Translated articles · Eme n 2 · 2014 100 Martin Salisbury · pp. 100-103. ISSN 2253-6337 Martin Salisbury · pp. 100-103. ISSN 2253-6337 101 Translated articles · Eme n 2 · 2014

quite as rigid as it is today. He commissioned them as a kitchen-table medium for children, to a serious paper. Most famously, she was commissioned by the to produce a wide range of material, illustrative and means of image creation for professional artists. visionary art director at the London Pas- The return of pattern decorative, for use by the printing company in their Bawden’s genius as a designer/ image-maker lay in senger Transport Board to design the seating fabric in british graphic arts trade advertisement material as Curwen forged radi- his ability to take complicated subject matter from pattern for use on all of the seats on London buses cal changes at the press to become a leading light natural or man-made origins and to simplify and re- and tube trains. This iconic design, known as ‘’Mo- in the revival of high quality printing in the 1920s. organize into pictorial pattern. It was therefore only quette’, was in use for decades. The Curwen Press also printed many of the most natural that, alongside his painting and printmak- ’s work has also enjoyed a re- important illustrated books of the period. As one ing, he would become involved in wallpaper and vival of interest in recent years. Freedman, born to of the Harold Curwen’s early advertising brochures other pattern design. Along with John Aldridge, a a poor Jewish immigrant family in the East End Martin Salisbury proclaimed, their intention was ‘to put the spirit of Royal Academician painter who lived and worked of London, suffered poor health for much of his joy into printed things’. in the village, Bawden set up a small venture to de- relatively short life (he died at the age of 56), but Professor Martin Salisbury It was Bawden and Ravilious whose work was at sign wallpaper. The designs were made with repeat achieved great prominence as a painter and illus- Course Leader, MA Children’s Book Illustration. the forefront of this movement and in whom there prints of linocuts, created in repeatable units and trator and was especially celebrated as a master Director, The Centre for Children’s Book Studies. is particularly fervent interest at the present time. then printed in sheet form lithographically by the lithographer. With the encouragement of Harold Cambridge School of Art The two met after Bawden left Cambridge School Curwen Press. They were then sold by the compa- Curwen, he became highly skilled at autolithog- of Art in 1922 to take up a scholarship at the Royal ny, Modern Textiles. Titles of the designs included raphy, a process whereby the artist works directly College of Art in London. Here he met Ravilious, Sahara, Pigeon, Riviera and Leaf. All were highly onto the lithographic plate, drawing each colour Studied illustration at Maidstone In recent years in Great Britain there has been an who was arriving from Eastbourne School of Art pictorial in nature. Bawden had a long and prolific separation by hand, rather than relying on me- College of Art. He has worked as an upsurge of interest in the work of our graphic art- on the south coast, also on a scholarship. Despite working life until his death in 1989. chanical separations. His depth of knowledge of illustrator and painter ever since, ists of the mid Twentieth Century. The output of being polar opposites in terms of temperament, , in contrast to his friend, crammed colour layering and separation was evident in his contributing illustrations to books these artists spread comfortably across the fine they became firm friends. and Barnett a great deal of work into a much shorter life. Both many book jacket designs and the commission to published by most of the major UK and applied arts. The lasting legacy of the work Freedman were also studying at the Royal College he and Bawden were appointed as Official War Art- design the 1935 postage stamps to celebrate the publishers as well as designs for ad- of these artists and printers is becoming increas- and they were all taught design by the painter, Paul ists by the War Artists Advisory Committee. The Silver Jubilee of King George V. Such a fastidious vertising, television and magazines. ingly evident as we view the current landscape of Nash, who referred to the group of students under purpose of this venture was, on the one hand to and organised approach design lent itself well to In recent years his work has focused British illustration and the current mania for all his tuition at the time as ‘an outbreak of talent’. build a body of creative work that visually reported the design of pattern papers. Freedman’s designs mainly on the area of children’s book things ‘retro’ shows no sign of abating. This can After graduating, both Ravilious and Bawden and commented on the war, and on the other hand for Curwen are characterized by his familiar use of illustration, painting for exhibition be seen in all areas of design but is perhaps most picked up commissions fairly quickly and exhib- to give some protection to important artists of the softly graded tone from the lithographic crayon. and writing on the subject of draw- evident in home furnishing and illustration. ited paintings regularly in London. In the mid time. However Ravilious died in 1942 when the The lasting legacy of the work of these artists ing and illustration. Pattern, design, print, ‘pattern papers’, illus- 1920s, the two rented an imposing Georgian house military plane in which he was traveling on a mis- and printers is becoming increasingly