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Harold Nicolson – Jeanne de Henaut

October 5, 2009 by Roy Johnson

Hogarth Press first edition book jacket designs

 

Jeanne de Henaut - first edition

 
Harold Nicolson, Jeanne de Hénaut (1924)

Only 55 copies were printed. This copy has the printer’s “First Proof” stamp and the date “8 Nov. 1924” on the front cover. The author’s name is spelled “Nicholson” on the proof, but this was corrected before publication. This is the only known copy of the First Proof.

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Hogarth Press studies

Woolf's-head Publishing Woolf’s-head Publishing is a wonderful collection of cover designs, book jackets, and illustrations – but also a beautiful example of book production in its own right. It was produced as an exhibition catalogue and has quite rightly gone on to enjoy an independent life of its own. This book is a genuine collector’s item, and only months after its first publication it started to win awards for its design and production values. Anyone with the slightest interest in book production, graphic design, typography, or Bloomsbury will want to own a copy the minute they clap eyes on it.

Woolf's-head Publishing Buy the book at Amazon UK
Woolf's-head Publishing Buy the book at Amazon US

The Hogarth Press Leonard and Virginia Woolf as Publishers: Hogarth Press, 1917-41 John Willis brings the remarkable story of Leonard and Virginia Woolf’s success as publishers to life. He generates interesting thumbnail sketches of all the Hogarth Press authors, which brings both them and the books they wrote into sharp focus. He also follows the development of many of its best-selling titles, and there’s a full account of the social and cultural development of the press. This is a scholarly work with extensive footnotes, bibliographies, and suggestions for further reading – but most of all it is a very readable study in cultural history.

The Hogarth Press Buy the book at Amazon UK
The Hogarth Press Buy the book at Amazon US

© Roy Johnson 2005


Filed Under: Hogarth Press Tagged With: Art, Bloomsbury, Graphic design, Harold Nicolson, Hogarth Press, Jeanne de Henaut, Literary studies

Henri Gaudier-Brzeska

January 4, 2018 by Roy Johnson

young, modernist, Vorticist sculptor

Henri Gaudier-Brzeska (1891-1915) was one of the most dynamic and innovative sculptors of the modernist period. He was French, but produced his most important works in England in an incredibly short space of time – between 1911 and 1915.

Henri Gaudier-Brzeska

Henri Gaudier-Brzeska

He was born Henri Gaudier near Orleans in France – a talented schoolboy who won scholarships that took him to London and University College, Bristol. He was supposed to be engaged with business studies, but spent his time sketching antiques in the Bristol Museum. After this he travelled to Nuremberg, Munich, then Paris, where he met Sophie Brzeska in a library.

This was a decisive turning point in his life. She was Polish, had literary aspirations, and was twice his age. They formed an immediate bond that was to last until the end of his tragically short life – and hers, since she died soon afterwards. Yet it was not a conventional romantic and sexual attachment – more of a mother and son relationship..

They were both in ill health and desperately poor. However, when they travelled into the countryside as an economy measure, even the innocent visits of a young single man to an unmarried woman staying in a rented house were enough to enrage the prurient provincial farmers, who called in the police.

Gaudier became eligible for military service, but passionately wished to avoid it. He described the French as ‘slaughterers of the Arabs’. So they moved to London. At this point they unofficially joined their surnames to form the compound Gaudier-Brzeska as a sign of their commitment to each other.

They plunged into further poverty and ill health. He made a pittance at various menial office jobs. She paid for his visits to prostitutes at five shillings a time – since they had been recommended by a doctor as conducive to his well-being.

She made efforts to establish an independent existence by seeking work, and he started to learn Polish. He was sketching whenever he had the chance, but amazingly he had still produced no sculptures, even though he only had a few years left to live. When Sophie found temporary work as a governess in Felixstowe he wrote enormously long letters (addressed to ‘Adorable Maman’) explaining his ideas about art and reproaching her for having different opinions.

In 1911 they set up home together in Chelsea. She bought a bug-infested bed: he slept in a deck chair. There is conflicting evidence about the exact nature of their relationship. She claimed they were like brother and sister: he claimed they were not. But he also confessed that he often lied.

Henri wrote to the author of an article in the English Review which led to his selling some of his posters. He also began to model in clay and secured his first poorly paid commissions. He was also introduced to Katherine Mansfield and John Middleton Murry, both of whom were rather irritated by Sophie. Henri contributed sketches to their magazine Rhythm but the relationship eventually foundered on incompatible personalities.

