I own the book ‘Lion Hunting in London’ by Frank J. Manheim, 1975. A photographic survey of Lions in London, amazingly it hasn’t been reprinted when you think it would be perfect for tourists.
The Book Cover
Apsley Gate at Hyde Park Corner
King’s College
Guarding a grave in Abney Park cemetery
Detail of Westminster & County Insurance Office, Regent Street
Westminster & County Insurance Office, Regent Street
Christopher Richard Wynne Nevinson started the First World War working for the Red Cross. His work as an ambulance driver took him to the epicentre of the carnage and it’s effects of the war. His time was spent in France working in a disused goods shed converted to a make-shift hospital for up to 3000 men off the railway station in Dunkirk.
Nevinson contracted rheumatic fever in January of 1915 and returned to Britain to recover. During his recovery he started to paint from his sketches and studies made in France on the front lines and trenches for an exhibitions at the Grafton Galleries in March 1916 and then at the Leicester Galleries in September.
By 1915 the theory that art and war could thrive together seemed to convert convincingly into practice as C. R. W. Nevinson, England’s only Futurist disciple and coauthor (with Marinetti) of Viral English Art, advocated upon his return from the front (from a ghastly experience as a medical orderly in Belgium).
“All artists should go to the front to strengthen their art by a worship of physical and moral courage and a fearless desire of adventure, risk and daring and free themselves from the canker of professors, archaeologists, cicerones, antiquaries and beauty worshippers”.
War and art, Nevinson felt. were going to thrive together. Marinettian philosophy had proved an admirable apprenticeship, and here was the perfect subject. Writing in the 1970s, William Wees saw that progression as entirely logical, noting. “The metaphorical implications of avant garde turned art movements into battles. advances and retreats, victories and defeats,” to the point that, years later, Nevinson would look back and declare,
“The war did not take the modern artist by surprise. I think it can be said that modern artists have been at war since 1912…. They were in love with the glory of violence. Some say that artists have lagged behind the war, I should say not! They were miles ahead of it.” †
By 1917, Nevinson was made an official war artist. The Black and White etchings from this period are from the ‘Britain’s Efforts and Ideals’ series published in 1917 in an edition of 200 by the Ministry of Information. Other artists involved where Frank Brangwyn, Muirhead Bone and William Rothenstein.
The contributing artists were paid well, each receiving £210 (about £10,000 today) with the possibility of further royalties from sales. The prints were a limited edition of two hundred. The ‘Efforts’ were sold for £2 2s 0d (£100) each and the ‘Ideals’ for £10 10s 0d (£500). ‡
C.R.W Nevinson – Making the Engine, 1917
C.R.W Nevinson – Acetylene Welding, 1917
C.R.W Nevinson – Assembling Parts, 1917
C.R.W Nevinson – Banking at 4000 Feet, 1917
C.R.W Nevinson – Sweeping Down on a Taube, 1917
C.R.W Nevinson – In the Air, 1917
C.R.W Nevinson – Swooping Down on a Hostile Plane, 1917
C.R.W Nevinson – War in the Air, 1918
‘War in the Air’ was produced as a very rare lithograph by the Ministry of Information for the Canadian War Memorial Fund in 1919.
C.R.W Nevinson – War in the Air, 1917
C.R.W Nevinson – Three British WWI Bi-Planes, 1917
C.R.W Nevinson – Over the Lines, 1917
C.R.W Nevinson – Night Raid, 1917
† Nanette Norris – Great War Modernism: Artistic Response in the Context of War, 1914-1918, p27-28, 2015.
‡ The Great War: Britain’s Efforts and Ideals, Online
C.R.W. Nevinson 1889 – 1946 Retrospective Exhibition Of Paintings, Drawings And Prints: Kettle’s Yard Gallery 1988
This post is not really connected in the typical way my articles are, but just points to a curious link between the Bardfield Artists being on Brighton Pier. I have also included a photograph by Edwin Smith – All of these artists are represented by the Fry Gallery in Saffron Walden.
Eric Gill – Study for the ‘Blind Girl’ in silverline, dated 9/10/1938, oddly the night of Kristallnacht.
In the 1941 Summer copy of The Countryman I was reading is an advert for the National Institute for the Blind with an Eric Gill engraving. The wood-engraving was made in 1939 for the organisation and is called ‘Blind Girl‘.
