chicken fencing, the board at the back of an old Pye radio, electronic motors… anything flat you could get an impression off of.
Any materials that were fairly thin were printed on the platen press. In proofing surfaces of rough texture, however, a soft, flexible packing was placed above the paper as already described … Before use, metal from the scrap-head needs cleaning. It is clamped to the bench and brushed down with a wire brush or wire circumference brush used in a power-tool. An industrial mask should be worn for this process. Very dirty metal taken from the scrapheap or city dump should be first put in the sink and scrubbed down with disinfectant. †
Example page from Frontiers of Printmaking, 1966
Rothenstein later claimed that Hayter had prompted him to take pictorial risks and avoid predictable effects.
What Hayter did in France to stimulate etching and engraving’. wrote James Burn lately, ‘Michael Rothenstein has done in England for relief printing’. ♠
Rothenstein found and collected things to make really wonderful works and I think he should be celebrated more than he is.
Michael Rothenstein – Red Gothic, 1962
† Michael Rothenstein – Frontiers of Printmaking, 1966 ‡ Richard T. Godfrey – Printmaking in Britain, 1978 ♠ The Penrose Annual: Review of the Graphic, 1964
Edward Bawden frequently would take painting holidays in Cornwall. The landscape is hilly and pastoral unlike Bawden’s home in Essex made up of arable crop fields. A stony landscape of quarries, hill contours and spires made from tin mining ruins and churches set a challenge and some of the most curious paintings in his repertoire.
I think what I like so much about these paintings is the lack of abstraction that comes from the Cornish schools of art. Rocks are painted in details to the point they look like leaded stained-glass windows. The Quarry paintings from 1960 look as menacing as the effort to destroy the natural landscape they are in, each of the three I have depicted look like scenes from a nightmare. The only paintings that look typically Bawden are of Caerhays Castle.
Edward Bawden – Caradon, 1958
Edward Bawden – St. Neot, Cornwall, No. 2, 1958
Edward Bawden – Near Liskeard, 1958
Edward Bawden – View Toward Henwood, Minions, Cornwall, 1958
Edward Bawden – Gold Digging Quarry, Minion, Liskeard , 1958
Edward Bawden – Gold Digging Quarry, Minion, Liskeard (detail), 1958
Edward Bawden – Cheesewring Quarry no.4, Minions, NR Liskeard, 1958
Edward Bawden – The Engine House, Cornwall, 1960
Edward Bawden – The De Lank River, Cornwall, 1960
Edward Bawden – The De Lank Quarry No.2, 1960
Edward Bawden – Nant Mawr Quarry, Cornwall, 1971
Edward Bawden – Quarry at Pengwern II, Llanwrst, 1977
I thought it would be good to digitise an essay Michael Rothenstein wrote and illustrated in 1948 about ‘Sports Gardens’ or what we would now call an Arcade. It shows he was looking at his contemporary items as artworks, pre Pop-art.
Sports Gardens have a tough, adolescent, slightly underhand air; a compound of chain-store and small town fairground. They are of course an urban version of the country fair an indoor version compressed into restricted floor space completely mechanised and with some of the high spirits ironed out.
Further, Sports Gardens are static non-itinerant in contrast to the transience of the village fair, with its attendant sense of a momentary flowering for a single night. The knowledge that the show will be moving off somewhere tomorrow, that it will always be moving off somewhere gives the fair a quality of poignancy, of romance, which the Sports Garden entirely lacks.
So Gardens are harsh without being romantic; harsh, noisy and garish. Swing is laid on from 11am when they open to 12pm when they close. The typical pattern has a frontage of perhaps twenty feet, and runs straight back from the street. Pin-tables, wall-machines and cranes are ranged at either side: peep-shows are placed at the far end to give greater privacy. But in all Sports Gardens pin-tables and cranes are the largest profit makers, the serious business end of the industry. Hence these two types of machine are placed nearest the entrance in the largest numbers possible.
At the entrance to the Coventry Street saloon in London, for example, stands a large grab. A grab consists of a revolving table spread with the cheaper forms of ‘swag’: cigarettes, trinkets, powder-compacts, lighters-above which four shining chromium hands are poised. Aggressive in shape and predatory in gesture, these clutching silver fists are oddly symbolic of this tough, profitable branch of the entertainment catering business. Though in fairness to the management it should be noticed that earnings come chiefly from regular customers, fully aware of the small return received on outlay and not from the larger, more gullible crowd of casual visitors. Three or four shillings spent on the pintables may bring a few cigarettes: six or seven shillings on the cranes – a packet of Players. At the tables a maximum score earns a prize of two cigarettes.
