Meryl Watts: Master Printmaker

Born Eveline (Evelyn) Meryl Watts in 1910 to Charles and Eveline Watts, Meryl Watts had a long association with both the Blackheath Conservatoire of Music and the Blackheath School of Art.[1] The first connection I discovered was that she was a student at the BCM, specifically as a programme seller for the performance of Prunella on Wednesday 26 May 1926 at the Blackheath Concert Hall. Looking through the few student and teacher lists in the archives they revealed that Watts had lessons at BCM as early as 1919.[2] In 1919 Watts and her father Charles both had lessons, Meryl undertook Physical Exercise with Miss Laura Pearson and her father, Charles, piano with Gayle Gardner. At this point in time they were still residing at 34 Oakcroft Road. Meryl received tuition for both piano and physical education. Her teachers were Gardiner until halfway through the Spring Term 1928, Miss Laura Pearson (physical education), and Hindley from midway through the Spring Term 1928 (piano).[3] Watts was also involved in community events, having designed a programme for a Barnardo’s Homes fete in Blackheath.[4]

Prunella Programme, Blackheath Conservatoire of Music, 1926.

Meryl and Charles Watts, Blackheath Conservatoire of Music, Autumn Term 1919.

Meryl Watts, Study for a Woodcut (Angel Fish), gouache on cardboard.
Source: Collection of the author.

It is clear that John Platt held Watts’ work in high regard as a number of her woodcuts appear in his collection.[5] As Platt regularly invited artists and students who were interested in the colour woodcut technique this was not proof in itself that Watts was a student at the school. Proof of Watts being a student at the school can be found in a number of Blackheath Local Guide editions. My first encounter with her as a student at the school was in the Blackheath Local Guide of 22 April 1933. A woodcut print by Watts included in the exhibition at the New Argosy was selected as one of the prints of the year by the Society of Graver Printers.[6] Watts’ colour woodcut print, Angel Fish was singled out for praise in the 1933 students’ exhibition and during this academic year she won a prize for colour woodcut.[7] Additionally, according to the Blackheath Local Guide, Watts won an award for Vacation work during the 1934-35 academic year.[8]

Meryl Watts, The Mad Hatter, woodcut, mid 1930's.
Source: Liss Llewellyn Fine Art

Meryl Watts, The White Rabbit, woodcut, mid 1930's.
Source: Liss Llewellyn Fine Art

Watts produced some woodcuts from Alice in Wonderland during her time at BSA. Whilst this has been a favourite subject of artists since Lewis Carroll’s first edition, which he illustrated, it would be nice to think that events at the school may have inspired Watts’ choice of subject matter. Beryl Laverick, a student at both BCM and BSA, starred as Alice in Wonderland in the West End in 1933.[9] This must have caused quite a bit of excitement at both schools and Douglas Bliss remembers the classes that Laverick attended being interrupted by photographers and various suitors.[10] I would love to think that Watts’ woodcuts of The Mad Hatter and The White Rabbit were inspired by the events at BSA and BCM at this time.

By 1936 the school had become renowned for tuition in the art of the colour woodcut under Platt. In an article entitled ‘The Colour Woodcut in Blackheath’ Alan Seaby referred to Platt’s mastery of the medium stating that; ‘There is no doubt that in your hands the wood print has been raised from its former status.’[11] The same article continued by extolling the work of some of the students who featured in an exhibition of the Society of Graver Painters in Colour. Pictures by Miss Doris Boulton, Mr J Milner and Watts were described as ‘show[ing] the possibilities of clear, telling colour in this medium’.[12] In the review of the 1936 prize giving there is reference to a work purchased by the Ministry of Education in Czechoslavakia whilst on exhibition there with the British Council.[13]

The school at this time became renowned as a centre of excellence in the field of commercial art under the expert tutelage of Charles Paine:

‘In recent years the Blackheath School of Art has taken the foremost place as the centre for training in commercial art, the design classes being under the instruction of the well-known artist-designer, Mr Charles Paine.’[14]

Also in 1936 Watts was one of two Blackheath students who won three first prize awards for an LCC competition of Commercial Art in conjunction with the manufacturers of Viyella Fabrics Messrs William Hollins and Co Ltd.[15]