In 1934 Eric Gill carved a relief, in-situ, at Moorefields Eye Hospital, London. It depicts Christ and Bartimaeus, it is a beautiful example of Gill’s Carving on public display.
Mark 10:46-52. From the New Life Version of the Bible. Healing of the Blind Man
Then they came to the city of Jericho. When He was leaving the city with His followers and many people, a blind man was sitting by the road. He was asking people for food or money as they passed by. His name was Bartimaeus, the son of Timaeus. He heard that Jesus of Nazareth was passing by. He began to speak with a loud voice, saying, “Jesus, Son of David, take pity on me!” Many people spoke sharp words to the blind man telling him not to call out like that. But he spoke all the more. He said, “Son of David, take pity on me.” Jesus stopped and told them to call the blind man. They called to him and said, “Take hope! Stand up, He is calling for you!” As he jumped up, he threw off his coat and came to Jesus. Jesus said to him, “What do you want Me to do for you?” The blind man said to Him, “Lord, I want to see!” Jesus said, “Go! Your faith has healed you.” At once he could see and he followed Jesus down the road.
Below is a bookplate from the library of
Moorefields
Eye Hosptal Library using the design of the relief but unlikely to be by Gills hand..
A short and simple post on four drawings by Edward Bawden around King’s Lynn. Originally drawn for the Sundour Diary and Notebook in 1953.
Edward Bawden – Country Railway Station, 1953
At the station. King’s Lynn would have been a change stop for trains heading to Hunstanton, then a vibrant a popular holiday town.
Edward Bawden – Seafarers’ Wharf, 1953
The buoy and pub as they are today. The dockyards now out of use, there are less buoys and anchors than in Bawden’s time.
Edward Bawden – Ancient Warehouses, 1953
The old Bowkers warehouses, a late 18th century brick warehouse with 19th century alterations and a 1940s corn drying kiln. The warehouse was originally connected to the 15th, 17th and 18th century merchant’s house at 1 St Margaret’s Place. Most of the warehouse was demolished in 1974 and a magistrates court now stands on the site.
Below is a photograph further down the wharf with the railway carts in front on the quayside.
Marriott’s Warehouse, South Quay, King’s Lynn, c1920
Below is a drawing of the Custom House in Kings Lynn. It was designed by architect Henry Bell and built by Sir John Turner in 1683. It now houses the town’s Tourist Information Office. The building was described by architect Nikolaus Pevsner as ‘one of the most perfect buildings ever built’.
It covers his painting history and also features him painting at Covehithe in Suffolk before his exhibition at the Tate.
John Egerton Christmas Piper CH (13 December 1903 – 28 June 1992) was an English painter, printmaker and designer of stained-glass windows and both opera and theatre sets. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. He was educated at Epsom College and trained at the Richmond School of Art, followed by the Royal College of Art in London. He turned from abstraction early in his career, concentrating on a more naturalistic but distinctive approach, but often worked in several different styles throughout his career. He was an official war artist in World War II and his war-time depictions of bomb damaged churches and landmarks, most notably those of Coventry Cathedral, made Piper a household name and led to his work being acquired by several public collections. Piper collaborated with many others, including the poets John Betjeman and Geoffrey Grigson on the Shell Guides, and with the potter Geoffrey Eastop and the artist Ben Nicholson.
Christopher Richard Wynne Nevinson was a fascinating man who in life and letters seems paranoid and jealous of the success of others, no matter how well he himself was doing. Many of his friends he drove away in one way or the other due to his incredible ability to take offence. In 1920, the critic Charles Lewis Hind wrote that:
‘It is something, at the age of thirty one, to be among the most discussed, most successful, most promising, most admired and most hated British artists.†
He studied at the Slade art school alongside Mark Gertler, Stanley Spencer, Paul Nash, Maxwell Gordon Lightfoot, John Currie, Edward Wadsworth, Rudolph Ihlee, Adrian Allinson and Dora Carrington.
His time at the Slade was unhappy, the tutor Henry Tonks hated his work, he and Gertler fell in love with Dora Carrington (as did most men it seems) and their strong friendship was shattered when Carrington started having intercourse with Gertler.
