This is just a camera reel of my last year in London. Some of the pictures are early and others are the Summer. I think it is important to memorialise those times even though it looks like it will be around a lot longer than we hoped.
The barriers here, according to the staff were the surplus for crowd control to place people queuing for the British Museum.
Part of the Thankyou NHS craze where people showed support for the workers of the health service. This was the first time I had seen it on a bus. I do like the idea of children making the signs too that hung in so many houses.
The empty restaurants just before the Lockdown
Below is the urinal in Tate Britain. Part of the social distancing measures to keep people two metres apart.
If you are British it would be hard to ignore the influence of Penguin books, and one of their most popular illustrators is probably the least known. Paul Hogarth was, according to his close friend Ronald Searle, “the original angry young man”. Born in Kendal his family moved to Manchester when he was six and as a young man he was fired by the radical left-wing politics he acquired as a student, he lied about his age and went off to join the Republicans in Spain where he drove lorries in the Spanish Civil War for the International Brigade. War inevitably proved to be less than glorious and the Communists soon returned him to England when they discovered that he was still only 17.
He attended Saint Martin’s School of Art under James Boswell, and with a talent for illustration and reportage, which was allied to his love of travel. That reporter instinct lead him to a happy career in illustration as he was able to sum up a books plot and illustrate it very quickly.
From 1959 to 1962 he was Senior Tutor at the Cambridge School of Art and from 1964 to 1971 at the Royal College of Art, London. In 1968-1969 he was associate professor of illustration at the Philadelphia College of Art, USA. Hogarth was elected to the Royal Academy of Arts in 1974 and to full membership in 1984. He became honorary president of the Association of Illustrators in 1982 and he received an O.B.E. in 1989. In 1999 he was awarded an Honorary Doctor of Arts by Manchester Metropolitan University. In 1967 at Cambridge we were set a reportage project drawing London markets over a period of a week. I did drawings of Leadenhall Market, Smithfield meat market, the original Covent Garden fruit & vegetable market, and the original Billingsgate fish market in Lower Thames Street.
He was elected an associate member of the Royal Academy in 1974, a full member in 1984; and was awarded the OBE in 1989. His work is held in collections worldwide, and he exhibited regularly in the Francis Kyle Gallery in London.
Hogarth died on 27 December 2001(age 84). At the time of his death he had been married to actress Diana Hogarth (stage name Diana Robson) for 12 years.
Hogarth became a tireless traveller and his creative partnerships with writers further extended his wanderings. His collaborations included travels in South Africa with Doris Lessing, in Ireland and New York with Brendan Behan, and America with Stephen Spender, and Corfu with Lawrence Durrell. His came to know Majorca on account of Robert Graves and subsequently bought a house there himself – as well as producing a portfolio of lithographs entitled Deyá (1972) with handwritten poems by Graves.
It was perhaps inevitable that he should come into collaboration with Graham Greene, a creative artist whose thirst for travel was perhaps even greater than his own. Hogarth’s travels in “Greeneland” – that hinterland of the author’s imagination – took him to over 20 countries. In his 1997 autobiography Drawing on Life Hogarth described many of the writers he encountered in the predatory clientele of literary haunts in London and New York, and in particular he recalled Greene’s “ice-blue eyes and tormented face”.
The illustrations he provided for John Betjeman’s In Praise of Churches (1996) reflected a kindlier vision, however, and demonstrated Hogarth’s sensitivity to architecture and a particularly English love of eccentricity and idiosyncrasy.
Most people know I love ephemera and here is a piece of ephemera specific to a device, the watch. Watch papers were small engravings put into the back of watches so that the owners would know what shop to return it to for repairs as well as continued advertising.
A detail (below) from the Cambridge watch paper of James Peters, with the corinthians quote, “O death, where is thy sting? O grave, where is thy victory”, and what is likely death (the scythe), or what might have been the fashionable term then, the recording angel – beside the skeleton as it’s spirit departs from the mortal remains.
Many of the fobs have engraving of the town the company is in; a detail of a church or some local landmark. Many of the papers have cuts in the edges to help them fit into curved cases. Below is another design, a mirror image of the Cambridge watch and looks to have been a popular design on death, likely all engraved by John Woollett. As the spirit departs the soul, lightning cracks breaking a column in two, something you will see in graveyards around 1830-80, meaning a life cut short.
Left: John Woollett’s watercolour design. Right: an engraving for a shop in London.
Below is another design by John Woollett – it is a ticket to a funeral of a Mr James Mabbs, c1773.
Funeral ticket: a large pedestal in graveyard with space for inscription, topped by tomb with prostate skeleton representing Death, and Time as a winged old man, holding base of Death’s broken spear, his scythe by his feet.