evident as In 2004, Martin wrote Illustrating trated books, applied arts. together in the village of in . sion off the coast of Iceland disappeared without we view the current landscape of British illustra- Children’s Books, a major guide When each of them later married, for a while the trace. He too had exhibited a fundamental sense of tion. The process of printmaking is becoming in- to the practice and theory of the In recent years in Great Britain there has been an two couples shared the house, before Ravilious and design and pattern in his work. Perhaps because of creasingly popular again, albeit often in tandem art form. Play Pen: New Children’s upsurge of interest in the work of our graphic art- his wife Tirzah eventually moved to another village his short life, and the fact that he lived it to the full, with digital processes when used in commercial Book Illustration was published ists of the mid Twentieth Century. This has mani- nearby. Over a period of time, a number of other a sense of myth has grown him. illustration. The print and design quality of books in 2007. The book is a selective fested itself both in the publication of monographs artists moved into Great Bardfield or villages very During her time at the Royal College, Enid Marx is clearly growing ever more important as the book survey of new trends internation- on a number of the artists of the time and in the nearby. Many of these were former students of the learned wood engraving from her fellow student, stakes out its territory as a tactile, aesthetic owna- ally in children’s book illustration. work of many present day artists and illustrators two artists, who were themselves now teaching at Ravilious (generally referred to by his peers as ‘Rav’ ble artifact, as distinct from screen-based media. Children’s Picturebooks: The Art of that recycles and reinterprets many of the motifs the . In time, a community or ‘The Boy’). Marx possessed none of the innate This is most clearly evidenced in the emergence of Visual Storytelling, written in col- and preoccupations of that period, which is some- of artists grew in the area and they began to hold flair or panache that is so evident in Ravilious’s work independent publishers such as Nobrow. Nobrow laboration with Professor Morag times referred to as Twentieth Century Modern. summer ‘open studio’ exhibitions- each of them but was blessed with an intellectually and artisti- evolved from a screen-printing studio and still Styles is published in 2012. Artists of the period whose reputations have espe- exhibiting their work in the homes and studios. cally curious mind. In her later book illustrations, produce some books in this manner under the im- cially grown and been re-evaluated include Edward These summer exhibitions became something of a what she lacked in fluent draftsmanship is compen- print Nobrow Small Press. These publications are Bawden, Eric Ravilious, Enid Marx, Barbara Jones national phenomenon with up to ten thousand visi- sated for in rustic charm and a strong sense of pat- limited to editions of 100. The company has now and Barnett Freedman. They are regarded as pe- tors arriving in the village. Buses and special trains tern. It was this latter concern that dominated her expanded into children’s picturebooks, with their culiarly British in nature and are generally not well were laid on from London Liverpool Street station. long career, spanning over 70 years. From an early new imprint, Flying Eye Books. All of the books known beyond these shores. The output of these art- This group of artists was at pains to point out that age she was an avid collector of decorative objects, are characterized by exceptional attention to print ists spread comfortably across the fine and applied they were not a ‘movement’, sharing a particular fabrics, French patterned papers, designed things. and design. Pattern plays a significant part in the arts. All were exhibiting in galleries while also pro- ethos or philosophy. The group included painters, In later years she wrote excellent books on the ‘com- output of the company in the form of decorative ducing design and illustration for books, magazines, theatre designers, textile designers and photogra- mon’ arts such as English Popular and Traditional endpapers, wrapping papers and patterned tapes. advertisements, and in most cases, also for wallpa- phers. Nevertheless, it could be said that there are Art (Collins, 1946) with her long-term companion, As publisher Sam Arthur explains on the website: pers and other ‘pattern papers’ as they were known. certain key activities or characteristics that loosely Margaret Lambert. She was a distant relative of Karl “Given that the company started both in the A key player in all of this was Harold Curwen, whose bind them together, and which underpinned much Marx and was possessed of a similarly rebellious midst of the financial crisis (Nov 2008) and in the Curwen Press printing establishment in Plaistow, of the graphic work in the Britain of the 1940s and spirit, which often got her into trouble as a student supposed ‘dying days of print’, our books had to East London had originally been founded by his 50s. I would say that the most important of these are and in later life. She was still fighting battles in her be somehow different. It wouldn’t be enough to grandfather, John in 1863. Curwen encouraged the printmaking, design and crucially, pattern. Edward late nineties. But it was her passion for pattern that champion new artists and content alone, the books careers of many of these artists at a time when the Bawden almost single-handedly elevated the lino- brought Marx numerous commissions to design themselves had to stand out, to ‘deserve to be print- distinction between printer and publisher was not cut from a process that had hitherto been regarded decorative book jackets, endpapers and wrapping ed’… We publish books with their inherent qualities Translated articles · Eme n 2 · 2014 102 Martin Salisbury · pp. 100-103. ISSN 2253-6337 Raquel Pelta Resano · pp. 103-110. ISSN 2253-6337 103 Translated articles · Eme n 2 · 2014