Now the original cost of these machines was about £25, so it looks as if the profits must be very large indeed. The pin-tables themselves, all of American origin, are marked Daval Manufacturing Coy. Chicago. Importations stopped in 1939. Since no other country is able to produce machines of competitive quality, Sports Gardens carry equipment at least nine years old. But the machines are Cheap and easy to maintain: the brightly figured surfaces are all washable and the well-made ingenious machinery inside runs without undue need of repair.
There are, perhaps, twenty-five standard types of table. The numerals on the distinctive backplates are interspersed with pictures of cigar-shaped racing cars zooming along concrete autobahns, pink and blue skyscrapers, giant vermillion aeroplanes with all the faked-up, streamlined paraphernalia of the Futurist city associated with American boys’ magazines.
As one releases the piston, the chromium ball kicks up the shoot, ricocheting from point to point touching off electric buzzers, lighting groups of coloured bulbs, while automatic calculators flash out rapidly mounting scores.
To register winning scores, it is necessary to know how hard to pull back the spring piston, when to jog the table. In a limited sense, then an element of skill does exist, though the scales are heavily weighted in favour of the machine. Rarely does a customer succeed in beating the hazards. When he does however the management count it good advertisement the ‘punter’ pulling in packet after packet of cigarettes, incites the crowd to spend sums far in excess of any temporary loss.
Regular customers are of many types but of only one sex-male. A mixed age-group, very young to middle-aged they return day after day to play a particular table. Many are prosperous; ten shillings is a not unusual sum to spend on each visit. Business men wearing soft hats of emphatic curve, carrying bulky pigskin briefcases, often play the tables in pairs during the lunch hour.
The peep-show, a non-scoring game of mechanism Peeping Tom has also an exclusively masculine following. A penny is placed in the aperture of the ‘Muto-scope’ or ‘Butiviewer’ and one peers down a black eyepiece at a miniature motion picture of a girl caught, as a rule, in protracted dalliance, wearing only her wrap or underclothes; a clothed male may also appear, the sleek young-middle aged shop walker type, sometimes dressed in Turkish costume.
The sequence of pictures shown within is advertised by a ‘still’ bearing the expected caption: ‘Paris Nights’, ‘Sunbathing’, ‘Parasol Polly’, ‘A Pair of Queens’. Some are old fashioned machines worked by hand. In this case stills of half-dressed chorus girls, of the 1920 type flick over as one turns the handle. The pictures are illuminated in flashes, so the viewer’s eye holes shine yellow at one moment and are deeply shadowed the next.
The attendants are an essentially urban type, matey, good-humoured and nervy having a predilection for flashy up-to-dateness. This makes them touchingly proud of the little modern equipment they possess. Many of the older types of installation have great visual charm with their fussy grandfather clock appearance and elaborately erratic machinery ticking over within.
For these or other attractions single customers are apt to have a furtive look. They twist their mouths at you a bit sheepishly as they crane their necks to the peepshow eyepiece. But practised in groups, these penny pastimes take a more wholehearted and genial turn; and there is much geniality in the hours of peak attendance – rainy Sunday afternoons or evenings towards the week-end.
There is a sense of motion, vitality, quick-fire humour and attractively sharp colour, which contrasts not unfavourably with the stretched-out monotony of the scene outside. The Sports Garden entrance cuts a yellow hole in the black forbidding frontage of the night streets; beyond it we catch sight of the mysteriously welcome dazzle of coloured lights and animated crowds; while relayed Swing music, throbbing rather pleasantly down the empty street, thumps quietly at our ears.
Only by chance did I discover that these BBC One idents are photographed by Martin Parr. Not quite like his normal portrait work, as you can see from the Making Of photos below. They are as forced as most portraits are but I find it a curious collaboration compared with his point-shoot-and leave photographs.
I have to say I find the idents a bit disturbing myself, the bird-watchers one the most, the way the people look directly at the camera isn’t something you get from TV other than the news and weather. They are a bit too quaint for me, too much of Ohh the British are an odd lot, it becomes too obvious for Parr’s work, its almost a parody of himself.
