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Another health food booklet, the third of four in the series, with a striking cover by William Roberts and issued by the London Health Food Centre in association with the National Health Food Shop Association.
The very cubist or Vorticist artwork is by William Roberts - the rather reclusive mid-twentieth century British artist who had been an official war artist in WW1 and was almost one in WW2 (he fell out with the Advisory Committee apparently!). His own collections have recently been the subject of some interest in that his son died interstate - and the collection, defaulting to the UK Government, has now largely passed to the Tate's collections. The style, in some slight respects, echoes the work of Ravilious or Freedman but with that vorticist catch.
Our Hotel for our brief stay in the region.
The Midland Hotel is a Streamline Modern building in Morecambe, Lancashire, England. It was built by the London, Midland and Scottish Railway (LMS), in 1933, to the designs of architect Oliver Hill, with sculpture by Eric Gill, and murals by Eric Ravilious (subsequently destroyed). It is a Grade II* listed building. The hotel has been restored by Urban Splash with architects Union North, Northwest Regional Development Agency and Lancaster City Council.
The hotel was used in filming episodes of the TV series Agatha Christie's Poirot, starring David Suchet, in 1989, most notably in the episode 'Double Sin' where Poirot has brought Captain Hastings to stimulate "the little grey cells."
The Shell-Mex and BP "Shilling Guides" were published in the early 1960s as part of the company's wide ranging publishing endeavours that complemented their extensive and highly regarded publicity and advertising activities. The Shilling Guides were general introductions to the area along with a select gazetteer of principle places of interest and were effectively simple reprints of the relevant pages from the much larger Shell-Mex & BP Guide of Britain.
These slender volumes, designed to be purchased at only Shell or BP service stations, were each given a separate commissioned artwork cover, these being by a wide variety of artists and designers. This cover is by Kenneth Rowntree (1915 - 1997) a noted artist whose early years saw him as part of the Ravilious/Bawden set known as the Great Bardfield Artists. After working for the War Artists Advisory Committee in the Second World War Rowntree joined the Royal College of Art before moving north to the Art School at Newcastle upon Tyne in 1959.
The illustration is dominated, as is the county, by the City of Lincoln with its hill top cathedral. Other features shown include the growing of tulips around Spalding and a portrait of Alfred Lord Tennyson born at Somersby.
Another health food booklet, the 4th of four in the series, with a striking cover by William Roberts and issued by the London Health Food Centre in association with the National Health Food Shop Association.
The very cubist or Vorticist artwork is by William Roberts - the rather reclusive mid-twentieth century British artist who had been an official war artist in WW1 and was almost one in WW2 (he fell out with the Advisory Committee apparently!). His own collections have recently been the subject of some interest in that his son died interstate - and the collection, defaulting to the UK Government, has now largely passed to the Tate's collections. The style, in some slight respects, echoes the work of Ravilious or Freedman but with that vorticist catch.
Brighton & Hove Streetdeck 941 passes Castle Square whilst carrying a 12A service for Eastbourne
Vehicle Details
Operator: Brighton & Hove
Fleet Details: 941 'Eric Ravilious'
Registration: BX15 ONT
Vehicle Type: Wright Streetdeck
Along with the Bawden "East Coasting" booklet, by fellow British railway company the LNER, this has to be one of my favourite items of railway publicity married to graphic design and typography. A small card cover booklet with three 'stories' and three illustrations by Eric Ravilious no less, the booklet was issued by the Southern Railway to celebrate the 1935 Silver Jubilee of King George V and Queen Mary. It seems to have been aimed, mostly, at the North American market to drum up tourist trade that year as part of the widespread national celebrations.
It was printed by the exemplary Curwen Press and uses this delighful version of a pattern paper on covers.
I do so like woodcut - and the inter-war years in the UK saw a real flowering of this genre. Amongst the best was Eric Ravilious and this work, from the late 1920s, is not only typical of his skill and work but such a wonderful image. Ravilious, who worked closely with Edward Bawden, was killed on active service as a war artist in September 1942. This woodcut was published in the London Mercury magazine in 1928.