Back to the watch papers. Some of the early designs are also business cards that are cut down to circles to fit in the cases from the canny watch dealer who wanted to save money with his stationer.
Alfred Waldron was a talented printmaker born 1912. Born in the suburbs of Birmingham, he attended the local Art School, at that time famous for pushing the boundaries of graphic design and flaunting it in their annuals The Torch. Waldron studied under Eric Malthouse (taught at Birmingham from 1931-7), who’s estate these prints come from. Waldron was at the Birmingham School of Art from 1931-4. Graduating from the art school Waldon travelled to stay at the artists’ colony on Sark, in the Channel Islands.
In the 1930s many British artists worked on Sark for the good light but these were traditionalists such as Arthur Royce Bradbury, who spent most of the summers there. Eric Drake was a teacher at the Slade School of Art and had married a talented graphic artist, Lisel, and moved to the island too. Eric invited many artists to the island, including the groups most famous member, the author and artist Mervyn Peake in 1932. Peake spent the next five years on the island.
Sybil Andrews – Tumulus, 1936
These young artists were shook up with new and bold styles of printmaking and painting and bought this to the island. Waldron joined the Sark Group of Artists in 1934, the same time as Guy Mallet, and they both exhibited prints at the newly built art gallery that acted as the centre for the artists on the island. They were joined by frequent guests on the island, Sybil and Cyril Andrews.
Other artists on the island included Medora Heather, Stanley Royal, C. T. Fay and George Elmslie Owen.
The teacher Eric Drake and his rich American wife Eloise, ‘Lisel’, an ex-Slade student, had started the Sark Art Group a few years earlier, hoping to imitate the artists’ colony in St Ives in Cornwall, and had built a studio.
Sybil & Cyril: Cutting through Time
Drake’s Art Gallery, apparently painted in blue and pink.
In London the Sark Group exhibited at the Cooling Galleries, New Bond Street, London from May to June 1934. This exhibition created a lot of press coverage, and in an interview Drake tried to encourage young artists to come to Sark but suggesting that men could get money and credit on the island by taking on manual jobs such as gardening on the island “between his spells of artistic creation“.
Alfred Waldron was known as ‘Pip’ on the island. It’s claimed that Mervyn Peake based the character of Mr Pye (1953) on him.
Eric Drake wrote about Waldron: ‘he seemed to live in a world of fantasy that was private to him, if not completely autistic. I think we all felt his innate ability, but we also knew of his traumatic childhood; I hoped Sark would snap him out of it, but I guess it needed more than that’.
Vast Alchemies: The Life and Work of Mervyn Peake – Page 72
Drake continues: Pip brought with him Alex Gannon to the Colony – ‘the two were hand in glove; I never tried to probe the relationship’. ‘Once Pip had seen Sark, he could hardly be made to go back to Birmingham, yet Gannon could hardly be made to give up his business [also in Birmingham] and kick his heels in Sark.”
Vast Alchemies: The Life and Work of Mervyn Peake
A critic of one of the artists group shows said this of Waltron’s linocuts: ‘The perfect balance of the black and white, the vitality of the figures, the texture, and the composition as a whole, is amazing.’
The group stuck together until the war sealed the fate of the community on the island, as well as Eric Drakes’s separation with his wife in 1937.
Waldron also showed his work widely in North America including in the British Pavilion at the World’s Fair in New York 1939, National Gallery of Canada 1939, Museum of Fine Arts, Boston 1940, and the Arts Club of Chicago 1940. His work is in the collection of the British Council.
The last record of him exhibiting his work is in an exhibition in Puru, Exposición de arte Británico Contemporáneo with his linocuts for a planned book of the Omar Khayyam. The work was donated to the British Council by Mrs Douglas Mitchell.
Alfred Waldron’s last works were of Linocuts. It could be he died of natural causes or in the war but the British Council also have no record of what happened to him after 1945.
In the 1940s Piper had left the Cornish abstraction style of painting he had picked up in the 7&5 Society for the world of neo-romanticism. He started to paint the gothic buildings of his friends houses and really mastered the effect of light. Being able to use light dramatically might have been why he was tempted into design sets for the ballet, The Quest by William Walton, but more of that later.
John Piper – The Gothic Archway, Renishaw, 1942
Both Piper and Walton were guests of the Sitwells at the family home, Renishaw. Walton when interviewed at the end of his life remembered himself as a “scrounger” on their company in the 1920s and 30s and that they used him for his talents as a composer and he used them for access to others, such as Stravinsky, but he admitted, they knew everyone. The Sitwell’s were very keen to have creative people around them (rather like the Morrell’s a generation before). In the nature of friendships, collaborations happened.
