Blog – Page 41 – Inexpensive Progress

The Art in Bawden’s Home

Post author By Robjn Cantus
Post date 18th July 2017

The art that Edward Bawden filled his home with were mostly the pictures of the friends he made during his life; from Paul Nash to his son Richard.

Some of these works can be seen from the photographs taken when Bawden died, but also from the many watercolours of his house in Saffron Walden as seen in last week’s post.

The Living Room, 2 Park Lane, Saffron Walden, 1985

This is a picture of the corridor and a cupboard full of glasses and pottery. Bawden’s wife Charlotte Epton studied pottery with the Leach’s in Cornwall so it is likely it is part of her collection. To the right there is a print of Kew by Bawden.

Edward Bawden – The Palmhouse, Kew Gardens, 1950

It was said Bawden’s wife Charlotte had a flair for decoration at Brick House but with his move to Saffron Walden after her death the house on Park Lane was decorated to his own tastes. Bawden used his reserve of Wallpaper stock to decorate many of the rooms in 2 Park Lane, Saffron Walden.

As shown with the various views of the sitting room in the photos and watercolours, the walls were lined with shelves of studio pottery and framed pictures.

In the photo above on the wall above the table in the centre is a large print by John Norris Wood ‘Country Garden Butterflies’ of a poise of flowers with butterflies around it. It turns out that within Edward’s lifetime there was a Eric Ravilious on the wall of a Harlequin but on his death Edward left it to Anne Ullman, Eric Ravilious’s daughter who later sold it to the Fry Gallery. ♠ When Bawden died and the Harlequin removed it was replaced with the John Norris Wood that Bawden much have also owned.

Eric Ravilious – Harlequin, 1928

This Ravilious watercolour was part of the preparatory work for the commission of a mural for the Refectory at Morley College, London.

To the left of that image at the top is a set of four framed wood engravings by Paul Nash from the Nonesuch Press book ‘Genesis’, 1924, printed at the Curwen Press. How Bawden came to own them is quoted below:

The Curwen Press used Bawden’s patterns for wallpapers and were the earliest designs printed from linocuts by Edward Bawden. Paul Nash offered him support at the Royal College and exchanged five of his engravings for five of Bawden’s wallpaper patterns. †

Below the four ‘Genesis’ wood engravings and an engraving of ‘The Bay’, 1923. Through the archway and the Hoya Carnosa, hanging below the light and above the chair is a print by Edward’s son Richard, of the Aldeburgh Martello Tower.

Paul Nash – The Bay, 1923

Paul Nash – Let the earth bring forth the creatures, 1924

John Norris Wood – Country Garden Butterflies

Richard Bawden – The Martello Tower, Aldeburgh

In the photograph above, framed on the wall is Edward’s large print of ‘The Pagoda, Kew Gardens’ looking bold with it’s bloody red roof is provides a strong colour scheme for the room and the Persian red carpets and would be opposite the print of ‘The Palmhouse’, as pictured above.

Edward Bawden – The Pagoda, Kew Gardens, 1963

Here in this room the walls are lined with the wallpaper Edward Bawden worked with John Aldridge on called ‘Grid and Cross / Waffle (Green)’, printed by Cole and Son Ltd.

The framed pictures are wood engravings by Eric Ravilious. These where for the 1933 Golden Houses Press publication of ‘The Famous Tragedy of the Rich Jew of Malta’ by Christopher Marlowe.

Eric Ravilious – Barabas in his Counting-house, 1933

This wood engraving was shown and for sale at the Society of Wood Engravers 14th show where the catalogue lists the print as ‘Wealthy Moore’.

Eric Ravilious – A charge, The cable cut, A cauldron discovered, 1933.

Edward Bawden – Grid and Cross & Waffle (Green), 1938

Edward Bawden – Cat among Pigeons, 1986

Pictured at the end of ‘Cat among Pigeons’ is the door to the bathroom and the stairwell to the ground floor. The pictures on the wall are a lithograph by Chagall and again, one of Bawden’s own prints. A small print of St Peter’s Basilica is in the bottom right corner of the photo. The wallpaper is ‘Wood Pigeon’ one of the Plaistow Wallpapers that was later printed by Cole and Son Ltd.

Marc Chagall – Donkey & the Eiffel Tower, 1954

Edward Bawden – Albert Bridge, 1966

Edward Bawden – Wood Pigeon, 1927

In the bedroom is the portrait of Edward Bawden that his friend Phyllis Dodd painted in 1929. Dodd would marry one of Bawden’s many biographers, Douglas Percy Bliss.

In 1929 she painted a likeness of Bawden sitting stiffly in his best suit and then she made portraits of Ravilious and later still his wife. ‡

Phyllis Dodd – Edward Bawden, 1929

In this room upon a large Victorian chest of drawers there are two oil lamps and a set of Staffordshire figurines, behind them is one of the rarer Bawden prints of ‘Grasses in a Jug’. The wallpaper is by Bawden, ‘Riviera’ from 1929.

