Harold Nelson and the Ladies' Field - Masks and Faces

There are many columns that Nelson created decorative headings for and one of the first I was aware of was Masks and Faces...

This was a weekly column that included details and gossip about actors in professional theatre productions as opposed to the pieces dedicated to amateur theatre. 

Nelson designed a Renaissance style figure (actor?) and some classical style masks with the usual scroll announcing the title of the column. The figure is in the centre looking proudly toward the masks that he may well wear in his performance.

A sketch survives for the masks... which appear to be very similar to the final design albeit moved to the left, separated from the text. Originally Nelson conceived that the masks of Comedy and Tragedy would inhabit the whole design, although probably in the end deciding that this was too complicated and would not translate well to a wider page.

Harold Nelson, Masks and Faces (a sketch for the decorative heading for The Ladies' Field), about 1898.

Harold Nelson, Masks and Faces (final design printed in the Ladies' Field Magazine), November 1899.

The finished design is more interesting and fits better in the large page format of the magazine. It's also interesting as it is one of few designs that I come across that Nelson made for The Ladies' Field featuring a man on their own. Other designs for the magazine feature men and women or women on their own.

Of course I will be posting more in the future.

If you enjoy this please do check out my Instagram page devoted to Harold Nelson - @haroldnelson_artist 

Harold Nelson and The Ladies' Field Magazine

Harold Nelson was not just a bookplate artist or designer of stamps which is what he is mostly remembered for today. Nelson also produced illustrations for many magazines during the late nineteenth and early twentieth centuries.

One such publication was an early forerunner of Vogue, The Ladies’ Field. First published in 1898 as a weekly magazine for women, it came out on Saturdays from March 1898 to March 1922. It focused on many subjects of interest for the Victorian woman including sports, art, books, pets, fashion and many other things.

Nelson created many images for this publication between 1898 and at least 1910.

What will follow (in the coming weeks) are a selection of images, either designs drawn, printed decorative headings or covers, for the magazine. 

Harold Nelson, The Ladies' Field, 1898.

Let’s start with the logo for the magazine which regularly appeared on the introductory page behind the cover. An elegant Victorian woman holding flowers, wearing a coat emblazoned with lion rampant. Fleur de lys decorate the background with the scroll drawn over the background decoration. 

The woman is most definitely elegance personified and a perfect image for the magazine, perhaps even the ideal reader.

A Memorial to Emily Jane Morley

I think I have neglected this entry for long enough and it's about time that I start putting more of my work out there for people to read (if they wish).

One of the long serving members of staff at BSA was the needlework teacher, Emily Jane Morley. Morley was born on 27 November 1860, and her family home was in Rokeby Road in Brockley.[1] She appears as the needlework teacher in the BSA adverts in the Woolwich Gazette, offering classes on Tuesday mornings between 10.30am and 12.30pm and Thursday afternoons from 3pm to 4.30pm.[2]

Unfortunately I am yet to find an example of her work although judging from the reports of student works she was a highly respected teacher. Examples of comments over the year include the following:

1914 - ‘Arranged in the upper studio of the new wing may be seen numerous exquisite pieces of Art Needlework done by the pupils of Miss E.J. Morley.’[3]

1921 – ‘In the needlework section, where the quality of work has always been excellent…’[4]

1923 – 6 October 1923 – students’ exhibition review

The 1921 prospectus described Art Needlework classes as follows (it was at this time a subject studied only by women) –

‘Students are taught the various Stitches etc., which belong to Embroidery, Drawn Thread and Lace Work, also the application to various articles of daily use and ladies’ apparel’.[5]

Morley lived at 11 Lee Park, very close to BSA, with her assistant and companion Lilian Booth. Emily Morley died on 10 June 1925 and whilst I have not yet found any illustrations of her works there is still a memorial in Blackheath that relates to her. Morley’s funeral was held on Monday 15 June 1925 at St Michael and All Angels in Blackheath and the internment at Nunhead Cemetery.[6] One of the principal mourners was her companion and assistant Lilian Booth. Morley was a very highly regarded member of the teaching staff at BSA, the school was closed on the day of her funeral as a measure of respect.[7] The principal, John Howard Hale, the secretary EP Lewis and the registrar Mrs Dowling represented the school as well as many students of BSA both past and present. The principal and committee of BSA presented a wreath in the ‘form of a chaplet’ and her colleagues and students presented a wreath in the form of a palette.[8]

Memorial to Emily Jane Morley carved by BSA students, St Michael's, Blackheath.
Source: Thanks to St Michael's Blackheath for allowing me to photograph and publish this image.

The memorial to her was to be unveiled on 16 June 1927 at 6pm in St Michael’s, Blackheath.[9] This wood carved epitaph was created by students at BSA. Woodworking students were taught by Mr F Parrott. From the descriptions provided in the contemporary prospectuses I believe that the students who produced the beautifully carved memorial were studying under Parrott as the lettering classes do not refer to the use of carving as part of the students’ learning.

I hope at some point to discover some needlework made by Morley but until then this memorial remains a tangible memory of her work at BSA.

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[1] She was baptised on 23 December 1860, and the family home was at 13 Rokeby Road, Brockley and her father Alfred was a stationer.

[2] ‘Government School of Art’, in Woolwich Gazette, Fri 10 Jun 1898, p. 4 and Fri 16 Mar 1900, p. 4.

[3] ‘Blackheath School of Art: Exhibition of Students’ Works’ in Blackheath Local Guide, 26 September 1914, p. 8.

[4] ‘Blackheath School of Art: Student Exhibition’ in Blackheath Local Guide, 21 October 1921, p. 37.