For Walton and Sitwell this started with ‘Façade – An Entertainment’; a mixture of poems by Edith Sitwell recited over the music of William Walton. Sitwell penned some of the poems in 1918 and music was put to them in 1922, and a public performance the following year. The poems were recited behind the curtain with a band behind. Using a sangaphone. (A Megaphone made of paper mache to project the voice) Edith spoke out her poems in rhythm to the music and all the audience saw was a sheet, with a face painted on it and a hole for the megaphone.
Piper remembered his time at Renishaw in the Second World War as a shelter from chaos, and was also commissioned to paint the hall. Soon he found himself as a good friend of Osbert Sitwell and found the families high-brow conversation an education. In 1942 Edith revived Façade and Piper was commissioned to paint a curtain. Below is a screenprint made in 1987 to the same design as the 1942 performance. The black hole is where the sangaphone was placed.
John Piper – Façade, 1987 (A Screen Print based on the original curtain design)
The façade in Piper’s design was inspired by the entrance front of Eaton Hall in William Porden’s Regency Gothic incarnation. Eaton came into the possession of the Grosvenor family in the 1440s, and the first house on the present site was built in 1675-82. The house was transformed in 1804-14 by William Porden for the 2nd Earl Grosvenor, and in 1823-5 wings were added by Benjamin Gummow. The result was a spectacular Gothic mansion with spiky buttresses, pinnacles, battlements and turrets. The house was remodelled in 1846-51 by William Burn, and in 1869-83 Alfred Waterhouse transformed it into a Wagnerian palace for the 1st Duke of Westminster. This was demolished in 1961-3, leaving only the chapel and stables. A modern house was built in 1971-3, which in turn was transformed in 1989-91 for the present Duke.
Newspaper quote.
Now back to our Quest. It might have been Façade or just knowing the Sitwells that Piper became exposed to Walton but they ended up working together on The Quest, a ballet, scored by William Walton, designed by Piper with lost choreography by Frederick Ashton in 1943. The ballet, with a scenario by Doris Langley Moore, was based on The Faerie Queene by Edmund Spenser. It was first given by the Sadler’s Wells Ballet company with Margot Fonteyn as the lead dancer.
The buildings sketched out in the illustration above were reproduced as the white tower in the centre and early designs for the follies to the side below.
John Piper – The House of Holinesse, 1943
This same image above, like Façade was made into a screenprint in 1986. Below you can see the design in the background of the dancers, with differences to the lake and the sky, the design is mostly accurate to Pipers drawings.
John Piper – The Place of Rocks near the Palace of Pride, 1943
You can see how the designers translated Pipers designs below, the shape of the grotto doors, allowing the players to move on and off the set.
The large leaf design on the left grotto door here shows the scale of the design and how well it was translated for the stage. Here Margot Fonteyn holds and sword above Robert Helpmann.
In another scene below you can see how Piper used light for drama on the stage.
John Piper – The Magician’s Cave, 1943
Below you can just see the wisps of the trees from The Magician’s Cave.
In this last background painting is The House of Pride. The final version became a lot more refined and you can see it in the background of these promotional photographs.
John Piper – The House of Pride, 1943
Below is one of the costume designs by Piper for the Ballet. You can see feathers of the head-dress and the ruffals of the arms.
I have mentioned this many times before, Eric Ravilious, who was an artist in a hurry, used to replicate his work a great deal for different commissions. And here are a few examples of them. Most artists have themes and motifs in their work, but I don’t think I have come across any other artists who plagiarised themselves to this degree.
Above is a design he made for Wedgwood’s Travel series in 1938, a side plate and as you can see below it was a woodcut from The Hansom Cab and the Pigeons (1935) a book he illustrated by L. A. G. Strong.
Eric Ravilious – Headpiece from The Hansom Cab and the Pigeons (1935)
Another fine example is also from a book, Martin Armstrong’s Fifty-Four Conceits (1933) illustrated by Eric Ravilious of an biplane flying.
Eric Ravilious – The Young Airman, 1933
Below you can see the same image used for the Wedgwood Travel series, with clouds added because the transphers Wedgwood used couldn’t process black areas very well, even with halftone details. The same illustration was used for the Thomas Hennell’s book. Poems (1936).
Eric Ravilious – Kynoch Press Notebook, December 29th (Block 201)
The woodcut above is one of the many designs Ravilious made for the Kynoch Press Notebook (1933). The three trees in the pond appear again here, with the snow falling in this design for the 1938 Wedgewood Travel series plate.