For the 1935 Silver Jubilee of King George V and Queen Mary the Southern Railway issued a special edition of their "Over The Pints" quarterly magazine that was sent to First Class season ticket holders. As usual the issue's illustrations and decoration are designed by artist Victor Victor Reinganum (1907–1995) and the magazine is printed at the Curwen Press, Plaistow, London, so is of excellent quality. As can be seen elements of the design are in 'silver' for the occassion. The covers appear to use a mix of typefaces in use at Curwen and some lettering, possibly by Reinganum.
The back page and endpaper forms an advert for the very fine Silver Jubilee booklet "Thrice Welcome" that the railway issued, primarily as noted here for overseas visitors, most notably the North American market. It does not note it here but this little booklet, wonderfully produced again at the Curwen Press, has a series of small engravings by Eric Ravilious.
The end paper - and the book cover - use the same pattern paper that had been commissioned by the London furnishing company of Heal's for the Jubilee and produced for them by - Curwen. It appears the motif found wider use.
Magazin: "Spektrum der Wissenschaft spezial" Artikel: "Der prähistorische Kode" (Kate Ravilious. Emde-Grafik nach: Genevieve von Petzinger, Andre Leroi-Courhan, David Lewis-Williams, Natalie Franklin)
Part of: "an apple a day keeps the doctor away - An ENSO (Japanese: circle, Japanisch: Kreis) a day .... " Aktion Kreis Tagebuch A circle diary - Start of the 365-days Project: 1. September // 40 Krapfentage 2015: 19. Zimt Donut ohne Rosine - Dunkin` Donuts Mariahilferstr
DMC-G2 - P1880840 - 2015-03-04
#sammlung #collection #ring #spirale #symbol #code #kode #zeichen #schrift #zeichenschrift #schriftzeichen
It is difficult sometimes to know where to start - the clarity of Ravilious as an engraver or the sheer 'savvy' of the Curwen Press to issue such a Newsletter and have Ravilious design the cover. This device was used on Issue 6 of the short run of news letters and appears in the equally fine 'Signature' periodical.
This beautifully bold, and striking, engraving is for one of the best private presses and is by an exemplary artist - Eric Ravilious,
Midland Hotel, Moercambe May 2015, the dark rain clouds stayed in the background but the evening sun just broke through.
The Midland Hotel is a Streamline Moderne building in Morecambe, Lancashire, England. It was built by the London, Midland and Scottish Railway (LMS), in 1933, to the designs of architect Oliver Hill, with sculpture by Eric Gill, and murals by Eric Ravilious (subsequently destroyed). It is a Grade II* listed building. The hotel has been restored by Urban Splash with architects Union North, Northwest Regional Development Agency and Lancaster City Council.
When on holiday in East Sussex in August 2015, Brighton & Hove's new fleet of Wright Streetdeck 'Coaster' buses had not long been launched on the Brighton to Eastbourne route.
Seen climbing the hill out of Exceat is 941 BX15OMT 'Eric Ravilious'.
