People keep sending me things.  Which is wonderful, but does every so often necessitate a whole post to catch up with them.

First off the blocks is ‘mm’, who chipped in after the recent discussion about Harry Stevens to point out these two film posters of his which have come up on eBay.

Harry Stevens Barnacle Bill film poster

I have never seen either of them before, but then that’s not entirely surprising as I continue to know very little about film posters despite the best efforts of some people to educate me.  Mind you, as these are £395 and £450 respectively, I can’t afford to develop an interest, can I?

Harry Stevens the long arm film poster

However, these are both rather good designs, and the second one, particularly, is a very different style for Stevens.  So, good to see.

But there are bargains to be had.  Neil J, knowing of my deep affection for David Klein’s now rather expensive mid-century posters, emailed to tell me about the work that David Klein did for Amtrak in 1975.  Which looks a bit like this.

David Klein florida Amtrak poster 1975

Or indeed this.


There’s quite an interesting article about the posters on Amtrak’s own website, which says that these posters were available to the public (just $6 for the entire set), which probably explains why they are quite cheap now.  Neil got his copies for a whacking $29 each.  Hurrah for that.

Elsewhere,  my now rather old post about Hans Unger continues to attract not only people who knew him, but also now a journalist who hopes to write an article about him and his work.  I very much hope that this happens.

But in the course of all this, one of the previous commenters sent me these pictures, of a mosaic and a watercolour, both given to him by Unger.  So I thought you might like to see them too.

Hans Unger London watercolour


Finally, I mentioned one of these posters a few years ago when it came up on eBay.  It was, apparently, part of a collaboration between the LEB and the Royal College of Art.  And now I have photos of all of them, thanks to yet another kind correspondent.

LEB Royal College of Art Poster Ruskin Spear

LEB Royal College of Art Poster Sam Rabin



LEB Royal College of Art Poster Geoffery Clarke


LEB Royal College of Art Poster Robin Darwin

http://www.flickr.com/photos/36844288@N00/4913224608/in/photostream/ Donald hamilton Fraser


The first four are by Ruskin Spear, Sam Rabin, Geoffery Clarke and Robin Darwin, and can be found on Mike Ashworth’s estimable photostream.  The last two are by Donald Hamilton Fraser and a name I can’t read at this resolution (looks like Leonard Rossiter, but I’m guessing it probably isn’t), and are not.  But all rather wonderful, so please do keep sending the photos, information and comments in – they are always very gratefully received.






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Designer’s eye

So here I am submerged in house renovations when there are poster auctions which I need to tell you about.  First in the line, mainly because it’s in just a few days time, is the forthcoming Swann Auction of Modernist Posters.

Now, with their being in New York, there are usually only one or two items of interest for us in a Swann auction, things like this, which although wonderful are somewhat outside the Quad Royal remit.

WALTER ALLNER (1909-2006) SUISSE ÉTÉ / WAGONS - LITS // COOK. travel poster
Allner, est. $1,500-2,000

HERBERT MATTER (1907-1984) ALL ROADS LEAD TO SWITZERLAND. 1935 travel poster
Matter, 1938, est. $2,000-3000

There are also a set of Theyre Lee-Elliott posters for the embryonic British Airways.


M26145-31 001

M26145-29 001

All three are from 1938 and estimated at $800-1,200.  While we’re on the subject of British Airways, there is also this, which is apparently a very early example of photography in an airline poster.

Anonymous, c.1938, est. $800-1,200

If only flying were so glamorous now.

The main reason we’re here, however,  is lots 185-222 which are, in the main, from the collection of F H K Henrion.  There is one piece of his own work.

FREDERIC KAY HENRION (1914-1990) ARMY EXHIBITION. 1943. propaganada poster
F H K Henrion, 1943, est. $600-900

But what’s really going on is Henrion looking at the work of his fellow designers.  So there are examples from Reginald Mount, Pat Keely, Hans Schleger, Eckersley and many others – so many that I can’t include all of the ones I like.

REGINALD MOUNT (1906-1979) BONES MAKE EXPLOSIVES. Circa 1944.  world war two poster
Reginald Mount, 1944, est. $600-900

Pat Keely, 1941, est. $400-600

Hans Schleger, 1940, est. $400-600

As well as a substantial selection of Abram Games’ designs; I don’t know if they were friends or whether Henrion was a particular admirer of his work.