Eric Ravilious – Two Cows, 1935
Above is a watercolour that has been turned into a wood-engraving before for the London Transport walk books. The cows are thought to have been from Great Bardfield Hall and the farm connected on the side. You can also see he has copied the same cow twice but painted it in a different colour.
Eric Ravilious – Two Cows (Woodblock) Drawing, and the engraving itself. 1936
Here you can see a mirror image of this Wedgwood design and the train in the plate. It is thought he copied his wood-engraving design, and when it was printed by Wedgwood the transfer made the design reverse.
Here are mirror images
Though not a copy of his own work, it is an inspiration from his home. Ravilious had this print of a Race on the Mississippi above the fireplace in his living room, and I always believed this to be the inspiration of the boat design in the plate above, without the paddle engine to make it look more European.
Here is an invitation to the International Exhibition, Paris 1937, that the USSR would also use as an international gathering for the 20th anniversary of the USSR.
Below is the Eric Ravilious designed cover for the British version of the guide. There was also a cover in French.
The booklet below is where many of the photographs from this booklet come from. They have simple colour tints.
The booklet is full of interesting photos of the pavilions of each country. What visitors would have found most interesting that in 1937 both the Russian and German powers had key spots and so made towering entrances facing each other.
The front view of the British Pavilion is above and the side view below.
The Finnish Pavilion below was designed by Alvar Aalto.
Sometimes when writing the blog it is helpful to pick a topic that artists paint and react to, in this case it is Adam and Eve. Go into any gallery and normally there are at least ten paintings of this bible tale, but those paintings, usually pre 1900, were made to sell under a system of patronage of artists and their collectors. Today the topic is less fashionable, but I think these are curious works by modern artists.
Eric Fraser – Adam and Eve.
Charles Mahoney – Adam and Eve in the Garden of Eden, 1936.
Adam and Eve in the Garden of Eden, 1936
Elisabeth Frink – Adam and Eve, 1968
Thomas Watt – Adam, Eve, Serpent and Angel, 1947
Catherine Wood – The Garden of Eden, 1971
In the picture below we have a curious bending of the tale, with Péronne used as the location, a shelled and bombed town in the Somme during World War One. A paradise lost and in ruins.
William Orpen – Adam and Eve at Péronne, 1918
Stanley Spencer – Adam and Eve in the Garden of Eden, 1936
What I also have thought of is the colour red and it’s link to danger, from signage, to the ruby slippers of Dorothy Gale. The serpent is green but the fruit is red.
In June 1918, Sargent traveled to France as an official war artist for the British government. Commissioned to paint a picture commemorating the joint efforts of American and British troops, he spent four months along the Front, sketching and painting in watercolor as he searched for a subject.
What remains is a sensational series of paintings of conditions of the men, men off duty and situations of camp life.
John Singer Sargent – Studies for Gassed, 1919
John Singer Sargent – Gassed, 1919
John Singer Sargent – Studies for Gassed, 1919
John Singer Sargent – Wheels in Vault, 1918
John Singer Sargent – Truck Convoy, 1918
John Singer Sargent – Trucks, 1918
John Singer Sargent –Camp with Ambulance, 1918
John Singer Sargent – Tommies Bathing, 1918
John Singer Sargent – Tommies Bathing, 1918
John Singer Sargent – Landscape in ein Ruderer, 1918
Many artists have obsessions, painting the same subjects over and over. The Palais de la Jetee was an obsession for Raoul Dufy. A set of tea rooms, promenade and casino, it stood on a pier off the Nice seafront.
The pier was designed in 1870 and built in 1883, though four days before it’s opening it burnt down. This design was in an indian style, likely influenced on the Brighton Pavilion.
The pier, smoldering after the fire.
It was then redesigned and completed in 1891. This new construction was likely made more of cast-iron, for a quicker build. After the Great Exhibition of 1851, glass and iron buildings became popular for exhibition sites as they were quick to construct and cheaper to make. Part of the intention to build it was to attract tourists to Nice and this new build was dubbed the ‘crystal casino’.
The pier after the fire, 1888
Below is another postcard, likely mis-coloured by someone who had never been, but it shows the casino in the full summer season with the cafes lining the coast. The pier was closed during the Second World War and the German army stripped it of metal. There was then a bond scheme for people to reinvest in it, but this failed and it was then dismantled.
It is this second pier that fascinated Dufy. Was it so mesmeric to him? Or was it that it was a popular subject and easier to sell paintings of a happy holiday location? The fashion of the Côte d’Azur coast was at its peak at this time.
I thought I would also show one of the proposed designs for the pier and then some postcards of the interior.