This post started looking at the difference between the Dunkirk painting and the print, but I thought it was also a good excuse to talk about the Edward Bawden ‘War Artist’ book. One of the cheaper Bawden books to buy it is full of Edward’s letters home with 38 of his war paintings.
Edward Bawden – Dunkirk, 1986
Above is the print of the Dunkirk bombings. Below is the original painting, but there is 40 years difference between the pair.
Painted by Edward Bawden during the shelling of Dunkirk in May 1940, the watercolour shows the interior of a bar and the soldiers hiding from shots under the tables. The bar ironically is called Au Nouveau Monde, ‘In The New World’. Paintings of Dunkirk fascinate me as it was such chaos it would have taken real nerve to paint at all.
Edward Bawden – Dunkirk, 1940
Bawden marched into Dunkirk with the retreating troops through lines of jeering French. The generals had already left by then, as Bawden noted: ‘Well, the rats go first”. Later he said: “By temperament I am a pacifist. War horrifies me, it horrified me then…. I hated the big bangs. No one knew what was happening , and I was just tossed about like a bad penny. Nobody wanted a war artist. Every day I got shoved off to a new unit.”
At Dunkirk he didn’t head for the beach and the rescue boats but to the docks where he holed up for two days making notes of chaotic smoke-filled scenes as thousands of troops tried to get away under constant strafing and shellfire. Eventually a boat came near enough to scramble aboard and he found it full of exhausted men ‘lying in heaps everywhere, some only half dressed.
Edward Bawden – War Artist prospectus, 1986
In 1989 Bawden released a series of his war letters, edited by Ruari Mclean. Edward Bawden War Artist and His Letters Home 1940-45. The book was due to come out in 1986 in a different format, a wide landscape book, signed and limited edition published by the Hurtwood Press. But the project stalled and ended up being rekindled and published in a landscape format in 1989.
Above is the original prospectus for the 1986 book that was never produced in this format. It would have looked much like a Fleece Press book.
To accompany the 1986 book would have been two new lithographs, but these were released without the book and then used as the front and back covers of the 1989 dust jacket. The Hurtwood Press published Among the Marsh Arabs, and Dunkirk in 1986.
Edward Bawden – Among the Marsh Arabs, 1986
Below are the front and back views of the 1989 book with the lithographs used as artworks.
I rather love these adverts by Edward Bawden from the Architects Journal to promote Zinc from 1945-46. From the end of WW2 Britain needed to be rebuilt and Zinc Development Association wanted it to be done with Zinc! In the 1940s it was in direct competition with Aluminium and the asphalt roofing roll.
Bawden completed 12 adverts, one would guess each for a monthly copy of the Architects Journal and Architectural Review (where they were advertised). Bawden got the job from his life-long friend and patron Robert Harling, who was working for Everett’s Advertising Agency at the time. Harling was the fairy godmother to Bawden, providing him with work throughout his life and even penned a book on the artist, he wrote novels and worked as a typographer.
I think the typeface used in this adverts are delightful as well.
The full advert has some text under it, rather bleak and a little bulling I think. Each advert had something related but all about rebuilding Britain, post war.
Until the road system of England is one grand impenetrable traffic-jam, peacetime productions will mean more and more cars. And more and more cars will mean more and more garages. And heaven grant these garages will be neither in the shed-and-shanty nor in the Bypass-Tudor-cum Queen Anne manner, but decent, dignified and honestly contemporary. Their building will demand zinc. For zinc lasts long, resists atmospheric corrosion manfully and does its job economically. It has proved itself the best permanent material for roofs, gutters, weathering and down-pipes. And the wise architect will look into the many new ways and means of unit it.
It can only ever be a guess but the swimming pool here is very similar to the Mounts Baths in Northampton, opened in October 1936 pictured below when they opened from Architectural Review.
Robert Tavener was a designer and illustrator. He worked for the Central Office of Information, GPO and ICI, as well as publishers Hamish Hamilton, Longmans, and
Oxford University Press. He was a member of the Society of Industrial Artists. In 1957, he was included in the book Young Artists of Promise by Jack Beddington. Tavener taught art at Remple School in Stroud, Medway College of Art and Eastbourne College of Art and Design.
This is just a simple post about a painting I bought on ebay that got lost in the post and was never seen again. It was Robert Tavener’s Neptune Statue, Cheltenham pictured at the base of this post.