ABRAM GAMES (1914-1996) RADIOLOCATION. 1941. World war two poster
Abram Games, 1941, est. $2,000-3,000

ABRAM GAMES (1914-1996) CIVIL RESETTLEMENT UNITS. 1945. army poster
Abram Games, 1945, est. $700-1,000

Abram Games, 1955, est. $2,000-3,000

I’ve even found a rare example of an Ashley Havinden poster.

Ashley Havinden, 1950, est. $400-600

Not everything is by a big name, either.  This very striking wartime image is simply by A.R., about whom I can tell you nothing.

A.R., 1941, est. $500-750

Henrion clearly never stopped looking at posters and thinking about them as long as he worked, because there are a host of later examples too.

ALAN FLETCHER (1931-2006) D & AD 21ST. 1983. poster

So I strongly suggest you go over there and take a peek, not only for the insight into a designer looking, but also because Swann’s catalogues are properly written and informative.

MANFRED REISS (1922-1987) BE COURTEOUS. Circa 1955.  ROSPA poster
Manfred Reiss, 1955, est. $400-600

And now if you’ll excuse me, I have to order a skip.

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I promised a while back that’s I’d revisit the most recent Great Central Railwayana auction and see what the posters on offer actually went for.  A course of action necessitated by the fact that railwayana auctions never, it seems, publish an estimate of what they think a poster is going to sell for.  This sometimes makes me think that I must be missing out on loads of cheap bargains, passed over by railway enthusiasts who would rather look at pictures of trains, or at a push, landscapes.

Claude Buckle Somerset
Claude Buckle, sold for £300

This was probably true once upon a time, but it definitely isn’t any more.  Posters are expensive wherever you buy them, and railwayana auctions are no exception to this rule.  The only difference seems to be that posters with a railway rather than design interest might fetch more than they would do at a more general sale, which is fair enough.

A Southern Railway quad royal poster. THE FOUR BELLES RING THE SOUTHERN COAST, by Shep
Shep, sold for £1550

But landscapes and seaside scenes aren’t exactly going cheap either, with this example inexplicably (to me at least) at the top of the range.

poster, LITTLEHAMPTON, by Allinson  British railways poster
Allinson, sold for £860.

Also failing to be bargains are the more decorative posters that I like the best.

Bromfield British railway poster swanage
Bromfield, sold for £490

Gregory Brown Ullswater travel poster
F Gregory Brown, sold for £520.

Even kitsch, which only a few years ago wouldn’t have been very valuable, reaches just the same prices as it would at a general auction sale.

Bexhill British Railways poster 1950s
Anon, sold for £300

The news isn’t all bad, as a couple of odd bargains did slip through.  I very much liked this poster and said so when I looked over the auction.  But I was clearly on my own in this.

Burley Dover Southern railway
Burley, sold for £120

While the Wye Valley was also inexplicably unpopular for a pretty landscape.

Wye Valey russell British Railways poster
Russell, sold for £130

But is there anything else we can conclude beyond my initial assessment that a railwayana auction is unlikely to give you a cheap poster?  I’m not sure there is, really.  There is a very small chance that you might get a bargain, particularly if you were buying for quality of design rather than for meticulous reproduction of countryside or trains.  But equally you might not, and there appears to be no way of telling either.  Perhaps the answer is to put a low bid on anything you half-fancy and hope that it works once or twice per sale.  But that does seem a bit of a random way of buying, even to me.

If we look wider, there is another, rather terrifying conclusion to draw as well.  Because that last auction was actually pretty cheap compared to what else has been going on recently.  The most recent GW Railwayana auction was, frankly, boggling in its prices.  Here is just a small selection.

Glencoe Norman Wilkinson LMS LNER poster
Norman Wilkinson, sold for £1,200

London Norman Wilkinson LMS LNER poster
Norman Wilkinson, sold for £3,550

Terence Cuneo Day begins LMS poster
Terence Cuneo, sold for £6,100

To me, that’s all looking, well, expensive; not just beyond Onslows’ prices, but nudging Christies too.

Not everything headed out at that kind of stratospheric level though.  At this particular auction, the kitsch didn’t do quite as well, in particular this delightful poster which I took a shine to at the time.

Geoff Sadler thornton cleveleys poster british railways 1950s
Geoff Sadler, sold for £180

Although nothing went desperately cheap, and the right poster, clearly, could get the money in.