Edward Bawden – Grasses in a Jug, 1967

Edward Bawden – Riviera, 1929

In this room with the Chest of Drawers of the photo above to the right we can see two more of Bawden’s own prints and to the right a Mary Fedden picture that looks like a nocturnal view of her print ‘The Lamp, 1972′.

In the centre the door is opening on to Bawden’s studio.

Edward Bawden – Kew Palace, London, 1983

Edward Bawden – The Royal Pavilion, Brighton, 1956

Here is a side view of the studio with picture racks and large artwork boards and tables to work from.

Edward Bawden – Roses and Rue, 1987

One of the most telling paintings is ‘Roses and Rue’. Bawden had no TV as he was profoundly deaf so most of his news came from copies of The Guardian. Painted in his studio it shows a tray of paints in the top left corner.

† David McKitterick – Wallpapers by Edward Bawden, 1989.
‡ Malcolm Yorke – Edward Bawden and his Circle, 2005
Bawden House Photographs c/o The Fry Gallery and Weeping Ash
♠ Art Fund – Harlequin by Eric Ravilious

Tags Art Collection, BawdenAtHome, Edward Bawden, Eric Ravilious, great bardfield, Interiors, John Nash, John Norris Wood, Linoprinting, Richard Bawden

Edward Bawden at Home

Post author By Robjn Cantus
Post date 12th July 2017

Edward Bawden – Press and Books, 1979

The Print Room – 2 Park Lane, Saffron Walden, 1989

Edward Bawden is best known as one of the Great Bardfield artists in the 1950s, but as the artists either divorced or moved away to other villages and towns, Edward and his wife Charlotte were the only important artists left in the village in the late 1960s, (other than John Aldridge). With health problems and old age, Bawden and his wife decided to move to Saffron Walden. Charlotte sadly died just before moving into 2 Park Lane, Saffron Walden, but Edward honoured the sale and moved alone in 1970.

With the blank canvas of a new house, Bawden set to work decorating the rooms with his own wallpapers and setting up the possessions brought from Brick House into this new home. A studio was built on the back of the property with large windows and a trap door for large works to enter the studio without going through the house. After ten years living at the property Bawden’s health became worse with old age.

For most of the year he was more house-bound than he had ever been and this forced him into new subject areas. In 1986 he began a series of watercolours which depicted his own rooms, his studio, his plants, his glowing oriental carpets, his gas fire, his cat Emma Nelson, and, eventually, this most private of men made his own face the subject of his art.

This focus on home and the cat was becoming obvious when one looks at the exhibition picture list for ‘The Private World of Edward Bawden’ by the Fine Art Society in 1987.

Works list at ‘The Private World of Edward Bawden’ Exhibition, 1987. †

The Tate now possess two of the pictures from this show, “Emma Nelson by the Fire” and “Roses and Rue”, both pictures with the cat in. In the magazine ‘House and Garden’ (December 1987) Edward Bawden gave an interview about his cat:

No cat will suffer from being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action with a colour and colour. ‡

Edward Bawden – Emma Nelson by the Fire, 1987

When the Tate wrote to Richard Bawden for more information on the painting they had acquired (Emma Nelson by the Fire) in 1991 he responded with this letter:

Although the house is covered with his early wallpapers, yellowed by nineteen years of nicotine, his studio being an extension was painted brick and not alas the wallpaper known as Rustication [1938–9] … The nasty tartan fur lined cat ‘basket’ came from the local charity shop … The rug on the floor used to be in the bathroom at Brick House, Gt. Bardfield, bought by my mother on a trip to Portugal or elsewhere. The curtain draped over the armchair hung in the spare room at Gt. Bardfield, and I am fairly sure must have been designed by Marianne Straub who lived in the cottage directly across the road and who at the time, I mean the late fifties, was chief designer at Warners. The cushion, at a guess because there is not much showing, was probably covered by a piece of hand blocked cotton by Barron & Larcher who had a studio in Painswick until the outbreak of war. The gas fire I cannot help you with, only I think Edward has improved its design. ♠

The letter illustrates a lifetime of collecting and friendships in the possessions Bawden owned. In next week’s post I will elaborate more on this theme but I will leave you with some of the many images Bawden painted of his home and of his cat.

Edward Bawden: Cat and an Orchid, 1987

The Living Print Room – 2 Park Lane, Saffron Walden, 1989

Edward Bawden – Cat on Cushions. 1985

Edward Bawden – The Living Room, 1985 (Featured in the R.A. ‘85 Summer Exhibition)

The Living Room – 2 Park Lane, Saffron Walden, 1989

Edward Bawden – Cat on the Carpet, 1987

Edward Bawden – Bamboos and Garden Seat, 1979

Edward Bawden – Cat and Greenhouse, 1986

Edward Bawden – Cat Among Pigeons, 1986.

Edward Bawden – Two Chairs and a Cat, 1986

Edward Bawden – Rose and Shaving Mirror, 1987

Edward Bawden – Cat on A Pile of Blankets, 1985

Edward Bawden – Four Chairs and a Cat, 1987

Edward Bawden – Roses and Rue, 1987

Edward Bawden – Cat with Everlastings, 1987

Edward Bawden – Play With Me, 1983

The linocut on the table when finished and editioned was also called Play with Me, now famous for being a Cushion from the Fry Gallery.