as objects in mind, to that end we do everything tion exhibition in London, in 2003 she set up her ­Cambridge School of Art, I see an increasing number Gilmour, Pat: Artists at Curwen, London, Tate in our power to ensure that they look good, smell company ‘Donna Wilson’, creating designs for of Masters students applying their work to a range of Gallery, 1977. good and most of all tell great stories!” cushion covers, blankets, soft toys etc. In 2010 she design contexts beyond the book. I am showing a few Salisbury, Martin: Artists at the Fry, Cambridge, As well as independent publishers such as No- was named Designer of the Year by the magazine, examples here. In the early stages of this course, stu- Ruskin Press/Fry Art Gallery and Museum, 2003. brow, small ‘private press’ printer- publishers still Elle Decoration. The studio now employs a team dents devote their time to self-proposed thematic ob- Bacon, Caroline and McGregor, James: seem to be thriving. But one of the most noticeable of workers making enough of Donna’s designs to servational drawing projects. Even at this early stage , Bedford, Cecil Higgins Art gal- examples of a return to aspects of the mid-Twen- meet the demand from major high street stores of making acquaintance with their individual meth- lery, 2008. tieth ethos is the branching out of illustrators into such as John Lewis. Of course it remains to be seen ods and preoccupations, it is often easy to spot those Style, Bowie: Print and Pattern Kids, London, the worlds of textile and ceramic design to meet whether fast growing small businesses such as Wil- who have a natural tendency to seek out the pattern Laurence King Publishing, 2013. the burgeoning demand for pattern. A particularly son’s will or can become as huge as design brand and texture in their chosen subjects. An outstanding http://chrishaughton.com/node/. good example of the revivalist mood can be found in phenomena such as Cath Kidston and Orla Kiely. artist whose work I would classify in this way is Laura the phenomenal success of the company, St Judes. An interesting recent project that compares to the Carlin. Carlin graduated from the Royal College of Originally founded by artist Angie Lewin and her above venture on a smaller scale is Chris Haughton’s Art in 2002 and as well as her excellent book illustra- husband Simon, the venture existed for some years Node. Many will be familiar with Haughton’s bril- tion work she creates various craft-based artifacts in as a small gallery in the little Norfolk market town liantly ‘simple’ picturebooks published by Walker ceramics and other media. Her most recent picture- of Aylesham. As well as exhibiting prints and paint- Books such as A Bit Lost and Oh No George! Haugh- book, The Promise (text by Nicola Davies, published "Beautiful all ings by Angie herself, the gallery showed work by ton has also worked for a number of years with the by Walker Books, 2013), explores the patterns and a range of British illustrators and printmakers who Fair Trade organization. Having travelled widely in rhythms of urban living, contrasted with the rhythms year round". could be seen to be in the Twentieth Century Mod- India and Nepal Haughton set up Node with Aksh- of the natural world. Her work, which is deeply rooted The regenerationist image of spain ern tradition but who are also highly contemporary ay Sthapit, a Kathmandu based entrepreneur ‘with a in the British tradition of drawing from observation, in their interpretation of these traditions. The art- passion for social projects’. The two set up Node to invariably leads us into the interesting area of border- in the posters of the patronato ists represented include Jonny Hannah, Rob Ryan, ‘combine great design with great fair trade projects’. land between representation and pattern. The book’s nacional de turismo Mark Hearld and Ed Klutz. Angie Lewin’s own work Theirs is a non-profit venture that is designed to endpapers, traditionally a home for pattern papers, can be seen to build on many of the preoccupations bring work to a deprived region of Nepal. Working perfectly illustrate this, taking the pattern of the man- and motifs that underpinned the work of Edward with Kumbeshwar Technical School in Kathmandu, made and urban at the start of the book and the pat- Raquel Pelta Resano Bawden well over half a century ago, with particu- the two commissioned 18 leading illustrator/ de- terns of the organic/ natural at the end. Using pattern lar interest in the patterns that flow from the flora signers (including Donna Wilson) to create designs in this semi-narrative way on the periphery of the pic- Universitat de Barcelona. and fauna of the British countryside. St Judes now for rugs that would be hand-produced by the work- turebook is what the children’s literature academics Department of Design and Image. operates from Edinburgh, selling mainly online but ers in Kathmandu and sold at the Design Museum refer to as ‘peritext’. regularly organizing exhibitions at a variety of ven- Shop in London. The outcome of this ethically led The various works of students that can be seen ues under the title St