Rhyl British Railways poster leonard 1961
Leonard, sold for £440

Neither of these sales are exceptions, either. If I go back to the last couple of GCR auctions, the pattern is very much the same.

Morecambe anonymous holiday poster family on beach
Anon, sold for £520

Ayr Laurence british railways poster
Laurence, sold for £620

Frank Mason Yorkshrie Coast vintage LNER 1930s railway poster
Frank Mason, sold for £4,100

With just the very occasional bargain to keep my hopes up.

Largs Ayrshire Lander poster British Railways 1950s
Lander, sold for £50

Oh, and this, which I was very disappointed to see going cheap, mainly because we’ve got a copy.  Never mind.

Tom Purvis East Coast baby yellow railway poster

Tom Purvis, sold for £230

I could go on, but it would only pain me.

Perhaps the most striking thing about railwayana auctions, though, is how much they, and the market, have changed.  The magic of the internet allowed me to revisit a GWRA auction from 2004.  It’s a different world.  There are only about ten posters for sale, of which the vast majority went for very little.  £50 could have bought you either of these for example.

'Yorkshire Coast’, BR poster, 1959. Anonymous


Compare that to their last auction, where there are several dozen posters on offer, some of very high quality, and many fetching extremely high prices.

This is a big change indeed in under ten years, and it’s something that isn’t often acknowledged.  That includes by the auctions themselves, for whom it seems posters are a bit of a sideline compared to the real business of metal name plates and station platform signs.  But these days, the railwayana auctions together must easily turn over as many posters as Onslows and Christies combined.  I shall pay them a bit more respect in future.  We all should.   And perhaps they could return the favour with some estimates.

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String Theory

This has recently arrived in the post, contradicting my previous assertion on here that there are no more eBay bargains to be had.

Lander british railways luggage poster
Admittedly it is not an outstanding piece of graphic design history (although I quite like it) and is rather battered round the edges too.   But it’s by Lander, which is always a good thing, and it’s also a rather intriguing bit of social history.  Because it’s a reminder of the days when things had brown labels and were tied up with string, or in this case cord.

Nobody does that any more, do they?  I have sometimes been known to wrap a parcel up in brown paper, but I don’t think I’ve ever tied it up with string.  This is something I’m sure that my mother could do though, coming as she does from an age before jiffy bags and sellotape.

Without all these modern parcel technologies, it was clearly possible to wrap a parcel very badly.  At least that’s the only conclusion I can arrive at from the sheer volume of posters that the GPO put out on the subjects.  Most of these are quite general, and I’ve written about the Properly Packed Parcels series on here before.  But there were plenty of other similar exhortations too, and here’s just one.

Tom Eckersley cow jug pack parcels carefully GPO poster

Actually, seeing as it’s Tom Eckersley, let’s have two.

Tom Eckersley cat ornament poster GPO pack parcels carefully

Judging from the posters though, (these are all from between 1950 and 1953) there was a Post Office standard approved way of packing parcels carefully.

Caswell 1953 GPO poster

Dennis Beytagh 1952 parcel wrapping poster

So that’s two pieces of string round the long side, one round the other, although I still have no idea how to knot it.   Hans Unger, meanwhile, is even more specific about rigid boxes and string in 1950.

Hams Umger 1950 poster wrapping parcels GPO

This one, though, is the most instructional I have managed to find (it’s artwork by the way, artist not known).

Artwork for a poster. Subject: Careful packing of parcels. Artist: Not known. GPO 1950

I think even I could have had a go at the process now, although I still don’t know how to knot the string.

Of course (and you might have guessed that the whole post has been leading up to this) the real challenge that faced the Post Office was blackberries.  Sent in a non-approved fashion.

Karo soft fruit by post genius GPO poster

Did people really send them in a basket?  And expect them to get there?  I am boggled at that thought.  But the GPO weren’t, they produced more than one poster, which means that it must have happened at least twice…

soft fruit packing gpo poster

The GPO weren’t alone though, British Railways also had problems with parcel packing and addressing.