Edward Bawden – Cap and Base, 1983

Bawden printed these designs onto ceramic tiles, presumably for himself.

Edward Bawden – Self-Portrait, 1986

Jorge Lewinski – Edward Bawden in his Studio, 1978.

Edward Bawden – Cat on a settee, 1987

Edward Bawden – Daffodils, 1988

Below is one of the last watercolours Bawden painted and left unfinished and the linocut also unfinished.

Edward Bawden – Daffodils, Unfinished, 1989

Edward Bawden – Poseidon Linocut, Unfinished 1989

Bawden was working on this linocut on November 21st 1989 before attending for lunch, where he died at table. ♥

† Fine Art Society, The Private World of Edward Bawden’ Exhibition Booklet, 6-30 April, 1987
‡ House and Garden’ (December 1987) Edward Bawden
♠ Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996.
♣ Malcolm Yorke – Edward Bawden and his Circle.
♥ Fry Gallery Label 2018

Edward Bawden – His Master’s Room, 1984

Edward Bawden – The Grandchild’s Room, 1984

Tags BawdenAtHome, cats, Edward Bawden, great bardfield

The Ravilious Plate

Post author By Robjn Cantus
Post date 6th July 2017

One of the items I own is an original engraving plate for Wedgwood by Eric Ravilious. I bought it as I like the social history of printed china, not only of Wedgwood, but when artists would design domestic tableware. Being a printing plate it is as close to the original drawings by the artist, but very few have survived (maybe ten) and most of them were melted down after the production ended.

Metal engraved plate with the Ravilous design for ‘Garden’. From my collection.

Below is a printing taken from the plate, printed in black on to white paper.

‘Garden’, the most elaborate of the designs (comprising a border, then vignettes and many smaller details from these), appears in the Wedgwood estimate books between November 1938 and May 1939. ‘Speaking for myself,’ Tom Wedgwood wrote acknowledging the receipt of some drawings, ‘I am delighted with them, particularly the Garden pattern; you must have put in a tremendous lot of work on these patterns since you were down here, and I do think you are to be congratulated on the result. †

Detail: A collage of pieces making the finished plate by Ravilious.

The garden series had various vignette designs for the china pieces. Ravilious would paint them in with watercolour, pen and pencil.

Below I have put more information from the Wedgwood guide to how the factory produced, printed and made the ceramics with the metal plates. ‡

The Engraver:
A pattern which is designed for reproduction by printing is first drawn to fit the curves of the various pieces of ware (china) to the width it will be applied. It is then engraved either on a flat copper plate or on a copper cylinder. This is done with a sharp pointed tool called a “graver”. Light and shade effects are obtained by minutely graduated punched dots. This craftsmanship calls for the highest degree of skill which can only be acquired after many years of experience.

The Printer:
Prints can be taken of flat copper plates by hand. The heat softened colour is rubbed into the engraved lines and the print is taken off on to specially prepared tissue paper by dressing the copper plate with the tissue paper between two flannel covered rollers. Nowadays, power operated printing machines are employed. The engraved copper cylinder prints the pattern on a continuous roll of paper. The colour mixed with oil is fed to the cylinder which is heated by an electric element in its centre.

The Transferrer:
All superfluous tissue paper having been cut away the transferrer applies the paper print. It is vigorously rubbed on to the ware first with a flannel and then with a hard brush to ensure that it adheres firmly and evenly. Afterwards the paper is washed off leaving the pattern transferred to the ware. This is then passed through an electric kiln to harden on the colour of patterns printed on biscuit or to fuse the colour to the glaze in the case of those printed on the glaze.

The Enameller:
Printed patterns can be enriched by the addition of ceramic colours, the painting of which calls for great skill.

† Ravilious & Wedgwood: The Complete Wedgwood Designs of Eric Ravilious by Eric Ravilious and Robert Harling, 1995.
‡ The Making of Wedgwood at Barlaston, Stoke on Trent.

Tags Eric Ravilious, great bardfield, Ravilious, Ravilious Wedgwood, Wedgwood

John and Russell

Post author By Robjn Cantus
Post date 28th June 2017

Augustus John – Self Portrait, 1920.

After the Second World War had effectively ended with the United States dropping the two nuclear weapons on the Japanese cities of Hiroshima and Nagasaki on August 6th and 9th, 1945, the world was closing one door to war and opening another into the Cold War. This was both an arms-race and a stand-off. Peace movements and rallies had some worth to them then.

Augustus John joined the Peace Pledge Union as a pacifist in the 1950s, and on the 17th September 1961, just over a month before his death, he joined the Committee of 100’s anti-nuclear weapons demonstration in Trafalgar Square, London. At the time, his son, Admiral Sir Caspar John was First Sea Lord and Chief of Naval Staff. It can only be guessed that Caspar John was not happy about it. Further more he was invited to join an CND demonstration by Bertrand Russell.