Meryl Watts, Chameleon, colour woodcut, 1938.
Source: www.merylwatts.co.uk 

The Contemporary Art Society acquired Watts’ Chameleon in 1938 which was an extraordinary achievement for an art student who was not yet an established artist.[16] At this time the CAS also acquired works by Platt, highlighting the critical interest in her works. This technique and her chosen subjects were most definitely influenced by Paine and Platt. It is also quite probable that Watts influenced her teachers as has been convincingly highlighted in the excellent Modern Printmakers blog. More can be read here

In a number of exhibition reviews in the mid 1930's in The Scotsman Watts' works were praised by the 'London Critic'. These exhibitions included The Annual Society of Graver Printers in Colour at Walker's Gallery in 1936, The Society of Women Artists at the RI Gallery in 1937 and the annual exhibition of The Society of Graver Printers in 1938. The Scotsman's critic at the time was none other than Douglas Percy Bliss, who taught at the Blackheath School of Art (see previous entries for more on Bliss at BSA), and he would have been familiar with Meryl Watts and her colour woodcuts.[17] 

Works by Watts were also displayed in the Royal Academy exhibitions.[18] In the 1938 edition of the exhibition the following work by Watts was included:  Chestnut Roaster featuring ‘a bowed old man pushing his barrow.’ That this work was described immediately after those of her teacher, Platt – The Plough and Lapwings, cannot have been a coincidence, especially as The Plough’s snow setting certainly influenced Watts’ depiction of the Chestnut Seller against a harsh winter landscape.[19]  Looking through the excellent www.merylwatts.co.uk there are designs for a Blackheath Art Group logo. The development of this emblem bears a resemblance to the logo used on the cover of the 1934 prospectus and also to later advertise courses and exhibitions in the later mid 1930’s.

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Meryl Watts, Entrance, Portmeirion, No. 3 Black and White series, hand-coloured by the artist?
Source: Collection of the author.

Watts left Blackheath in 1939/1940 and moved to Wales with her family. It was whilst in Wales that she created some of the images that she is perhaps best remembered for, black and white woodcuts of Portmeirion which were later made into postcards. Some of these postcards are on display in the Waiting Room of the Conservatoire. This technique was also used to great effect in the beautifully illustrated This Year’s Roundabout published in the mid 1950’s.

Sadly Watts never returned to Blackheath although the view, northwards, down towards the village from Lee Park was immortalized through her woodcut depicting the view both in Spring and Winter. Entitled Blackheath Village this colour wood block print was included in the Royal Academy Summer Exhibition in 1934.[20] It was also described in the 1933 students’ exhibition review:

‘Of much local interest was Miss Meryl Watts’ colour-print of Messr Hinds’ shop viewed through the trees of Lee Park.’ [21]

Meryl Watts, Blackheath Village, colour woodcut, 1933.
Source: www.merylwatts.co.uk

Blackheath looking northwards from Lee Park to Blackheath Village, early 1900's. Hinds is the building on the right side of the street.
Courtesy of the Blackheath Society Archives. Thanks to Allan Griffin for his assistance.

Even today, if you stand by the red post box on Lee Park you can still look down to see the general view Watts adapted pictorially for the finished image. On the right hand side in a brilliant Autumnal red brick of what was, at the time, Hinds and Co. The shopfront was set forward from the main building onto the pavement of Lee Road with its awning standing out in the picture from the redbrick façade. The building most recently housed Costcutter although it is now empty.  To the right of Hinds and Co can be seen the garden of the Conservatoire behind a wrought iron fence although the building is not visible. In the distance a church spire, which is most likely All Saints, can be seen from the top end of Lee Park, although it is not visible from this spot today.

Meryl Watts, Self Portrait, 1930's.
Source: www.merylwatts.co.uk

Blackheath School of Art students standing outside the art building mid 1930's. Meryl Watts is the student to the far left of the foreground.
Picture courtesy of the Blackheath Society Archive. Thanks to Allan Griffin for his assistance.

A photograph from outside the art school and extension survives which most likely dates from the mid 1930’s. This is an image depicting Blackheath School of Art students and so far the only student I have only been able to identify is Watts to the far left. A self portrait painted in the 1930’s looks very much like the woman in the photograph.

I am looking forward to reading more about Watts in the forthcoming book on colour woodcuts by Gordon (of Modern Printmakers fame). Hopefully the above information and her fantastic woodcut prints will enable her legacy and important contributions to both the BSA and local community to live on.