Angus was born in Chile on 9 November 1904, in a railway station, the eleventh of thirteen children of a Scottish railway engineer. She spent her first five years in Chile.[2] In Britain, she grew up in Muswell Hill and became a pupil at the North London Collegiate School. At 17, she entered the Royal College of Art and, later, won a painting and teaching scholarship to Paris.[3] At the RCA, her contemporaries included the sculptors Henry Moore and Barbara Hepworth, the painters Eric Ravilious and Edward Bawden, and illustrators Barnett Freedman and Enid Marx.[2] She wanted to be a painter but soon transferred to the Design School at the RCA, where she was taught by Paul Nash. In order to earn a living, she took a teacher training course and began her first teaching post in 1925.[4] Angus travelled to Russia in 1932 for an art teachers' study visit[5] and later urged her students to travel to the Soviet Union. This earned her the nickname "Red Angus".[6]
Personal life
Tea at Furlongs 1939, by Eric Ravilious
After her visit to Russia in 1932, she became one of the founding members of Artists' International Association, an organisation born out of the social and political conflicts of the 1930s.[7] Between 1938 and 1947, Angus was married to James Maude Richards, a young architect and writer, with whom she had a daughter, Victoria, and a son Angus.[2] Later, Richards and Angus divorced. He became editor of the Architectural Review and introduced her to many modernist architects.[8] She was a charismatic and formidable character, opinionated and inclined to exhibitionism but also generous spirited, extremely sociable and a great inspiration to many young people.[2]
Angus had a great love of the outdoor life – camping and hiking – and was an intrepid traveller with her rucksack on her back. She eschewed a bourgeois lifestyle for places without modern conveniences, such as Furlongs on the Sussex Downs and her bothie she bought from the aArtist Charles Higgins in the Outer Hebrides.[9] In her childhood, she befriended gypsies in north London encampments and learnt a little Romany.[citation needed] She travelled widely in Europe and across the Middle East to India and Pakistan, looking at patterns and popular culture. She spent a year in Indonesia on a scholarship studying folk art in Java and Bali.[citation needed] She went twice to the USSR, in 1932 as a delegate for the Art Masters Association, and again in the late 1960s with her friends Ursula Mommens and Pearl Binder and teachers of music, art and drama, arranged through the Society of Cultural Relations with the USSR.[citation needed]
Design work and art
Angus became best known for her industrial designs, tiles and wallpapers. Her significant achievements included a tile mural for the Susan Lawrence School in east London, a "live exhibit" for the Festival of Britain, a tile mural at the British Pavilion at the 1958 Bruxelles Exhibition and tile designs for Sir Frederick Gibberd at London Heathrow Airport.[9] She also designed a new form of marbling design for glass cladding for the original buildings at Gatwick Airport, which were produced by the firm TW Ide and given the trade name "Anguside".[1] The massive post-war increase in new public architecture led to a large number of commissions from F.R.S. Yorke of YRM (Yorke Rosenberg and Mardell) for tile designs, particularly for new schools and colleges. Her tile designs were produced commercially by Carter and Sons of Poole, Dorset.[9] In 1952, she was made a member of the national Council of Industrial Design.
Angus was also interested in mural painting and made several murals for private clients.[10] She tested her designs on demonstration lengths of lining paper. Architects who saw these encouraged her to develop a hand-printed wallpaper business. This coincided with the 1960s expansion of DIY and the development of "choose your own colour mix" vinyl emulsion paints which she used with hand-cut linoleum printing blocks. She won the Sanderson Centenary wallpaper prize but their subsequent commercial version, which had the regularity of a machine printed design, was far less restful to the eye than the subtle changes of pigment and pressure when done by her own methods. She always wanted her designs to be a sympathetic background on which to hang pictures.[citation needed] She continued to print her own designs with the help of a team of willing apprentices.[10]
Angus's paintings of the family of Ramsay MacDonald and of John Piper hang in the National Portrait Gallery in London.[10][11] Ishbel MacDonald was a lifelong friend and Angus occasionally stayed at Chequers with her and enjoyed the subversiveness of drawing cartoons for the Daily Worker while she was there.[citation needed]
Furlongs
Interior at Furlongs 1939, by Eric Ravilious
From 1933 onwards, Angus rented a shepherd's cottage, Furlongs, near Beddingham at the foot of the South Downs, and made that a home to which a circle of artists gathered.[4] These included Eric Ravilious and John Piper. Ravilious considered that his time at Furlongs:[8] "...altered my whole outlook and way of painting, I think because the colour of the landscape was so lovely and the design so beautifully obvious ... that I simply had to abandon my tinted drawings."[8]