His work however was visual and strong and he was inspired by the Italian Futurists, Cubists and his work follows themes of the Vorticists, even though he was not a member of the group after irking Wyndham Lewis.
After a brief stint as a journalist he went back to art. At the outbreak of World War I, Nevinson joined the Friends’ Ambulance Unit and was deeply disturbed by his work tending wounded French soldiers in Flanders. For a very brief period he served as a volunteer ambulance driver before ill health forced his return to Britain. Subsequently, Nevinson volunteered for home service with the Royal Army Medical Corps. He used these experiences as the subject matter for a series of powerful paintings which used the machine aesthetic of Futurism and the influence of Cubism to great effect. His fellow artist Walter Sickert wrote at the time that Nevinson’s painting:
Mr Nevinson’s Mitrailleuse, which will probably remain the most authoritative and concentrated utterance on the war in the history of painting. This must be for the nation. ‡
In 1917, Nevinson was appointed an official war artist, but he was no longer finding Modernist styles adequate for describing the horrors of modern war, and he increasingly painted in a more realistic manner to the point that ’Paths Of Glory, 1917’ was censored from display.
The First World War was one were that artists embraced Printmaking due to the lack of materials at hand, it saw the medium rise up from trade and advertising to one of art. Nevinson’s prints of WW1 were lively, hellish and futuristic.
Nevinson’s printmaking is unique in a number of ways. He was virtually the only artist who was directly concerned with Modernism to use etching and mezzotint. Every other important artist in this regard turned to wood engraving, cutting, or lithography, perhaps to break away from the established traditional etchers with whom they did not wish to be associated. Nevinson actually only attempted two woodcuts.
During the years 1916-19, Nevinson was instrumental in establishing modern ideas in British printmaking, which should be seen in the context of Vorticism, and Nevinson’s own earlier painting. Another antecedent was Edward Wadsworth’s woodcuts. ♠
C.R.W Nevinson – The Spirit Of Progress, 1915
However, this post is about the lithograph by C.R.W.Nevinson made in 1933 called ‘The Spirit Of Progress’. It is an iconic yet strange picture, almost a greatest hits of Nevinson’s artworks of the previous twenty years.
The arrangement of ‘The Spirit Of Progress’ is one Nevinson would visit many times. In ’Twentieth Century’ the Thinker by Auguste Rodin is in the centre of a war and skyscraper combination of airplanes and weaponry.
C.R.W Nevinson – Twentieth Century
‘The Spirit Of Progress’ takes place on the seventh floor of the Paris studio of the author and journalist Sisley Huddleston, as seen in the painting ‘A Studio in Montparnasse’, with the windows, curtains from this setting.
C.R.W Nevinson – A Studio in Montparnasse, 1925
Curiously enough the painting ‘A Studio in Montparnasse’ was exhibited at Leicester Galleries in March 1926 as though it were finished but after the exhibition Nevinson repainted areas of it, adding a swagger to the curtains and removing the artist painting the nude. The original version is pictured below from The Sketch newspaper.
C.R.W Nevinson – A Studio in Montparnasse, from The Sketch, 3 March 1926
When Huddleston saw the painting he was outraged of the addition of the nude model. In ‘The Spirit Of Progress’ the painting of the model is kept but is replaced with a stone Aphrodite of Milos like figure. In the painting ‘Asters’ the model is shown as a small piece of sculpture on the artists desk, though a mirror image, a print is the reverse of how it is drawn. This also happened when Nevinson transcribed ‘Loading Timber, Southampton Docks’ into the print ‘Dock Workers Loading’ it is a mirror image of the painting, being drawing as a print, the same as the painting and reversed in the printing.
C.R.W Nevinson – Asters
As above – outside the window to the right are the funnels of an ocean-liner, the type that Nevinson painted below in 1916 with the cranes for the docks.
Above the ocean-liner in the mist is St Pauls, Nevinson painted the dome of St Paul’s Cathedral many times from different view points. Planes fly over head, not the Blitz yet, as ‘The Spirit Of Progress’ dates from 1933. It was the early days of aviation and airline travel and aircraft had been used in the World War One as Nevinson was sent up, Biggles style to draw the De Havilland D.H.2 planes in Dog Fights.