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[1] Watts was listed as Eveline Meryl Watts in the 1911 census living at 34 Oakcroft Road SE13. The spelling of her Christian names varies as she also appears as either ‘Eveline’ or ‘Evelyn’ Meryl Watts in the 1930’s Electoral Rolls. She must have been known as ‘Meryl’ not to be confused with her mother.

[2] BCM Students’ payment register 1919. The Summer Term payment records show that Meryl had lessons with Miss Pearson and that the fees were paid by her mother Eveline. Meryl’s had twelve 20 minute lessons for the term. Her father, Charles, took up piano lessons with Gayle Gardner in the Autumn Term 1919.

[3] BCM students’ payment register, 1928. The register shows the payment being split equally between Gardiner and Hindley.

[4] Blackheath Local Guide, 4 July 1936, p. 6. ‘The programme for the fete bore a special cover designed by Miss Meryl Watts.’

[5] Thanks to Platt’s granddaughter, Liza, for kindly showing me what remains of his collection and also a comprehensive list of the pictures that formed a part of his collection. The fourteen works by Watts include: Blackheath Village (from Lee Park), Pelican, Chameleon, Mad Hatter’s Tea Party, Cactus, Two White Rabbits and Man Pushing a Cart with a Brazier.

[6] ‘Blackheath Artists’ in Blackheath Local Guide, 22 April 1933, p. 12. The article refers to an exhibition held at the New Argosy in Blackheath Village which included works by a number of students. The work by Watts which was singled out was Flower Woman.

[7] ‘Blackheath School of Art: Annual Exhibition of Students’ Work and Prize Distribution’ in Blackheath Local Guide, 22 July 1933, p. 28. Angel Fish was described as possessing ‘delicate evanescent tones’.

[8] ‘Blackheath School of Art: Exhibition of Students’ Work and Prize Distribution’ in Blackheath Local Guide, 27 July 1935, pp. 26
[9] A drawing by William Haselden for Punch, now in the V&A, records the cast for Alice in Wonderland at the Little Theatre 1933 (S.1744-2014).

[10] DP Bliss letter to Neil Rhind, 6 April 1981. Bliss wrote in his letter, ‘She was acting as alice in A in Wonderland when she joined my class. It was once or twice interrupted by Beryl’s “sugar daddies” and press photographers.’ – 28.

[11] ‘The Woodcut in Blackheath’ in Blackheath Local Guide, 19 December, 1936, pp. 58 – 59. The author quotes an article in The Artist on Platt’s woodcuts and also refers to an article in the Observer in which the author Jan Gordon refers to the ‘distinguished simplicity of Platt’s work in the medium’. The article also features reproductions of Lamb by John Platt and a portrait of him by his son Michael.

[12] ibid. The work by Doris Boulton was ‘Dog’s Holiday’ described as ‘full of vitality’ and by Milner ‘Bridge’ as being ‘powerful in design’. Platt later became President of the Society of Graver Painters in Colour in 1938, holding the position until 1953.

[13] ‘Blackheath School of Art: Prize Distribution and Private View of Students’ Work’ in Blackheath Local Guide, 4 Jul 1936, p. 36.

[14] ‘Commercial Art at Blackheath School of Art’ in Blackheath Local Guide, 14 March, 1936, p. 33.

[15] ibid. The other student was Roy Stone and between them they shared £28 of the £48 available in prize money.

[16] Blackheath Local Guide, 1 January, 1938, pp. 27-28. The article regarding a prize giving for 1937 mentioned that Meryl Watts, a student of the Colour Woodcut class had a work purchased by the Contemporary Art Society.
[17] Bliss, D.P., 'Art in London: Colour-Prints' in The Scotsman, 14 Dec 1936, p. 13, Bliss, D.P., 'Art in London: Several Interesting Shows: Women Artists' Show' in The Scotsman, 21 Jun 1937, p. 13 and Bliss, D.P., 'Art in London: Graver Printers' Show: Notable Contributions' in The Scotsman, 10 Dec 1938, p. 10.

[18] Blackheath Local Guide, 7 May, 1938, p. 3. A brief list includes Meryl Watts amongst people connected with the school included in the RA Summer Show.

[19] loc.cit., p. 32. Also on pages 31 and 32 of the same edition (see note 3) there is a more detailed article of works from artists connected with Blackheath.

[20] Blackheath Local Guide, 5 May 1934, p. 7. The article lists works by students and teachers at the school.

[21] ‘Blackheath School of Art: Exhibition of Students’ Work, July 1933’ in Blackheath Local Guide, 22 July 1933, p. 23.