Ravilious made many drawings and paintings of the Downs around Furlongs and of the cottage inside and out. He and PAngus both made paintings together at the quarry and cement works at nearby Asham.[12] Other visitors included Herbert Read, Olive Cook and Edwin Smith and Percy Horton[1] and the architects Moholy-Nagy, Serge Chermayeff, Ernő Goldfinger, Frederick Gibberd, Maxwell Fry and Jane Drew.[citation needed] Her lifelong friendship with Piper and Myfanwy Evans resulted in a long correspondence about folk art and popular art.[citation needed]
Teacher
Angus was a part-time teacher for much of her life and believed her teaching was as important as creating her own work. After the war, she taught briefly alongside Quentin Bell at a private girls' school in Sussex (they had been friends and colleagues in the Artists International Association).[citation needed] From 1930 to 1946, she taught art at secondary schools in Sussex and London, before returning to the North London Collegiate School in 1947.[7]
As head of art at North London Collegiate, her own old school, she believed in setting up communal projects where pupils' works could be displayed to their best advantage. These projects also improved the school's visual environment and expanded her influence beyond the art rooms. She fostered a community of artists and designers in South East England, having durable influence on decorative arts and fashion, for instance through Janet Kennedy.[13] She wanted to encourage a sense of patronage and visual literacy for all, including those not thinking of following an artistic career.[9] She remained a teacher at the school until 1970.[7]
The Art Deco Midland Hotel was built in 1932–33 by the London Midland & Scottish Railway to the design of Oliver Hill and included works by Gill, Marion Dorn, and Eric Ravilious. Eric Gill produced several works for the hotel. These were two seahorses, modelled as Morecambe shrimps, for the outside entrance, a round plaster relief on the ceiling of the circular staircase inside the hotel, a decorative wall map of the north west of England, and a large stone relief of Odysseus being welcomed from the sea by Nausicaa.
The hotel had gradually become run down and neglected and eventually closed its doors to the public in 1993, but early in 2003 it was purchased by Urban Splash, a Manchester-based property company. Rebuilding work began in June 2005 and was completed three years later.
This image shows the medallion on the ceiling at the top of the circular staircase of the hotel in the hotel’s central tower, designed and carved by Eric Gill and painted by Denis Tegetmeier (Gill’s son-in-law, who was a book illustrator). It is coloured in blue, blue green, yellow, and shades of red brown, and has the inscription "and hear old Triton blow his wreathed horn," words from a sonnet by William Wordsworth. The medallion is 10 feet (3.05 m) in diameter. Neptune sits wearing a crown and Triton emerges from the sea, clasping his golden horn in his hands. Two mermaids complete the ensemble.
During the hotel’s renovation, the medallion was repaired and the colours restored by Brian Cardy of Urban Splash. Gill had added the marks of stigmata on Neptune. This is thought to have come about due to the death of his father, whom he also tried to depict in the face of Triton.
Those of you who 'follow' me - you may have seen the remarkable series of wholefood booklets the covers of which are by this artist in his very striking form. This is from a 1933 book of drawings and shows an inimated discussion 'about Buddha'.
The very cubist or Vorticist artwork is by William Roberts - the rather reclusive mid-twentieth century British artist who had been an official war artist in WW1 and was almost one in WW2 (he fell out with the Advisory Committee apparently!). His own collections have recently been the subject of some interest in that his son died interstate - and the collection, defaulting to the UK Government, has now largely passed to the Tate's collections. The style, in some slight respects, echoes the work of Ravilious or Freedman but with that vorticist catch.
A timeless image of rural Somerset. The photographer James Ravilious has been a huge inspiration to me. He died way too young in 1999, not long after my mother. He documented rural life in a small corner of Exmoor preserving the way of life and the landscape for ever. I walk extensively in the South West of England and always wonder how James would have recorded the scenes I encounter.
Wherever possible I stop and speak to local farmers to learn about the landscape that provides them a living. On this day, having captured this image of Small Down Farm, I descended from the hills to the village of Westcombe where I met another local farmer. He explained that the farmer who lived in Small Down Farm had recently died. It seems he was an eccentric awkward individual. I would loved to have seen inside the farm house to see in how it reflected his personality. It's an idyllic spot next to the Iron Age hill fort at Small Down Knoll and commands extensive views across Somerset to Glastonbury Tor. I wonder if the house is for sale?