Henri Gaudier-Brzeska

Bird Swallowing a Fish 1913

When Sophie went to work in Bromsgrove it gave him more free time for his art work, but they also spent a lot of time having lovers’ tiffs via letter. He worked on paintings, drawings, plaster busts, and a scheme for producing painted tiles. All of this was what we would now call cottage industry, and the most he was ever paid for a single work was twenty pounds.

It is interesting to note that his most successful commissions around that time were for portrait plaster busts. His fellow immigrant Jacob Epstein was doing the same thing at the same time – and the two men did eventually meet. At one point he was even touting for the job of making decorative mascots on motor car radiators.

In 1913 he established himself in a leaky and cold artist’s studio in the Fulham Road and started working with stone blocks. He made friendships with Frank Harris (author of the notorious My Life and Loves, and Wyndham Lewis, with whose coterie he founded the Vorticist movement.

Living the full Bohemian life in London, it is not surprising that he eventually met Nina Hamnett, who introduced him to Roger Fry. He also sold two statues to Ezra Pound. Yet despite these early signs of success, it was Sophie’s personal savings that that put a roof over their heads and food on the table.

In 1914 when war broke out he rather surprisingly returned to France, where he was immediately jailed for twenty years as a deserter. He managed to escape and return to London. Yet later he went back to France again, serving on the front line, where he was promoted to corporal and then sergeant in recognition of his bravery. In 1915 he was killed during an attack on Neuville Saint Vaast. He was just twenty-four years old.

© Roy Johnson 2018

Henri Gaudier-Brzeska biography – But the book at Amazon UK

Henri Gaudier-Brzeska biography – Buy the book at Amazon US


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Filed Under: Art, Biography Tagged With: Art, Biography, Cultural history, Henri Gaudier-Brzeska, Modernism

Hogarth Press – Book Jackets

October 3, 2009 by Roy Johnson

Hogarth Press - Book Jackets - colophon - Bell

Hogarth Press first edition book jacket designs

1917.   Leonard & Virginia Woolf,   Two Stories

1918.   Katherine Mansfield,   Prelude

1918.   T.S. Eliot,   Poems

1918.   Virginia Woolf,   Kew Gardens

1921.   Leonard Woolf,   Stories of the East

1921.   Roger Fry,   Twelve Original Woodcuts

1921.   Virginia Woolf,   Monday or Tuesday

1922.   Fyodor Dostoyevski,   Stavrogin’s Confession

1922.   Virginia Woolf,   Jacob’s Room

1923.   T.S. Eliot,   The Waste Land

1923.   Robert Graves,   The Feather Bed

1924.   Virginia Woolf,   Mr Bennett and Mrs Brown

1924.   Harold Nicolson,   Jeanne de Hénaut

1924.   Leonard Woolf,   Fear and Politics

1925.   Virginia Woolf,   The Common Reader

1926.   Virginia Woolf,   Mrs Dalloway

1927.   F.L. Lucas,   Tragedy

1927.   Virginia Woolf,   To the Lighthouse

1927.   Sigmund Freud,   The Ego and the Id

1929.   Virginia Woolf,   A Room of One’s Own

1930.   Maurice Dobb,   Russia To-Day and To-Morrow

1930.   Virginia Woolf,   On Being Ill

1931.   Virginia Woolf,   The Waves

1931.   George Rylands,   Poems

1931.   William Plomer,   Sado

1932.   Virginia Woolf,   The Common Reader – II

1933.   Rebecca West,   Letter to a Grandfather

1934.   L.B. Pekin,   Darwin

1935.   R.C. Trevelyan,   Beelzebub and Other Poems

1935.   Leonard Woolf,   Quack, Quack!

1937.   Virginia Woolf,   The Years

1938.   Virginia Woolf,   Three Guineas

1939.   Hogarth Press,   Hogarth Sixpenny Pamphlets

1939.   E.M. Forster,   What I Believe

1939.   Virginia Woolf,   Reviewing

1939.   Christopher Isherwood,   Goodbye to Berlin

1940.   Virginia Woolf,   Roger Fry

1941.   Virginia Woolf,   Between the Acts

1942.   Virginia Woolf,   The Death of the Moth


Hogarth Press studies

Woolf's-head Publishing Woolf’s-head Publishing is a wonderful collection of cover designs, book jackets, and illustrations – but also a beautiful example of book production in its own right. It was produced as an exhibition catalogue and has quite rightly gone on to enjoy an independent life of its own. This book is a genuine collector’s item, and only months after its first publication it started to win awards for its design and production values. Anyone with the slightest interest in book production, graphic design, typography, or Bloomsbury will want to own a copy the minute they clap eyes on it.