C.R.W Nevinson – City of London from Waterloo Bridge, 1934
C.R.W Nevinson – St Paul’s from the South
The Bayonets shown are found in many of Nevinson’s First World War pictures, below is an etching of French infantrymen matching though a town. As it is an early picture from the war it is more Futurist in style. The same can be said of ‘Returning to the trenches’, a painting of men marching off into the distance.
C.R.W Nevinson – A Dawn, 1914.
C.R.W Nevinson – Returning to the Trenches, 1914
At the base of the the picture is a Howitzer Gun among the bayonet knives. Nevinson painted the gun on its own in a ‘A Howitzer Gun in Elevation’. A mechanical and rather Futuristic painting. The First World War being about the machines and not the humans operating them.
C.R.W Nevinson – A Howitzer Gun in Elevation, 1917
C.R.W Nevinson – New York, Night, 1920.
Nevinson was invited to New York in 1919 by David Keppel of the print publishers Frederick Keppel and Co, to exhibit his War prints. Manhattan’s architecture inspired him, not only by the sheer beauty of its sky-scrapers. ♣
It is interesting to see what then happened between the first and second exhibition in New York. When Nevinson first went to New York, it was as a war hero, a survivor and documenter of war in a bold new ‘futurist’ way. And the first exhibition was a success.
He was clearly captivated by the city, compared to the London of the 1920s it must have been something, the skyscrapers of the day in New York would have been the Woolworth Building (60 stories) and the Metropolitan Life Insurance Company Tower (50 stories), but most of the ‘skyscrapers’ of the early 1920s peaked around 30 stories tall. London didn’t start building above 20 stories until the 1960s. Nevinson is quoted below:
‘New York, being the Venice of this epoch, has triumphed, thanks to its engineers and architects, as successfully as the Venetians did in their time.. Where the Venetian drove stakes into his sandbanks to overcome nature, the American has pegged his city to the sky. No sight can be more exhilarating and beautiful than this triumph of man. ♥
His second exhibition was a series of paintings and etchings of New York that failed to capture the attention of the public. The press were kind but the works did not sell well and there is little reporting of the second exhibition in comparison to the first.
Below is an extract from the New York Herald, 24th October, 1920.
“Art,” says Mr. Nevinson, “triumphs in utility, and the most beautiful products of
the modern world are a Rolls-Royce car and a skyscraper. They have been built for strict utility; their lines are perfect and they must appeal to the genuine artist. New York will be remembered for its introduction of the architecture of the skyscraper long after its people have been forgotten for other things.” ◊
New York should like Mr. Nevinson and his work, for surely he Is her friend. No
native could ever idealize America’s greatest city more than this foreigner. ◊
C.R.W Nevinson – The Soul of the Soulless City,Previously known as New York – an Abstraction ,1920.
The poor reception of this exhibition may have accelerated Nevinson’s disaffection with the city. His growing embitterment is perhaps reflected by the change of title. Originally exhibited in 1920 at the Bourgeois Galleries, ‘New York, as New York – an Abstraction’, it was re-titled ‘The Soul of the Soulless City’ in the Faculty of Arts Exhibition, Grosvenor House, London, in 1925 probably at Nevinson’s instigation. ♦
‘The Spirit Of Progress’ has all the motifs mentioned above and of all my Nevinson prints is my favourite.
† M J. K. Walsh – A Dilemma of English Modernism, 2007 ‡ Walter Sickert – Burlington Magazine, The True Futurism – April – 1916 ♠ Robin Garton – British Printmakers 1855 – 1955, 1992 ♣ C.R.W. Nevinson 1889 – 1946 Retrospective Exhibition Of Paintings, Drawings And Prints: Kettle’s Yard Gallery 1988 ♥ David Cohen – C.R.W. Nevinson, The Twentieth Century, p46, 1999. ◊ New York Herald, 24th October, 1920. ♦ Tate, London, T07448.
John Brunsdon (1933-2014) studied at the Royal College of Art from 1955 to 1958. He was head of the printmaking department at St.Albans College of Art for sixteen years and later lived near Diss on the Suffolk/Norfolk border where he had his own print workshop.
Landscape was always John’s foremost influence, even when images were still abstract and influenced by American abstract expressionists such as Kline and Motherwell. He was fascinated by man’s mark on the landscape – the contrast between buildings and countryside: the one temporary the other timeless and primeval.