In 1935 the RHS and the Westminster Bank apparently issued a form suggesting a standing order for membership fees - it included this device designed by Eric Ravilious.
I worked so hard to try to get the correct faces on this Eric Ravilious base, but it just wouldn't happen, so here we have Fern and Kitty in their senior years, returning home to rolling hills, and hollyhock and rose filled gardens...
Helen McKie illustrated many Southern Railway publications in the 1930s and indeed for other transport operators such as the 'Eagle Steamers' based in London. This booklet was issued by the railway in 1937 to commemorate the Coronation of King George VI and is a scarce survivor - although not as rare as their 1935 'Thrice Welcome', issued for the Jubilee of George V and with its Ravilious woodcuts, highly sought after. McKie chooses to show travel during the reigns of the various Georges, and their connections witht he South Coast of England that the Southern served. The final chapter is angled to the newly electrified coast lines and the 'superior' services such as the Brighton Pullman.
For many years London Transport and its predecessor companies such as the Metropolitan Railways, along with many other railway and transport undertakings, were avid publishers of such walking guides. Indeed so serious were LT that they actually employed a walks manager to collate the variosu routes and to ensure they were kept up-to-date in the changing world of suburban development around outer London.
The idea was to stimulate off-peak and weekend travel on the services and as this jacket notes the starting (and end) points of all the walks were reached by either Underground, bus or coach services. At the time the London Passenger Transport Board operated a vast network of Underground services along with red 'Central' area, green 'Country' area bus services, Green Line coaches, tram and trolleybus services that spanned not just the current London boundaries but that ran out into neighbouring counties. It was, at a time of low car ownership, marvellous territory for such rambles and indeed, although many of the 'inner' area walks are now less rural, thanks to the Green Belt planning legislation that beginning in the 1930s but accelerated in the post-WW2 years many of the walks described in this booklet are still possible today.
The jacket also describes other LT publications that shared the same design characteristics of this walking guide and included the "Serious Pleasures" series some titles of which are now highly collectable. By the time of this edition of the booklet the Green Line Coach Guide and Underground Timetable books, along with "district" timetables, had undergone a re-design initiated by Christian Barman, the Board's PR manager, and are legible and often delightful works of typographical design.
As well as the typefaces and typography seen here, oddly not of which is in Johnston, the Board's own typeface, is the vignette on the cover. This is by no less than Eric Ravilious who produced the three woodcuts for the three booklets in the series and this, the third, is of two cows in a rural landscape.
The Higgins is a combined art gallery and museum based round the home of Charles Higgins, a successful local brewer, whose son Cecil set up the museum to house his collection of ceramics and glass and bequeathed the site to the town. It has a great number of Edward Bawden’s linocuts. This one is 'Nine London Monuments' (1966), hanging over a wallpaper design also designed by him. Bawden was born in 1903, which must have been a fortuitous year for artists, as it was the same year as Graham Sutherland, Ceri Richards, John Piper, Barbara Hepworth and Eric Ravilious.
This week's theme is "COPY CAT" which is to include in the style of a famous photographer, in this case Devon rural photographer James Ravilious who extensively photographed Devon in the 1970's in the style of Henri Cartier-Bresson. Here's my version.
A still, sunny morning. Cows, bothered by cleg flies, stand in the water, flicking the flies off with their tails.
Nothing much moves. Peace
The Rydal Fells and Fairfield lurk in the distance.
Taken with a Canon G9, raw originally (and, of course, much higher res)
I'm proud of this one, because it's taken from almost the same viewpoint as the great B&W Photographer, James Ravilious, used :
www.jamesravilious.com/gallerypic.asp?gallery_id=21
(The location is wrong on that website - it is Loughrigg Tarn !)
An AI image created by clever Kitty Darling, with a Ravilious background, simply refaced with my Fern... Effie and Kitty on a spring sojourn in Wiltshire.