From Augustus John
Fryern Court,
Fordingbridge, Hants.
(Postmarked 15 Feb 1961)

Dear Lord Russell,
Your message was brought to me while I was working in the studio (not the one you knew, but one further off) by the gardener. I told him how to reply, which he said he understood but I don’t know if he did so correctly. All I wanted to say was that I believed in the object of the demonstration and would like to go to prison if necessary. I didn’t want to parade my physical disabilities though I still have to follow the instructions of my doctor, who I think saved my life when I was in danger of coronary thrombosis. A very distinguished medical authority who was consulted, took a very pessimistic view of my case, but my local doctor, undeterred, continued his treatment and I feel sure, saved my life. All this I meant privately & am sure you understood, even if the gardener garbled it when telephoning.I wish the greatest success for the demonstration on the 18th although I can only be with you in spirit.

Your Augustus John,

A few days later on the 18th February 1961, Bertrand Russell can be seen sitting under the banner of Action for life, a peace protest against nuclear weapons.

At a peace protest for the commemoration of Hiroshima Day on the 6th August, 1961 Russell was arrested when he took part in a sit down protest.

At the age of 89, Russell was jailed for seven days in Brixton Prison for “breach of peace” after taking part in the anti-nuclear demonstration in London. The magistrate offered to exempt him from jail if he pledged himself to “good behaviour”, to which Russell replied: “No, I won’t.”

Cartoon from the Evening Standard refers to the week-long prison sentence served by Russell in September 1961.

After he had spent a week in jail he was released. In October he gave a speech in Trafalgar Square.

Extract of Russell’s Speech in Trafalgar Square, October 29, 1961

Friends,
During the last decades there have been many people who have been loud in condemnation of the Germans for having permitted the growth of Nazi evil and atrocities in their country. ‘How’, these people ask, ‘could these Germans allow themselves to remain unaware of the evil? Why did they not risk their comfort, their livelihood, even their lives to combat it?’

Now a more all-embracing danger threatens us all-the danger of nuclear war. I am very proud that there is in this country a rapidly growing company of people who refuse to remain unaware of the danger, or ignorant of the facts concerning the policies that enable, and force, us to live in such danger. I am even prouder to be associated with those many among them who, at whatever risk of discomfort and often of very real hardship, are willing to take drastic action to uphold their belief. They had laid themselves open to the charges of being silly, being exhibitionist, being law-breakers, being traitors. They have suffered ostracism and imprisonment, sometimes repeatedly, in order to call attention the facts that they have made the effort to learn.It is a great happiness to me to welcome so many of them here – I wish that I could say all of them, but some are still in prison. We none of us, however can be entirely happy until our immediate aim has been achieved and the threat of nuclear war has become a thing of the past. Then such actions as we have taken and shall take will no longer be necessary.

We all wish that there shall be no nuclear war, but I do not think that the country realizes, or even that many of us here present realize, the very considerable likelihood of a nuclear war within the next few months. We are all aware of Khrushchev’s resumption of tests and of his threat to explode a 50 megaton bomb.

We all deplore these provocative acts. But I think we are less aware of the rapidly growing feeling in America in favour of a nuclear war in the very near future. In America, the actions of Congress are very largely determined by lobbies representing this or that interest. The armament lobby, which represents both the economic interests of armament firms and the warlike ardour of generals and admirals, is exceedingly powerful, and it is very doubtful whether the President will be able to stand out against the pressure which it is exerting. Its aims are set forth in a quite recent policy statement by the Air Force Association, which is the most terrifying document that I have ever read. It begins by stating that preservation of the status quo is not adequate as a national goal. I quote: ‘Freedom must bury Communism or be buried by Communism. Complete eradication of the Soviet system must be our national goal, our obligation to all free people, our promise of hope to all who are not free.’ It is a curious hope that is being promised, since it an only be realised in heaven, for the only ‘promise’ that the West can hope to fulfil is the promise to turn Eastern populations into Corpses.

The noble patriots who make this pronouncement omit to mention that Western populations also will be exterminated. ‘We are determined’, they say, ‘to back our words with action even at the risk of war. We seek not merely to preserve our freedoms, but to extend them.’ The word ‘freedom’, which is a favourite word of Western warmongers, has to be understood in a somewhat peculiar sense. It mains freedom for warmongers and prison for those who oppose them. A freedom scarcely distinguishable from this exists in Soviet Russia. The document that I am discussing says that we should employ bombs against Soviet aggression, even if the aggression is nonnuclear and even if it consists only of infiltration. We must have, it says, ‘ability to fight, win, and purposefully survive a general nuclear war’. This aim is, of course, impossible to realise, but, by using their peculiar brand of ‘freedom’ to cause belief in lies, they hope to persuade a deliberately uninformed public opinion to join in their race towards death. They are careful to promise us that H-bombs will not be the worst things they have to offer. ‘Nuclear weapons’, they say, ‘are not the end of military development. There is no reason to believe that nuclear weapons, no matter how much they may increase in number and ferocity, mark the end of the line in military systems’ development.’ They explain their meaning by saying, ‘ factor in the international power equation’. They lead up to a noble peroration: “Soviet aims are both evil and implacable.