All of John’s work is individually hand etched, inked, coloured and printed. He took delight in the texture and decorative qualities of etched marks and the sweeping shapes of broad colour which fuse into timeless images.
He exhibited widely in the United States and Europe, and in New Zealand, Australia, Japan, and Canada, as well as participating in many one-man shows and group exhibitions in the UK. His work is represented in many major public collections, including the Tate Gallery, the British Council, Scottish Museum of Modern Art, the V & A, The Arts Council, the Museum of Modern Art New York. Brunsdon is widely considered one of Britain’s most distinguished printmakers.
Ealing Studios have many wonderful films, but there was a period of time when they would hire fine-art artists to design promotional ephemera and posters.
A good example is for the movie ‘Painted Boats’ from 1945. The artwork for the film was designed by John Piper. The painting of the Canal boat has a graphic device painted in by Piper, like the top of a decorative headstone.
The Movie Poster for Painted Boats, 1945.
The original painting for the film poster by John Piper.
In the credit sequence of the film there is a stylised version of the graphic device used by John Piper – I am unsure if Ealing Studios gave him it to paint first, or if he painted it and they cleaned it up for the film. The backdrop to this maybe a pro-type painting used as the movies title sequence as the trees are not the same in the image above.
The posters for Ealing Studios films feature artwork by many of the era’s greatest artists including John Piper, Edward Bawden, Eric Ravilious, Edward Ardizzone and Mervyn Peake, while the acting talent is a roll-call of many of Britain’s greatest performers. †
Even when commissioned, the studio didn’t always use the artwork by the artists, ‘The Bells Go Down’, 1942 was John Pipers first work with Ealing and although paid for his efforts, they didn’t use the artwork for the poster.
The Bells Go Down, 1942. Poster prototype design by John Piper.
Ealing’s advertising department was headed up by S. John Woods, who trained as an artist and graphic designer, before working in a variety of advertising roles, including a stint at Twentieth Century Fox in the 1930s. In 1943, he joined Ealing to help realise the vision of the studio’s chief publicist, Monja Danischewsky.
Unusually for a designer working in film advertising, Woods wasn’t afraid to bring politics into the equation. Throughout the 1930s he moved in artistic circles that included Ben Nicholson, Henry Moore and Barbara Hepworth, soaking up the energy and fervour of the interwar generation, cultivating a love of British abstract and surrealist art and actively contributing to exhibitions and articles challenging the established order.
Below is a curious mixture of Ealing Films own graphics department and artists work, in this case using Ronald Searle’s cartoons based on the film and using his St Trinian’s girls series.
The Lavender Hill Mob – Ealing Studios with decorations by Ronald Searle, 1951.
Below is another drawing by Ronald Searle for the Danish version of the poster. The drawing of Alex Guinness is wonderful.
Danish Poster for Masser af Guld – Lots of Gold. The Lavender Hill Mob, 1951.
The artist John Minton also made two poster designs for Ealing Studios for the movie ‘Eureka Stockade’, one landscape, one portrait. At first it might look like they are the same image cropped, but the way the man above the cartwheel handles his gun, the riders at the end of the stockade and the man with the razor-blade behind the soldier show they are not the same image, just very similar.
John Minton – Eureka Stockade, 1949
John Minton – Eureka Stockade, 1949
Here are two Posters by Edward Bawden, one for ‘Hue & Cry’ and the other is ‘The Titfield Thunderbolt’. The mixed perspectives of this and the light and dark boys used in both are wonderful. Both posters have hand-drawn typography.
Edward Bawden – Hue & Cry Poster, 1947
Edward Bawden – The Titfield Thunderbolt Poster, 1952
John Piper – Pink String and Sealing Wax Poster, 1945.
Above is the poster designed by John Piper and like in ‘Painted Boats’ the opening credits also used a similar design to the poster. The opening credits image actually comes from his ’Brighton Aquatints’ folio of prints, published in 1939. The poster must be adapted from the drawing.
John Piper – Kemp Town, 1939
† Page 2 – Press Release – Ealing Films – Light and Dark ‡ Ealing and the art of the film poster
Here is a documentary on Edward Bawden, Broadcast on Anglia TV in November 1983. It shows Bawden in his studio and house, talking of his war work and life in art and design.