Here is a photograph of the rather elaborate fountains in Cheltenham.
The Neptune Fountain was built in 1893 and designed by Joseph Hall. The fountain is probably fashioned on the Trevi Fountain in Rome. Carved by Boulton & Sons in 1893. Neptune, the Roman god of the sea, is shown with sea horses and tritons. Robert Tavener made a series of lithographs of the town.
Robert Tavener – The Neptune Statue, Cheltenham, Lithograph
Robert Tavener – The Neptune Statue, Cheltenham. Missing in action.
A short post showing the link between two Edward Bawden works. One is the illustration for the cover of The Twentieth Century, April 1956 and the other, a linocut print ‘Ives Farm’ that Bawden also produced in the same year. It isn’t a long post but little by little these observations all shall build up.
I had posted both works before but I just hadn’t noticed the cottage hiding in the corner.
Edward Bawden – Illustration for the cover of The Twentieth Century, April 1956
Edward Bawden – Ives Farm, 1956
Edward Bawden – Cover of The Twentieth Century, April 1956
This is a post about the Cambridgeshire County Council Pictures For Schools Collection. It was a brave project founded in 1947, in part as a reaction to the brutalities of the war, but also to brighten up classrooms and schools with modern works of art and improve the minds of young children.
I am apt to using the word utopian a lot, but personally I believe projects like these were important in rebuilding Britain after the war. Not just bringing art into the home, but taking it to the public spaces; from the windows in Coventry Cathedral to the Festival of Britain, there was a manufacturing ‘brave new world’ of Britain and they used the artists as part of the team, maybe from champions of design like Robin Darwin at the Royal College of Art and exhibitions like Britain Can Make It in 1946.
The driving force behind the Pictures for Schools project was painter and educator Nan Youngman, art adviser to Cambridgeshire’s Director of Education, Henry Morris. Youngman was a student of painting at the Slade from 1924-1927, winning a prize at the Slade in 1926. She painted still, but focused on education for most of her life.
The ideas motivating Pictures for Schools were very much of their time. During and after the Second World War, as the rebuilding of Britain was debated in both the public and political spheres, educators called for art education to be given a central position in the new school system. This received support from the Ministry of Education, as part of a project to promote British culture, improve the public’s standards of taste and create a new generation of citizens and educated consumers who were capable of exercising judgement in aesthetic matters and making informed choices and purchases.
The Pictures for Schools project came out of and alongside many other famous ‘utopian’ projects like the Contemporary Lithographs (1937-38), AIA Everyman’s Prints (1940) and the School Prints series of lithographs where major artists would be paid to design a lithograph that would be printed in thousands and then sold to schools cheaply.
Youngman was involved in the Everyman’s Prints series and it may have helped inspire the running of Pictures for Schools.
In the founding of the Pictures for Schools project, one of Youngman’s big successes was after she accompanied Morris to London in 1945 to buy a painting by L.S.Lowry from the Lefevre Gallery for 30gns for the Cambridge Schools Art Collection as part of Pictures for Schools. At the start of a recession in 2009 the Cambridge County Council sold it for £541,250 at Christie’s. The commission on that sale would have been around £125k.
L. S. Lowry – A Market Place, Berwick-upon-Tweed, 1935
The rest of the works were due to go up for sale with Christie’s too, some of the works I own still have catalogue assignment stickers from the auction house on the back, but with the economic climate the Cambridge Council pulled the collection from auction and in 2017 they would come up again for sale with another auction house.
Although Nan Youngman was the organiser and originator of Pictures for Schools, she had the support of long-running exhibition secretaries, who themselves had interesting backgrounds and careers.
Slade-trained painter and writer Sylvia Pollak was the first Organising Secretary. She had, like Youngman and many of their circle, links with the Artists’ International Association and the Women’s International Art Club.
She was succeeded by art historian, writer and lecturer Alison Kelly, who had a particular interest in furniture and pottery, from 1950-1957, when she resigned to spend more time lecturing… During the war, Kelly had been flown around the country working on camouflage schemes for possible bombing targets such as factories.