The people (i.e. the American people) are willing to work toward, and fight for if necessary, the elimination of Communism from the world scene. Let the issue be joined.’ This ferocious document, which amounts to a sentence of death on the human race, does not consist of the idle vapourings of acknowledged cranks. On the contrary, it represents the enormous economic power of the armament industry, which is re-enforced in the public mind by the cleverly instilled fear that disarmament would bring a new depression. This fear has been instilled in spite of the fact that Americans have been assured in the Wall Street journal that a new depression would not be brought about, that the conversion from armaments to manufactures for peace could be made with little dislocation. Reputable economists in other countries support this Wall Street view. But the armament firms exploit patriotism and anti-communism as means of transferring the taxpayers’ money into their own pockets. Ruthlessly, and probably consciously, they are leading the world towards disaster. Two days ago The Times published an article by its correspondent in Washington which began: ‘The United States has decided that any attempt by East Germany to close the Friedrichstrasse crossing between West and East Berlin will be met by force.’ These facts about both America and Russia strengthen my belief that the aims that I have been advocating for some years, and upon which some of us are agreed, are right. I believe that Britain should become neutral, leaving NATO to which, in any case, she adds only negligible strength. I believe this partly because I believe that Britain would be safer as a neutral, and without a bomb of her own or the illusory ‘protection’ of the American bomb, and without bases for foreign troops; and, perhaps more important, I believe it because, if Britain were neutral, she could do more to help to achieve peace in the world than she can do now. †

Augustus John’s portrait of Bertrand Russell.

† Bertrand Russell’s America: His Transatlantic Travels and Writings. Volume Two 1945-1970: 2

Tags Augustus John, Bertrand Russell, british art, CND, Jail

Shell – Landmarks

Post author By Robjn Cantus
Post date 21st June 2017

Both beautiful and inspiring, the artwork that Shell used on their posters was a shift in advertising for two reasons: They were selling the ambitions of the motorist beyond commuting; a generation of day-trippers without trains. Also they were presenting modern art to the public in an era when museums charged admission. The posters were pasted on the sides of petrol stations, lorries and billboards with that simple line “You Can Be Sure of Shell”.

Edward Scroggie – Temple Bar

The respectability of motor touring was reinforced by the list of artists commissioned by Shell. It reads like a Who’s Who of the British art establishment of the period – Paul Nash, Graham Sutherland, Vanessa Bell, Ben Nicholson, Rex Whistler and Edward McKnight Kauffer – who between them produced some of the finest examples of commercial art while promoting a nostalgic view of England at the same time. At this stage of the century the motor car itself was not perceived as a threat to the countryside. Buying a car meant buying into a new world. ‡

Richard Guyatt – Ralph Allen’s Sham Castle

Ralph Allen’s Sham Castle:
Ralph Allen was an entrepreneur, philanthropist and was notable for his reforms to the British postal system. He his home, Prior Park, a Palladian house, built to demonstrate the properties of Bath stone as a building material, Allen happened to own a few stone mines in Bath. On the crest of Bathwick Hill facing the city of Bath is the colloquially dubbed “Ralph Allen’s Sham Castle”, built in 1755. Guyatts poster is the most modernist in this post, making use of positive and negative line drawing in the shade and light.

Edward McKnight Kauffer – Dinton Castle, Near Aylesbury

Dinton Castle:

A most charming, innocent folly, standing on a little mound by the Aylesbury-Thame road and circled by pine trees. It was built in 1769 by Sir John Vanhatten to house his collection of fossils, some of which are let into the random rubble walls. The plan is a hexagon with towers at two opposite corners, one for fireplaces and the other for a spiral staircase. ♠

Graham Sutherland – Bringham Rock, Yorkshire

Bringham Rock, Yorkshire.

Sutherland visited this site in the autumn of 1935 at the suggestion of Jack Beddington, who wanted it to figure as one of a series of Shell posters. The result is a dreamlike lithograph, more in the style of Paul Nash. There are other rock structures on the site, all unique. ♣

There are many variations of rock formations, caused by Millstone Grit being eroded by water, glaciation and wind, some of which have formed amazing shapes. ♣

Paul Nash – Kimmeridge Folly, Dorset

Kimmeridge Folly, Dorset
When Paul Nash was working for Shell in 1937 it was to produce the Shell Guide of Dorset. He relocated for the project. His boss for the guide was not just Jack Beddington but also John Betjeman. It was Betjeman who suggested he paint Kemmeridge Folly for the ‘Landmark’s’ campaign. Paul Nash was paid 50 guineas when the picture was accepted as a poster in 1938.

Denton Welch – Hadlow Castle, Kent

Hadlow Castle, Kent

The first few months of 1937 saw Denton working on a large-scale panel of Hadlow Castle, a building some three miles east of Tonbridge. Although the main part of the house dated from the end of the eighteenth century and had been inspired by Strawberry Hill, the 170-foot tower, built between 1938-40, was modelled on William Beckford’s Fonthill. The whole ambience of the place appealed greatly to Denton’s love of the Gothic. His naive painting, which shows the puny tower rising above the other parts like a coffee-iced wedding cake, was designed specifically to be reproduced as a poster. †

Hadlow Castle was built on the site of Hadlow Court Lodge, a country house. The Castle was built over a number of years from the late 1780s, commissioned by Walter May in an ornate Gothic style, it became known as May’s Folly. The architect was J. Dugdale.

