SUPPLEMENT ISSUE 01
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Front cover: Graham Sutherland (1922 –2003) Above: Hans Schwarz (1922 –2003)
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Far left: Martin Aitchison (1919 –2016) Above: Jan Le Witt (1907-1991) and George Him (1900-1982) Left: John Minton (1919-1957)
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Top: Ronald Ossory Dunlop RA (1897-1973) Above: Peter Edwards (1934-2017) Right: Andre Amstutz (1925 - )
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Top left: John Nash CBE RA (1893-1977) Bottom left: Joshua Armitage (1913-1998) Above: Graham Sutherland (1903-1980)
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Far left: Harry Stevens (1919-2008) Above: Artist unknown Left: Artist unknown
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Above: John Armstrong (1893-1973) Left: Noel Spencer (1900-1986) Right: Michael Johnson (1933-)
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Previous page: Grace Golden (1904-1993) Left: Harry Stevens (1919-2008) Overleaf: Abram Games OBE (1914-1996)
Seventeen extraordinary Postal artists Martin Aitchison (1919 –2016) studied at the Birmingham School of Art and exhibited at the Royal Academy in 1939. He was an illustrator of the Eagle comic during the 1950s and from 1963 many iconic Ladybird books. During WWII, he was involved in producing technical drawings for the Dam Busters “bouncing bomb”. Andre Amstutz (1925 - ) studied art and design at the Brighton School of Art , He began his career as an animator, moving to art direction at a number of leading advertising agencies and from the 1960s as a successful Illustrator of children’s books. Joshua Armitage (1913-1998) was an English illustrator who worked under the pen name “Ionicus” He studied at the Liverpool School of Art and was best known for his cartoons and drawings for Punch magazine for which he contributed in excess of 350 over 40 years. He also illustrated the covers of the PG Woodhouse stories for Penguin Books. Peter Edwards (1934-2017) along with his wife, Gunvor, are best known for their impressionist style illustrations that were used in some of the later editions of the popular Railway Series (Thomas the Tank Engine) books by Rev. W Awdry.
Abram Games OBE (1914-1996) grew up in East London, designing his first poster at the age of 21. During WWII he produced over 100 posters as an Official War Artist, continuing in 1946 as a freelance commercial graphic designer. As well as posters, his work covered stamps, the iconic logo for the Festival of Britain and the first on-screen logo for BBC TV. He also lectured at the Royal College of Art. Grace Golden (1904-1993) was born to a workingclass family in East London; she studied at the Chelsea College of Art and the Royal College of Art where she also taught. She was a book illustrator in the 1930s and during WWII was commissioned to make illustrations of historic buildings and landmarks. She gained fame for her highly detailed paintings of London scenes including the River Thames. Michael Johnson (1933-) studied fine art at the York College of Art. He moved to London in the 1960s to work as a magazine illustrator for publications like Harpers & Queen, and Woman’s Own. His bold, vigorous style was the language of popular culture in the swinging ‘60s.
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John Minton (1919-1957), studied at the St John’s Wood School of Art and in France, becoming a major figure in the neo-Romantic movement of the 1940s and 50s. He expressed a great intensity of feeling and gloomy realism in his work through dark colour schemes. In addition to painting and posters he designed textiles and wallpaper and throughout the 1940s taught illustration.
Noel Spencer (1900-1986) was a printmaker and painter, who studied at Ashton-under-Lyne School of Art and The Royal College of Art. Specialising in townscapes and landscapes, notably around Huddersfield, London & Norwich. He worked in both black and white and colour. He held a number of teaching positions, notably as principal of the Norwich School of Art between 1946–64.
Ronald Ossory Dunlop RA (1897-1973) was an Irish painter in oil of landscapes, seascapes, portraits and still life, who studied at the Manchester school of Art and Wimbledon College of Art. He was a prolific exhibitor between the 1930s and 1950s with an instantly recognisable “painterly exuberant” style. He wrote books on painting and his work is on display in the Tate and the National Portrait Gallery.
Harry Stevens (1919-2008) was born in Manchester. He was self-taught as an artist becoming a freelance designer in the display and exhibition trade. He went on to specialize in poster design with great success, his distinctive, simple, fun cartoon style winning him the Council of Industrial Design Poster Award in 1963.
John Nash CBE RA (1893-1977) had no formal training as a painter, developing his early career alongside his artistic older brother Paul. He served in France during WWI, his war experience greatly influencing his painting style with a subdued atmosphere to his distinctive geometric style. Nash was also an accomplished printmaker and wood engraver and taught art in Essex during the late 1940s where he lived. Manfred Reiss (1922-1987) was a Germanborn graphic designer whose family emigrated to England in 1937, bringing 40 Jewish children along with them. He became one of the most prolific poster designers during the late 1940s and early ‘50s using simple drawings with photomontage or photographed elements, plus a touch of humour. Hans Schwarz (1922-2003) dolor sit amet, consectetur adipiscing elit. In aliquam euismod nulla in tempor. Nulla molestie tortor at tellus pharetra, ac bibendum orci interdum. Pellentesque ex arcu, tempus nec ligula vel, ultricies porttitor diam. Vivamus sollicitudin consequat enim. Curabitur molestie nisl tempor, efficitur nunc et, fermentum quam. Sed non enim cursus, rhoncus justo eu, accumsan.
Graham Sutherland (1903-1980) initially studied engraving at Goldsmith College. He took up oil painting in the 1930s, securing a reputation as a leading surrealist artist with a series of Pembrokeshire landscapes. His interest in glass and fabric design lead, in 1954, to the designing of a huge tapestry for Coventry Cathedral. His portrait painting included an infamous one of Winston Churchill. Jan Le Witt (1907-1991) and George Him (1900-1982) Polish design partners, their characteristic style involved innovative use of colour, abstraction and symbolism to commercial design.
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