Judes in the City. project is a series of stunning hand-made rugs fea- here give some insight into the ways that pattern is Throughout the twentieth century, tourist post- Design historician and profes- Given the pattern-led nature of Angie Lewin’s de- turing designs by artists such as Beatrice Alemagna, used to decorate, to describe and to tell stories. As ers have played a key role in the transmission sor at the Faculty of Fine Arts Jon Klassen, Chamo, Kevin Waldron and Haughton signs, it was a natural development for the company a teacher, I am fascinated by the different ‘ways in’ of Spain’s image abroad. This article focuses on of the Universitat de Barcelona. to branch out into fabric and wallpaper design: himself. It is to be hoped that projects such as this that each student will find when dealing with draw- one of the periods in which they had a greater She has a PhD by the mentioned “We started with the simple aim of producing will lead the way as an example of the potential of ing from observation and using this to underpin role: the end of the reign of Alfonso XIII, with the university, BA in History and two of Angie’s designs and taking it from there. illustration, so often seen as a trivial embellishment, developing approaches to narrative illustration. founding of the Patronato Nacional de Turismo. geography and BA in Audiovi- Since then St Jude’s has become a small but thriv- in the field of social change. Many of our students now come from the Far East- This historical time was an attempt to spread the sual Communication Sciencies. ing business. We were delighted to be named win- The current mania for all things ‘retro’ shows no especially China, Taiwan, Japan and South Korea. rich diversity of Spain, in an effort to dismantle She is a member of the board of ners in the Elle Decoration British Design Awards sign of abating. This can be seen in all areas of de- Here, graphic traditions have a particular emphasis stereotypes that travellers of the eighteenth and the Design History Foundation, in both 2011 and 2012.” sign but is perhaps most evident in home furnish- on surface pattern and design rather than Western and is currently the director of Further outlining the ethos of and influences ing and illustration. Sometimes this is manifested nineteenth centuries had created. modes of representational painting. the online publication Monogra- behind the venture, the company goes on to state: simply in subtle visual references but frequently Spanish poster, tourist poster, tourist adver- As more and more students from an increas- fca. She has written many arti- “We take an interest in fine art and commercial it can also be seen in the wholesale reuse and re- tisement, Patronato Nacional de Turismo, image ing number of cultures join the course (at the last cles for books and magazines, design, but we are particularly inspired by work pro- cycling of artworks from the 1940s and 50s. It is of Spain count, we had students from 29 countries), and they along with the book Diseñar hoy duced in the middle ground between the two. We also evident in the publishing and republishing of continue to fuse their own cultural influences with (Designing today). love Edward Bawden’s graphic design and illustra- works by hitherto forgotten greats such as Alain The origins of the modern concept of tourism in a knowledge of British graphic traditions, it will be tion work for London Transport, for example. And Grée, whose works have become suddenly ubiq- Spain are linked to what was known as Regenera- interesting to see how the continuing cross-fertili- 1 Eric Ravilious’ ceramics for Wedgwood. It appears uitous again, late in his career, appreciated now tionism. As Ana Moreno Garrido has highlighted, zation impacts on the British children’s publishing that some wonderful and unexpected things can in a rather more postmodern sense than in their its first ideologists and advocates where middle industry. The process has already begun. happen when a talented individual meets a visually original, seemingly uncomplicated and charming class men, preocupied by the economic, moral re- aware organisation. This is very much the spirit we manifestation. Grée’s work and that of many from generation of Spain, who understood that tourism 01 try to foster at St. Jude’s.” a younger generation of designers who are influ- Bibliography could play a crucial role in both processes. Moreno Garrido, A.: Turismo y Nación. La definición de la identidad Donna Wilson is another whose pictorial pattern enced by him, lends itself extremely well to use in Artmonsky, Ruth and Webb, Brian: De- As it is well known, the loss of the last of the Span- nacional a través de los símbolos design has burgeoned into a mini-industry. Origi- a range of decorative contexts in addition to those sign: Enid Marx, Woodbridge, Antique Collectors’ ish colonies in America, in 1898, opened up a deep turísticos España 1908-1929, (Tourism nally from Scotland, she graduated from the Royal for which it was originally created. Club, 2013. process of reflection among Spanish intelectuals, and Nation. The Definition of National Identity Through Tourist Symbols. Spain College of Art little more than ten years ago. After In my capacity as Course Leader for the MA Postgate, Sarah: Patterns for Papers, London, thus encouraging Regenerationism. This is a cur- 1908-1929) PhD thesis, Universidad Com- generating a great deal of interest at her gradua- Children’s Book Illustration programme here at Victoria and Albert Museum/Michael Joseph, 1987. rent of thought that, at the end of the nineteenth plutense de Madrid, 2005.