'Address your package clearly and help the Railway Staff to help you'. Poster produced for Great Western Railway (GWR), London, Midland & Scottish Railway (LMS), London & North Eastern Railway (LNER) and Southern Railway (SR) to remind customers to address packages clearly, as illegible addresses cause delays. Ar'Address your package clearly and help the Railway Staff to help you'. Poster produced for Great Western Railway (GWR), London, Midland & Scottish Railway (LMS), London & North Eastern Railway (LNER) and Southern Railway (SR) to remind customers to address packages clearly, as illegible addresses cause delays. Artwork by Miles Harper.twork by Miles Harper.

The problems might have been similar but it has to be said, the GPO’s poster design was infinitely superior.

You also get the feeling from their posters that they don’t actually like parcels that much.  They’re just trouble really, when your main business is really running trains.

British Railways staff poster. 'Don't Accept Packages which are Unfit for Transit', BR staff po'Don't Accept Packages which are Unfit for Transit', BR staff poster Artwork by Frank Newbould.

That, incidentally is apparently a late Frank Newbould from 1960,  It’s also quite mild in tone compared to some.

But nothing gave them an excuse like the war.  At last they could say what they really thought.

Fewer parcels World War two christmas poster british railways

Can you even send a parcel by railway now?  Probably only if it is tied up with string.

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I can resist anything except temptation.  So this is the Barbara Jones picture which comes up on the BBC Your Paintings site.

Barbara JOnes pecking bird exhall grange special school

I wish it were my painting.  But in fact it belongs to Exhall Grange Community College and Special School in the Midlands.

I could quite easily go off on an entire digression about work of this calibre and vintage in schools, but for once I don’t have to.  All I need to do is point you at the Decorated School website and set you off.  Although I haven’t had a chance to explore it fully myself yet, so if you find any  particular gems, do let me know.

A normal service will finally, I hope, return next week; it’s been a bit of a sanitorium here at Crownfolio towers these last few days, so apologies for the absence.

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The peculiar thing about writing on Quad Royal, or to be more precise, the delving about in pursuit of a subject that I do in advance of writing, is that I quite often find myself in a place I didn’t expect to be.  Take today, for example.  This was going to be a quick, simple, short piece about Harry Stevens, brought about by a nice comment by Roger Lake on my last post about him (I would suggest that you follow that link, as there’s a good Albert Finney anecdote in the comments too).

Roger told me – well, us really –  that there was a painting by Harry Stevens in the Salford Museum and Art Gallery called St Paul but he hadn’t Googled it yet.  And he’s right – Mr Crownfolio found it for me on the BBC Your Paintings site.

Harry Stevens  St Paul Salford Art Gallery

From which I can also tell you that another one of his paintings is in Manchester City Galleries.

Kite in the Sea Harry Stevens Manchester City Art Gallery

That one’s called Kite in the Sea, but you could possibly have guessed that title.

The third painting by Harry Stevens is Spirit of the South, a painting which I did know about and mentioned in the original post.

Harry Stevens Spirit of the south National Railway Museum

So far, so good: we now know a bit more about Harry Stevens.  But then I noticed something which was more interesting than the picture (at least if you’re me) which was the clickable link to the right of the picture.  A link which takes you to all the oil paintings in the National Railway Museum (NRM) collections, brought to you in a format considerably more user-friendly than their own catalogue.

So, what was going to be a short post about some Harry Stevens paintings now finds itself staring down the barrel of four hundred and eighty three paintings, all of which now need to be considered.

They are, of course, not all to our taste.  People have, I can tell you, commissioned quite a few oil paintings of steam trains.  There are almost as many paintings of men called Sir, too.  But that still leaves quite a lot left for our consideration.

Some are from posters which I know well, like these two by Claude Buckle.

Claude Buckle new manchester Piccadilly painting artwork

Ireland at Night Claude buckle artwork oil painting railway poster

I was pleased to see that the museum owned the original artwork for this, too.

Frank Newbould Skegness artwork

Except that it then turned out to be a much later version by Frank Newbould.

There are other paintings, though ,which are for posters that I’ve never seen, and which are really rather good.  Take this 1955 Frank Sherwin image of Kent for example.

Frank Sherwin kent artwork oil painting

Here it is as a poster.

Frank Sherwin 'Kent - The Garden of England', BR poster, 1955.

For a change, I think I prefer the original.

There is, I suspect, a good reason for that, and it’s one which is made explicit by the next example, Warwick Castle by Adrian Scott Stokes.