Katharine Baker, who had been treasurer for the Society for Education through Art, took over from 1958-1967. She had previously worked for the British Institute for Adult Education, which during the war organised good design exhibitions, put pictures in air raid shelters, armed services establishments and British Restaurants, and sent exhibitions to outlying districts. She received a New Year’s day MBE in 1948 for her work on the ‘Art for the People’ travelling exhibitions.
Finally, Joan Bartlett was Organising Secretary from 1967 until after the exhibitions’ close in 1969, when the exhibitions were held at the Royal Academy’s Diploma Galleries.
Stephen Bone – Yachts Racing at Loosdrecht, (In My Collection)
The Stephen Bone painting above was bought direct from the artist himself as on the back are various notes and bills on Bone’s headed paper.
Youngman donated some of her paintings and linocuts to the collection, other artists in the collection are like a who’s who of British Art. Gertrude Hermes, Richard Bawden, John Piper, Anthony Day, Patrick Hughes, Enid Marx, Michael Rothenstein, Malvina Cheek, Robert Tavener, Julia Ball, Peter Nuttall, Richard Beer, George Chapman, Alistair Grant, Edwin La Dell, Rosemary Ellis, Tirzah Garwood and Evelyn Dunbar are but a few.
Nick Lyons – Between You and Me, 1977 (In My Collection)
As the Pictures for Schools scheme ended in the 1960s, in Cambridge the project continued under the name ‘Original Works for Children in Cambridgeshire’.
Malvina Cheek – Cornstooks at Furlongs, 1962 (In My Collection)
The Malvina Cheek drawing above came with some provenance.
I was staying at Furlongs when I drew the Corn Stooks . It was then a magical place, a shepherds cottage set in the shadow of the Downs. A gap in the wall leads up to the Downs. There was no electricity, no gas, only oil lamps and wood fires; a telephone the only concession to modern life.
In the fields alongside the cottage were pyramids of corn. The exciting shapes of the corn stooks attracted me. There was only time to draw, my daughter was very young, so I made studies hoping to develop them later. I also drew Dick Freeman, the farmer from whom Peggy leased her part of the cottage; he used an adjacent room where he rested after tending his sheep. There was always a pleasant speaking voice, a fine hooked nose and large hands like those in a Permeke drawing. Later I would use both the drawings of corn stooks and of Dick the farmer, I was commissioned to illustrate Gulliver’s Travels
Cheek also worked as part of the Recording Britain project.
Bernard Cheese – The Lemon Seller (In My Collection)
Walter Hoyle the Great Bardfield artist took over the scheme in the 1970s. Hoyle donated a few pictures and convinced other artists to donate works to the project too. Hoyle came to be involved as he was working at the Cambridge School of Art, now part of the Anglia Ruskin University. He would teach printmaking in the St Barnabas Press, a premises that the art school rented and he would encourage his pupils to donate a print to the collection. It may also explain how a fellow Bardfield artist, Bernard Cheese gets into the collection. Hoyle retired from teaching in 1985, moving from Cambridge to Hastings and Dieppe.
Warwick Hutton – Adam and Eve, 1986 (In My Collection)
We know the Original Works for Children in Cambridgeshire continued until 1985 when the project was run by the council and in the mid 1990s, the Council wound down the project citing the expenses of transporting the art around, hanging and administration costs and the works were stored in a shed outside Huntington Library and in a community centre in Papworth for the next 15 years.
The works by Walter Hoyle and Warwick Hutton in the collection were given with expenses for framing to the artists. Warwick Hutton’s painting of ‘Adam and Eve’ followed with a book he published in 1987 under the same name by Hutton with Atheneum Books.
Poul Webb – Petersfield (In My Collection)
Many of the works that Hoyle encouraged his students to make were prints, Poul Webb remembered making the print above in various colourways to me when I contacted him and he now works mostly as a painter with a totally different style. The picture below by Glyn Thomas is unlike his style now too, he works in drawings and etchings but Hoyle must have been an interesting man to work under as many of the artworks have a bit of Rothenstein or Bawden in them, I guess due to the Bardfield connections.
Glyn Thomas – Corn Exchange, Cambridge, 1965 (In My Collection)
It wasn’t just Bernard Cheese and Walter Hoyle that had works in the collection from Great Bardfield. Tizah Garwood had a painting in the collection of two donkeys. Chloe Cheese also had two prints in the collection.
Tirzah Garwood – Nathaniel and Patsy
Chloë Cheese – Figs and Coffee, 1972 (In My Collection)