His son, Walter Barton May inherited the estate in 1823. It was he, who added a 170 feet (52 m) octagonal tower in 1838, the architect was George Ledwell Taylor. The tower was based in part on James Wyatt’s at Fonthill Abbey. A 40 feet (12 m) octagonal lantern was added two years later in 1840 and another smaller tower was added in 1852. This was dismantled in 1905. Walter Barton May died in 1858 and the estate was sold.

The property passed from many owners in the early twentieth century. During the Second World War it was used as a watchtower by the Home Guard and Royal Observer Corps. The unoccupied castle changed hands several times after the war too, until it was demolished in 1951, except for the servants’ quarters, several stables and the Coach House, which was saved due to campaigning from the society portrait painter and local resident, Bernard Hailstone. The Tower was Listed as a historic structure on 17 April 1951.

† Denton Welch: Writer and Artist by James Methuen-Campbell, 2003
‡ The English Landscape in the Twentieth Century by Trevor Rowley 2006
♠ Follies & Grottoes by Barbara Jones, 1953
♣ Wikipedia: Brimham Rocks

Tags barbara jones, Edward McKnight Kauffer, Graham Sutherland, Paul Nash, Richatd Guyatt, Shell, shell mex, Shell Poster

Map of Suffolk

Post author By Robjn Cantus
Post date 14th June 2017

Designed by E.W. Fenton, this is a map of Suffolk produced for Barclays Bank Limited. The map folds out and is double sided, one side is a pictorial map and the other has historical information of the places and the people of Suffolk.

On the edges of the map is a pictorial history of Suffolk and I have included it in order below. Ernest William Fenton was educated at Selby School of Art, Leeds College of Art and the Royal College of Art. He designed posters for London Transport 1952-1976.

Tags E.W. Fenton, Suffolk

Eric, John and the War.

Post author By Robjn Cantus
Post date 8th June 2017

In 1940 Eric Ravilious became one of the first official war artists. During the summer he was posted to HMS ‘Dolphin’ in Gosport, drawing the interiors of submarines and sometimes sent out to sea. He had already conceived the idea of a set of submarine lithographs intended as a children’s painting book, and in November he set to work.

The drawings inevitably lack the distinctive texture and colour of the lithographs. In this post they are set next to the finished lithographs with the colours and textures produced at W. S. Cowell Ltd over the original drawn and watercoloured pictures by Ravilious. But we must start first with his appointment as a war artist:

Eric Ravilious – Drawing for Commander and Periscope, 1941

Dear Ravilious, 23rd December, 1939
You may have heard rumours of a scheme which is now being launched for having various phases of the war recorded by selected artists working for the Government. The Admiralty has already appointed one official whole-time artist, and you and John Nash have been selected to work for the Admiralty on a part-time basis, if you should be willing. We very much hope that the idea will appeal to you; indeed it would be a great disappointment to the Admiralty, the Ministry of Information, and, I may add, myself, if you should feel unable or unwilling to undertake work of this kind.

If you should be willing, please let me know here as soon as you can and tell me when you could come and see me to discuss details. From our point of view, the sooner you get to work the better. Perhaps I should say that the Treasury have already approved the necessary expenditure.

Yours sincerely
R. Gleadowe †

During World War II Reginald Gleadowe was an Admiralty representative on the War Artists’ Advisory Committee.

Below is a letter from fellow artist (and Ravilious’s tutor) John Nash. Nash had been a war artist in the First World War found himself being asked to become a war artist again.

My dear Eric,
I was at the M.of l. (Ministry of Information) on Friday playing truant part of the time from College and heard from Dickey that you had been there. I don’t suppose I have anything more to report than you have they talk of sending us a ‘contract letter’ but that only deals with the finance and I have heard nothing from the Admiralty since I went there. When I was there I broached the subject of commissioned rank to Gleadowe and there seemed no difficulties. Captainships seemed as cheap as farthing buns and it seemed as if one only missed being made a Major because one had to recognize Muirhead Bone’s seniority! But I begin to doubt now if Gleadowe really has the authority to promise these insignia – we must continue to wait and see I suppose… .
I went to College yesterday and saw most of ‘the boys’. Form was good or even above average and Percy [Horton] made a fine story of a week spent teaching the Punch artist H. M. Bateman to paint. Dickey tells me that the Army War Artists are to be dressed in War Correspondents’ uniform with W.C. on the hat band rather shaming so I’m glad you and l are in the Senior Service!

Let me know if you hear anything fresh.
Yours ever,
John †

It is fitting that they both should be chosen so early for this as a lot of the work for both of them was to be painting docks and the boats. Below are paintings each by Ravilious and Nash. They had got to know each other at the Royal College of Art, where Ravilious was a pupil and now they were both on the staff. A year before Gleadowe’s invitation, and on Nash’s recommendation they both went to sketch at Bristol Docks. They painted the same location at night, when the docks were quiet and the boats tied up.