Adrian Scott Stokes Warwick Castle railway poster artwork

A quick surf through the NRM catalogue reveals that not only was this the only poster that Scott Stokes ever produced for the railways, he was primarily an artist (and critic) rather than a designer.  In fact, this was one of a series of posters commissioned by the LMS from members of the Royal Academy.  So, posters by artists, not designers.  All of which probably explains why it works better as an oil painting than a printed poster.

London Midland & Scottish Railway poster. Artwork by Adrian Stokes. Warwick Castle


In fact, I’d go as far as to say that I’d happily have that painting on my wall, but don’t feel remotely the same about the poster.  But then none of this is surprising.  Artists, generally, make better paintings than posters.  If you want a poster, you may be better off with someone else, like, say a designer.  But I shouldn’t be too harsh.  Even if the resulting posters aren’t as good as they could be, it’s still a very interesting exercise looking at the paintings, as well as being a useful reminder that poster design is very definitely not the same thing as fine art.

Fear not, though, there are proper poster artists at work here too.  Take Alan Durman.  We’ve seen this design before.

Alan Durman Ramsgate poster artwork

There’s quite a lot of Durman’s artwork in the NRM.

Alan Durman Weymouth poster

For a while, I found myself getting annoyed by this.  Why did they have so much of his work when the collection didn’t seem to hold a single thing by Daphne Padden or Tom Eckersley?

Until I realised that the problem didn’t lie with the museum, but with the search criteria.  The BBC site only covers oil paintings held for the nation.  Eckersley, meanwhile, worked in watercolour.  So I need to look in the NRM’s catalogue if I want to find this.

Tom Eckersley Lincolnshire artwork British railways poster

Or indeed this.

Tom Eckerley Paignton Artwork British Railways poster

So that’s alright then.  But to go back to Alan Durman, he also provided me with another diversion.  Because the webpage for his railway poster designs told me that he’d also painted this.

Timsbury Manor painting by AlanDuman

Which is quite a stylistic surprise.  There is clearly more to Mr Durman than just dolly birds, I will investigate further one day.

The painting itself also has an interesting story to tell.  It’s of Timsbury Manor, just down the road from us, and the website says:

This shows one of a variety of houses in Somerset thought to be under threat of demolition in the 1960s. Paintings of them were commissioned by Arthur Batten-Pool of Rode Manor, which he bequeathed to the Victoria Art Gallery [in Bath].

It’s a localised, and later, version of Recording Britain, which is another thing that I must write about properly one day.  But Arthur Batten Pool was right; Timsbury Manor was demolished in 1961.

But that’s not the last intriguing story to come out of the paintings.  Take a look at this, which is called Building Matilda Tanks at Horwich and is rather wonderful.

Norman Wilkinson Building Matolda Tanks at Horwich LMS At War NRM

Now you can probably guess that it’s by Norman Wilkinson, and indeed it has a family resemblance to many of his poster designs, but as far as I can tell it isn’t one.  Instead, it seems to be part of a series of paintings he produced called ‘LMS at War’.  The Horwich works above were the LMS’s main engine works, now turned over to producing tanks.  Here’s another one in the series, called Re-forming Shell Cases, although I can’t in this case tell what the connection is with the LMS.

Norman Wilkinson Reforming Shell cases LMS at war NRM

I’d love to know what the story is here – did the LMS think that they might get permission to produce these as posters?  The images would certainly sit very happily alongside Wilkinson’s many other designs for them.  They were certainly never made into posters, in fact the only place I can find them reproduces in is a small book called the LMS at War (which crops up on eBay every so often and doesn’t sell for very much).  On the other hand, I wonder whether the LMS were simply doing their own version of the Governments’s War Artists Scheme, with their own artist.  The only problem with this was that the war was so directed in every way, that surely they would have had to get permission from someone?  If any one knows, please do tell us all the details.

There are a lot more Norman Wilkinson paintings on the BBC site too, mostly of ships, and when I tried to find out a bit more, it turns out that he’s quite an interesting cove, and famous for quite a lot more than posters.  Like inventing dazzle ship camouflage to start with. All of which probably deserves a post of its own one day.

So, I started out with Harry Stevens but ended up in the wartime engine sheds with Norman Wilkinson.  Not quite what I expected.  And that ought to be that, were it not for the fact that Mr Crownfolio has just suggested that I put Barbara Jones into the infernal oil painting machine.  Apparently there will be results.  But I think this post has travelled quite far enough for one day, I think.

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