The electricity sub-station says it all! The Midland Hotel was a 1933 modernist masterpiece designed by Oliver Hill for the London, Midland and Scottish Railway; it replaced the much earlier North Western Hotel and was decorated, amongst others, by Eric Gill and Eric Ravilious - top artists of the time.
A fine cover this by one of the 20th century's great illustrators and graphic designers, Eric Ravilious. Ravilious was tragically killed during WW2 when he was an official war artist and was lost in action.
DSC_2950 - 941 - BX15 ONT - Wright StreetDeck - Brighton & Hove (The Coaster; 'Eric Ravilious') - Peacehaven, South Coast Road 05/06/15
A new temporary public art trail, matching the four Ravilious images of Newhaven in Towner Eastbourne's collection with works by contemporary artists, has recently opened in the town. The four pairs of large-scale, billboard-sized artworks are positioned in accessible locations, within the landscapes that Ravilious depicted nearly a century ago. All the works can be seen and appreciated from far off as well as close up.
This is a photo of one of the largescale images. It features an original work by Eric Ravilious (on the right) and a contemporary work by Mark Titchner on the left.
Mark Titchner, shortlisted for the Turner Prize in 2006, frequently produces large-scale works in the public realm and has a long-standing interest in incorporating words, text, and language. His Newhaven piece takes as its starting point Ravilious's interest in the collision of the East Sussex landscape with modern industry. Titchner wanted to consider the contested nature of contemporary industrial landscape, its environmental consequences, and the reality of living within it. His artwork adapts a biblical text that is inscribed upon the gravestone of Ravilious and his wife Tirzah Garwood, moving the emphasis of the sentence away from individual perception towards a collective reflection.
For the British artist, designer and illustrator Eric Ravilious (1903–1942), location was at the heart of his work. He drew inspiration for his extensive body of work from the places he lived and worked during his short life. He is best known for his watercolours of the South Downs and the Essex villages around his later home in Great Bardfield.
Born in London but brought up in Eastbourne, Ravilious had a strong connection to the Downland landscape of East Sussex. His depictions of the rolling hills frequently included recognition of human intervention such as fences, flint walls, farm equipment or discarded machinery, all executed in his muted colour palette and typical dry watercolour technique.
His fascination with vehicles, boats, equipment and machinery led him naturally to Newhaven as a source of artistic inspiration. Newhaven Harbour lies within walking distance of Furlongs, the home of Ravilious' close friend, the artist Peggy Angus. Ravilious would regularly visit Angus and undertake painting trips around the area where he was attracted by the town's busy port and unique combination of marine, rural and industrial landscapes. As man-made objects with personality, ships were an ideal complement to his fascination with wheeled vehicles.
Ravilious stayed at Newhaven's Hope Inn during August and September 1935 with friend and fellow artist Edward Bawden. He had been commissioned to produce a lithograph for schools and found his inspiration for this among the 'attractive jetties and dredgers' of the harbour. He picked out the small lighthouses at the harbour mouth, including one with a signalling mast seen in the foreground of Newhaven Harbour, pictured against a cloudless blue sky. The 'James' and the 'Foremost Prince', with a belt of buckets and mud chute, suggests a Constructivist sculpture, whilst Channel Steamer Leaving Harbour captures the romance of the night ferry departure.
During a later Newhaven visit, from mid-September into October 1940, he made six paintings of this coastal town, now heavily fortified due to its targeting as part of Operation Sea Lion, the planned invasion of Britain by German forces. Climbing up to the fort, he painted its ditches and retaining walls perched on the cliffs and overlooking the beach scattered with barbed wire and harbour with military ships and long searchlight beams. It was a very different scene from the one he and Bawden had depicted five years earlier. A number of these Coastal Defence works are now held in the collections of the Imperial War Museum and Aberdeen Art Gallery.
Ravilious died in September 1942, aged just 39. As an official war artist on active service he had been posted to Iceland where, whilst on a search-and-rescue mission, the plane he was flying in was lost at sea.