John Nash had been much inspired by painting in Bristol, and he told Eric it was the best port in England, so they planned together a painting visit there. †

Eric Ravilious – Bristol Docks, 1938

John Nash – Nocturne: Bristol Docks’, November 1938

The Second World War, unlike the First, was not much recorded by printmakers and the Ravilious Submarine series, perhaps the most important such work, was eventually turned down for publication by the Artists Advisory Committee. ‡

The difference of print-making in WW1 and painting in WW2 was that in WW2 the Blitz brought the war to the artists, they could see defences, barrage balloons and blitz bomb damage while still in Britain and record it with most of their materials at hand. The paintings and drawings were recorded quickly as a reaction. In contrast to the prints made in WW1 mostly depicted life in France and Belgium on the front-lines. Works would have to be sketched out and when back in Britain, the prints made from memory and worked up from sketchbook studies for a wider publication. The bridge of a month would mean that the art of WW1 was already retrospective of conditions. People living in the south of England would have been aware of defences, blacked out road signs, and the blitz.

Much of what we know from the process of the lithographic Submarine series comes from letters sent to Dickey (Edward Montgomery O’Rorke Dickey.) At the beginning of the Second World War ‘Dickey’ was seconded from the Ministry of Information and, from 1939 to 1942, was secretary of the War Artists’ Advisory Committee. He was a full member of the committee from 1942 to 1945. During this period he established his close relationship with Eric Ravilious.

Bank House, Castle Hedingham, Essex 24th January 1940.
Dear Dickey,
The Curwen Press have sent me an estimate for the lithographs I spoke to you about – to do six, in five workings each about 15″ x 22″ will cost £36. This seems reasonable to me, if your committee think the idea a good one. Paints and materials will bring the total expenses to, say, £40; so that the choice is actually between £4 or £40, whatever they feel inclined to do. I very much want to do some lithography if that is possible, also it will make a change of medium. Will they call on us to begin work soon, do you think? It is now I see just a month today since the Admiralty wrote about this appointment, and nothing more seems to have happened since then. ♠

Eric Ravilious – Study for Ward Room #1, Pencil and Watercolour, 1941

Eric Ravilious – Ward Room #1, Lithograph, 1941

HMS Dolphin, Gosport, Hans. 2nd August 1940.
…At the moment I am living here having been to sea at different times for the last two weeks in the submarine, trying to draw interiors. Some of them may be successful I hope, but conditions are difficult for work. It is awfully hot below when they dive and every compartment small and full of people at work. However this is a change from destroyers and I enjoy the state of complete calm after the North Sea – there is no roll or movement at all in submarines, which is one condition in their favour, apart from the smell, the heat and noise. The scene is extraordinarily good in a gloomy way. There are small coloured lights about the place and the complexity of a Swiss clock…♠

Eric Ravilious – Study for Ward Room #2, Pencil and Watercolour, 1941

Eric Ravilious – Ward Room #2, Lithograph, 1941

Dear Dickey
…Neither Curwen, Ripley, Murray or Lane can produce these submarine pictures, for all sorts of reasons, so I’ve not abandoned the idea of a book and yesterday went to see the lithographic printers at Ipswich. They will produce the things simply as pictures in a small edition for £100; and if I can manage it this shall be done…
The Leicester Gallery say that they are willing to sell the lithographs if I produce them, so that with luck (if they are not bombed meanwhile) it may pay the expenses. ♣

Eric Ravilious – Testing Davis Equipment, Pencil and Watercolour, 1941

Eric Ravilious – Testing Davis Equipment, Lithograph, 1941

Eric Ravilious – The Diver, Pencil and Watercolour, 1941

Eric Ravilious – The Diver, Lithograph, 1941

Eric Ravilious – Working Controls While Submerged, Pencil and Watercolour, 1941

Eric Ravilious – Working Controls While Submerged, Lithograph, 1941

Eric Ravilious – Diving Controls #2, Pencil and Watercolour, 1941

Eric Ravilious – Diving Controls #2, Lithograph, 1941

The final lithographs were printed in a small run in 1941. In 1996 a limited edition reprinting of 375 was made. Ravilious died in 1942, he was reported missing, presumed dead while on flight over Iceland. He was 39 years of age.

Eric Ravilious – Commander and Periscope, Pencil and Watercolour, 1941

Eric Ravilious – Commander and Periscope, Lithograph, 1941

Had Ravilious’s idea of a children’s book proceeded it is hard to tell if it would have been just outlines of the men and nautical instruments or with the base watercolour and pencil drawings that he used for the lithographs. Either-way a child could paint over with their own colours. That is really what the printers at

W. S. Cowell Ltd did with the lithographs anyway.

† Eric Ravilious: Memoir of an Artist – By Helen Binyon
‡ The Modern Spirit in British Printmaking, 1910-1950. Garton & Cooke, 1987
♠ Submarine Dream – Lithographs and Letters – The Camberwell Press, 1996
♣ Avant-garde British printmaking, 1914-1960

Tags Eric Ravilious, great bardfield, helen binyon, John Nash, lithography, Printmaking

Cycling to Ely

Post author By Robjn Cantus
Post date 8th June 2017

The sights that can be seen from the riverbank and farm roads.

