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.

Australia at the Royal Academy

It might be rather late given the exhibition finished in December but here goes nonetheless. My blog has been hijacked by a rather simple art lover...

 

Right from the first moment of entering Australia at the RA it is apparent that this exhibition was going to be a nostalgic trip. Shaun Gladwell’s, Approach to Mundi Mundi reflecting the vastness of the country and the distances people will travel to get around. The first thing I learnt in coming to the UK over 17 years ago is that Australia is not the centre of the universe; although many of my friends back home still struggle to believe me when I try to explain this.

One of the biggest regrets I have is never being brave enough to take the step to study Aboriginal Art as it meant committing to Anthropology and moving away from Art History; a discipline that I felt at home with. Sadly the Australia I grew up in dismissed Aborigines and their cultural heritage with suspicion, more because we did not make an effort to understand it, however I digress.

The first topographical images of Australian cities highlighted the British tradition that was first brought to the colony. Produced quite early, in the European part of the nation’s history just over 10 years after the first settlement they depict the development of the country, showing just how isolated these little snippets of old England were.

The fascination with Romanticism; and the overwhelming sublime quality of the harsh landscape comes to the fore in the works of Von Guerard especially Mount Kosciusko and Bushfire. These paintings could hold their own in the extraordinary catalogues of both Friedrich and Church respectively. This was a country that was harsh yet beautiful. The representation of the first contact with the indigenous people is something that was not always properly discussed in the tradition of Australian Art History. For all of the beautiful landscapes of John Glover which include native inhabitants, by this time Tasmania was devoid of the land’s custodians.[1] Yet in the same room there are some more naive works of art which show the Aborigines in a more sympathetic light. William Barak’s depiction of an Aboriginal tribe is quite touching in its crudeness. This is all the more interesting by his writing to Queen Victoria to enquire about the better treatment of his people, as he himself was a Native Police tracker.

Artists such as Roberts and Streeton are firm Australian favourites and are well represented. Monumental images such as Fire’s On! by Streeton show the unforgiving qualities of the Australian landscape so much show that the rugged painterly brush strokes which represent the rocks are repeated in the blue sky to create a warm yet unbreakable wall of monumentality. Despite the attempts to break down the wall with explosives their efforts are futile as can be seen by the casualty being stretchered out of the mine’s entrance. The mythology of Australia being a land of rugged outback heroes has been eulogised for many a year and Tom Roberts with paintings such as A Break Away! showing a drover hurtling through a desert landscape to catch a stray sheep is one such key image. Frederic McCubbin’s Lost represented the realities faced by the pioneering families, that the desolation and loneliness of the landscape was a frightening prospect. The futility and sadness that often attempted to suppress the strength of the white settlers was never more beautifully produced in such a sentimental way than in The Pioneer, an ode to the family. For all of these images of the outback there is also a small collection of burgeoning images of the city with the cigar box lids of the “9 x 5” exhibition including street scenes and even one of an Australian Rules football match representing the changing interest in the emerging urban landscapes of the country. Roberts showing his interest in not only the outback but also the bustle of the city in his small painting, Allegro con brio, Bourke Street. This attempt to create an Impressionism in Australia comes to the fore with Charles Conders water scenes, including the iconic Holiday at Mentone, which would not be out of place with Monet’s early beach scenes.

Placed at the behind  McCubbin’s monumental triptych was Grace Cossington-Smith’s  immense polyptych, creating an interesting dialogue between the traditional representations of the Australian outback and the early modern focus on everyday life in the cities. The iconic Sydney Harbour Bridge showing how Australia does also have a heritage of producing industrial landscapes not just ones inspired by nature. This is an area where the exhibition excelled showing works by other early leading women artists including Clarice Beckett’s Tonalist urban landscapes with trams and also the exquisite The Expulsion by Margaret Preston, replacing Adam and Eve with aborigines, native flowers (Sturt Desert Pea) and animals (a kangaroo and koala).[2] It was touching that these were next to the exquisite landscapes of Albert Namatjira, incidentally one of the few aboriginal artists we looked at in Art History classes as he worked in a recognisable style.

The interest in the Australian family was brought to the fore again through John Brack’s The Car featuring family with two children undertaking a journey within the cramped confines of their vehicle. The isolation of a man and an abandoned pram, in Jeffrey Smart’s beach scene is ambiguous in that the viewer is unable to work out whether the man is the owner of the pram and whether there is a child within. This ever modernising landscape and the people in it further highlighted by the increasing interest in the beach which I guess came with the urbanisation of the cities and the interests of the workers especially in the cities of Sydney and Melbourne. Max Dupain’s photograph, Sunbaker, exposing a more modern view of Australian’s as bronzed and sporty.

The early modern painters of the cities are perhaps where my interest waned especially as I have very little knowledge or understanding of what comes after. Nevertheless the paintings of Second World War Australia are where it started to show gaps in the survey. Whilst paintings like Albert Tucker’s Bathers more than ably represented the Angry Penguins group and the interest in Surrealism it this section began to be more noticeable for its omissions. Painters like John Olsen, John Perceval, Clifton Pugh, Joy Hester, Vic O’Connor and William Dobell were noticeable absentees (and I could mention others). John Blackman’s paintings of the aboriginal bride would have been an excellent way to show that Australia’s attitude to its indigenous population did not advance much from the early settlers to the 1950’s.

Nevertheless the Nolan paintings showed the mythology of Australia’s past, a heroic way and iconic way of representing of the historical infancy of the country (granted white). Ned Kelly being an Australian figure, equal to Britain’s Robin Hood in that he was worshipped by those less fortunate. Arthur Boyd actually creating a biblical, apocalyptic vision of Australia, “Brueghelian”[3] if I may use the word I learnt from the RA’s label drawing on Pieter the Elder’s Tower of Babel for his horrible, haunting mess of the town’s inhabitants in The Mining Town (casting Aside the Money Lenders from the Temple). I am not sure why the RA added an “h” to this term; it does remain a mystery. One of perhaps the best known artists in Australian homes, Russell Drysdale’s landscapes depict the beauty and desolation of the outback.

It seems as though the exhibition was brought together with Australian galleries to display the ever changing landscape of the country. Yet there is a focus on the people within these landscapes and the lack of portraiture does tend to let the show down. It would have been fantastic if the exhibition could have been broken down into eras rather than one large survey. However we really should be thankful that the RA has been able to highlight the art of Australia and put on, what for me was a fantastic nostalgia trip reminding me that the art of my country does matter.

 

For more about the exhibition please see here

 

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[1] Glover sadly being a supporter of Governor Arthur who was a part of the clearance of the Aborigines from Tasmania.

[2] Sadly there were no examples of Preston’s native wildflower images.

[3] Not sure why the RA added an “h” to the term, it will remain a mystery to me as Pieter Bruegel the Elder was Boyd’s starting point.