[5] Blackheath, Lee, Lewisham & Greenwich School of Arts and Crafts Prospectus, 1920 – 1921, p. 14. Morley taught classes during the day Tue 10am to 1pm and 2.30pm to 4.30pm, Thu 2.30pm to 4.30pm and Fri 10.30am to 12.30pm, and in the evening Mon 6.30pm to 8.30pm and Tues to Thu 7pm to 9pm.

[6] ‘Funeral of Miss Morley’, in Blackheath Local Guide, 25 June, p. 36.

[7] Ibid.

[8] Loc. cit. pp. 36 & 37.

[9] ‘St Michael’s, Blackheath Park’, in Blackheath Local Guide, 11 Jun 1927, p. 6. The unveiling was in conjunction with a day dedicated to missionary work in China undertaken by members of the congregation.

Pre-war aeroplane drawings from the Blackheath School of Art

Among the collection of art works at the Conservatoire are three colour pencil drawings of aeroplanes. These have captured their time perfectly, representing not only aircraft and fashion of the late 1930’s but also of an artistic style that owes a lot to graphic design of the era. The simple metal frames do seem to be later, likely from the 1960’s or 1970’s, however the pictures do seem to be a lot older as will be discussed below. [1]

These drawings most likely date from the period 1937 to 1940 before the art school closed to be annexed by the army pay corps in 1940. Whilst I have found the source photographs for two of the drawings we have yet to discover the source for the third drawing.

Heracles

Heracles at Croydon Airport pre 1940.

Source: www.britishairways.com

Unknown artist, Drawing After British Airways promotional photograph of Heracles, colour pencil on paper, before 1940.

The first drawing depicts Imperial Airways plane Handley Page HP42 GAAXC, Heracles, at Croydon airport. As with the other pictures, the colours remain vibrant with simple lines and shading portraying a stylistic representation of a late 1930’s airport complete with pilots and passengers. Imperial Airways merged to become a part of British Overseas Airways Corporation (BOAC) in 1939 which was eventually the company known as British Airways in 1974. Heracles first flew in 1931 and was pressed into war service with the RAF on 3 March 1940 and only lasted 16 days before it was destroyed in a gale at Whitchurch airport, Bristol, after being blown into another plane, Hanno. Both planes were damaged beyond repair.

Douglas DST144

Press photograph:  The Launch of American Airlines’ Flagship, Texas at Grand Central Airport, Glendale 1937

Source: www.vintageairphotos.blogspot.co.uk

Unkown artist, The Launch of American Airlines’ Flagship, Texas at Grand Central Airport, Glendale 1937, colour pencil on paper before 1940.

The other is a depiction of American Airlines plane, Texas, at Grand Central Airport, Los Angeles (above right) with passengers waiting to board on the left and soldiers loading/ unloading the plane to the left of the picture. A Douglas DST144 aeroplane press photo dated 1937 is the source of this drawing. This was the aeroplane which significantly cut down the travel time from the west coast to the east coast of the USA from with the Texas in service in late 1935. [2] 

The artist added extra figures and trucks to the right side of the drawing in order to make the composition more balanced. Even though the work is essentially a copy these extra details show that the artist possessed some skill and imagination.

Dornier Merkur D1104

Unkown artist, Dornier Merkur D1104, colour pencil on paper, before 1940.

Detail of above showing pilot and passengers.

The third drawing in the series is an illustration of the Dornier Merkur D1104 plane which was built in the late 1930’s. The technique and style of this picture shows the influence of the eminent British designers and illustrators of this period: Charles Paine (who taught at the Blackheath School of Art in the early 1930’s), Eric Ravilious (official war artist), Edward Bawden (who did some advertising work for Imperial Airways) and Barnett Freedman (a prominent designer at this time who was a visiting lecturer at BSA). During this period at BSA there were a large number of students who were very skilled at creating posters and advertisements studying under Paine (see my previous entry on Charles Paine). Paine and Douglas Bliss taught Commercial Art at the school in the 1930's. The 1931 / 1932 prospectus listed the subjects that the course would concentrate on:

Training as Commercial Artists or Illustrators: Drawing from Life, Figure Designs and Composition, Painting from Life, Poster Design, Lettering and Writing, Heraldry, Costume, Black and White Drawing, Book Illustration and Decoration, Wood Engraving, Study of Historic and Modern Art, Methods of Reproduction, Study of the business requirements of Commercial Art. [3]
One student in the early 1930's, who later studied at Central St Martin's, Richard Wakeford was noted as having designs accepted by Canadian Pacific. [4]

Unlike the other two drawings I have not yet been able to discover a photograph of this plane or whether there may a photograph that closely resembles this picture. Given that the other two pictures definitely were derived from photos the odds are that this too had its beginnings in photographic form.

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[1] The label on the reverse is from Framery Ltd, 39 Blandford Street, London, W1H 3AF. The telephone number shows that the label is from before 1990 but most likely the 1960's -  01-935 4838.
[2] The Vintage Air Photos blog contains an interesting entry on the history of the plane and detailed analysis of the photograph which inspired the drawing. See entry from Tuesday 6 August 2013 entitled Legends: Grand Central and the First DC-3.
[3] Blackheath, Lee, Lewisham and Greenwich School of Art and Crafts: Prospectus & Time Table Session 1931 - 1932 p. vi.
[4] ‘Blackheath School of Art’, in Blackheath Local Guide, 28 March, 1936, p. 6. Although Wakeford was a student at the school before 1937 (the date of the source photographs) this article shows that students were involved in designs for travel.

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.

.

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.