Tags Cambridgeshire, Cycle Rides, ely

Discover H.E.Allen

Post author By Robjn Cantus
Post date 31st May 2017

Harry Epworth Allen I think is the next big thing to come to publishing. It can surely only be a matter of time before publishers look upon his work as something to be spotlighted, having almost been forgotten. A mixture of the locations of Eric Ravilious but painted in a more surreal style than Stanley Spencer or Grant Wood, he is worth looking into.

Harry Epworth Allen – The Derelict Farm, 1949

Allen was recognised as one of the Yorkshire Artists group. His style is often regarded as surreal. Allen’s paintings are held in the art collections of a number of British institutions including Sheffield Museums, Derby Art Gallery, The Hepworth Wakefield and the British Museum.

In 1915, Allen enlisted with the Royal Garrison Artillery of the Regular Army and in June 1916 was posted to the British Expeditionary Force to France. He worked as assistant to the observation officer, sketching enemy equipment and locations in the field. In August 1916, he was moved to the front line.

In 1917, he was awarded the Military Medal for conspicuous gallantry. He was badly wounded. His school magazine for 1917 recorded his experience:

Private H.E.Allen (R.G.A.) has been awarded the Military Medal for conspicuous gallantry under heavy shell fire on January 25th 1917. He was an assistant to the observation officer, and had many exciting times in this post. Under heavy shelling of the enemy, he found his officer completely buried in the dug-out, and, though under heavy fire, tried to extricate him. A shell falling within a yard of him buried and bruised him, but he managed to get free and obtain further assistance and save the officer’s life. Unfortunately, Allen himself was badly wounded in both legs and lies in hospital in France.

One leg had to be amputated above the knee, while the other leg was seriously injured by shrapnel. Allen was discharged from the Army in 1918 with an artificial leg.

Harry Epworth Allen – Burning Limestone

Born at 20, Kirkstall Road, in the Hunter’s Bar district of Sheffield, England, the city would remain his home for the rest of his life. His father was Henry Allen, a steel mark maker, and his mother, Elizabeth Epworth Allen (née Blacktin). Epworth was the maiden name of Elizabeth’s mother, who was also called Elizabeth.

He was a member of a number of art societies including Sheffield Society of Artists, Hallamshire Sketch Club (from 1932 known as the Hallamshire Art Society), Heeley Art Club, and later the Pastel Society 1952. He exhibited at The Royal Academy over 23 years from 1933 and he had 39 works accepted by them.

Allen died on 25 March 1958, at home, at 67 Banner Cross Road, from a coronary thrombosis.

Harry Epworth Allen – Derbyshire Walls

Harry Epworth Allen – Outskirts of the village

Harry Epworth Allen – A Derbyshire Farmstead

Harry Epworth Allen – Northern Winter, 1941

Harry Epworth Allen – The Road to the Hills

Harry Epworth Allen – Road mending, Derbyshire

Harry Epworth Allen – Summer

Tags british art, Discover, H E Allen, Lost Artists

A Window in Bucks

Post author By Robjn Cantus
Post date 24th May 2017

This week’s post all started with a book token that I found being used as a bookmark. It was of the John Nash painting ‘A Window in Bucks’.

John Nash – A Book Token featuring A Window in Bucks

The painting was a view from John Nash’s house ‘Lane’s End’ in Meadle, Buckinghamshire. John Nash and his wife Christie moved to the village in 1922 and stayed until 1939. During his time there many friends visited including Eric Ravilious, Barnett Freedman and his brother Paul Nash.

Eric Ravilious, Barnett Freedman and John Nash photographed by Christie Nash in April 1940. †

Meadle is a hamlet in Buckinghamshire, England. It is located to the north of the village of Monks Risborough and near Little Kimble. Today the population of Meadle is about 75. A village of barn conversions and very few new housing, most of the properties are farmhouses and labourers’ cottages build in traditional red clay brick with thatched roofs. A small stream rises in the village and ultimately joins the Thames.

The view of the book token is taken from the window at Meadle, The same view can be seen from the painting below.

John Nash – Winter Landscape

The field line of this painted study line up to the bookplate above, the shape of the hedges and the three colours in the fields too.

John Nash – Window in Bucks, auto-lithograph, 1928.

In this lithograph the view out of the window is to the left-side, but still lines up with hedgerows today. What some have called ‘willow style fencing’ is actually a traditional hedgerow of what is most likely Hawthorn.

John Nash’s home ‘Lane’s End’, Meadle, Buckinghamshire.

One of the upstairs windows at the front of the house would have been where the paintings where made as the hedgerows in the painting line up to the hedges and field layouts today.

Paul Nash – Lupins and Cactus, 1928

The painting Lupins and Cactus is believed to have been painted by Paul Nash while staying at Meadle in 1928. The windows fit the style painted in the house and the flowers are likely to have been grown by John in the garden.

John Nash – The Garden under Snow

The Garden under Snow is believed to be a view from the back of the house and the garden of Lane’s End

† Ravilious: The Watercolours By James Russell

Tags british art, inexpensive-progress, John Nash, Paul Nash, thatartblog