Woolf's-head Publishing Buy the book at Amazon UK
Woolf's-head Publishing Buy the book at Amazon US

The Hogarth Press Leonard and Virginia Woolf as Publishers: Hogarth Press, 1917-41 John Willis brings the remarkable story of Leonard and Virginia Woolf’s success as publishers to life. He generates interesting thumbnail sketches of all the Hogarth Press authors, which brings both them and the books they wrote into sharp focus. He also follows the development of many of its best-selling titles, and there’s a full account of the social and cultural development of the press. This is a scholarly work with extensive footnotes, bibliographies, and suggestions for further reading – but most of all it is a very readable study in cultural history.

The Hogarth Press Buy the book at Amazon UK
The Hogarth Press Buy the book at Amazon US

© Roy Johnson 2005


Filed Under: Hogarth Press Tagged With: Art, Bloomsbury, First editions, Graphic design, Hogarth Press, Literary studies

Hogarth Sixpenny Pamphlets

October 4, 2009 by Roy Johnson

Hogarth Press first edition book jacket designs

 

Hogarth Sixpenny Pamphlets - original advertising flyer
Hogarth Sixpenny Pamphlets 1940 – advertising flyer

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Hogarth Press studies

Woolf's-head Publishing Woolf’s-head Publishing is a wonderful collection of cover designs, book jackets, and illustrations – but also a beautiful example of book production in its own right. It was produced as an exhibition catalogue and has quite rightly gone on to enjoy an independent life of its own. This book is a genuine collector’s item, and only months after its first publication it started to win awards for its design and production values. Anyone with the slightest interest in book production, graphic design, typography, or Bloomsbury will want to own a copy the minute they clap eyes on it.

Woolf's-head Publishing Buy the book at Amazon UK
Woolf's-head Publishing Buy the book at Amazon US

The Hogarth Press Leonard and Virginia Woolf as Publishers: Hogarth Press, 1917-41 John Willis brings the remarkable story of Leonard and Virginia Woolf’s success as publishers to life. He generates interesting thumbnail sketches of all the Hogarth Press authors, which brings both them and the books they wrote into sharp focus. He also follows the development of many of its best-selling titles, and there’s a full account of the social and cultural development of the press. This is a scholarly work with extensive footnotes, bibliographies, and suggestions for further reading – but most of all it is a very readable study in cultural history.

The Hogarth Press Buy the book at Amazon UK
The Hogarth Press Buy the book at Amazon US

© Roy Johnson 2005


Filed Under: Hogarth Press Tagged With: Art, Bloomsbury, Graphic design, Hogarth Press, Literary studies

Howard Hodgkin

June 4, 2009 by Roy Johnson

illustrated critical survey of contemporary masterworks

I’ve been a long time fan of the work of Howard Hodgkin. (So much so that I opened a gallery devoted to his work here.) He has a great sense of form, uses luscious colours, and produces semi-abstracted compositions which are like rich food for the visual sense. The problem in interpreting his work is that there’s a tension between the degree of abstraction of the image and its ostensible subject, usually stated in its title. Hodgkin claims that he is a ‘realist’ painter, but it’s sometimes difficult to understand how a couple of deep blue brush strokes across the centre of a green stippled canvas whose frame is dripping in blood red gloss represents ‘An Evening with Kevin’.

Howard HodgkinAndrew Graham-Dixon’s study is an attempt to solve this problem. He presents a historical survey of Hodgkin’s work which is beautifully illustrated in the full colour it deserves. It’s an approach to art criticism which is well informed (in biographical terms) which pays attention to the details of what appears on the canvas, and yet which seems to stop short of interpretation.

He does his best to make the case for representation by suggesting that Hodgkin paints memories, feelings, and moods; but when it comes to evaluating individual works he hides behind a smokescreen of supposition and conditionality. His argument goes something like this, in

this painting may have some connection with … it recalls someone else … it might have affinity with …. it can also evoke …and it might be said to represent something …

He describes almost every brush stroke in gushing prose, but he hasn’t got any hard evidence to offer. And whilst he’s getting his critical knickers in a twist, he doesn’t address glaringly obvious issues such as the fact that Hodgkin paints over the frames of his pictures. Why does he do that? What’s the significance of such a bold gesture?

It’s interesting to note that after running out of meaningful things to say about the paintings, he’s quite prepared to go on talking about their titles. And in the end, this might be the problem.

If a glamorous canvas of deep greens splashed against a black border, with red and yellow dots in the background were called Composition #9 there might be less fuss than if it were given the title In the bedroom . Andrew Graham-Dixon would be less preciously strangulated, and we could just enjoy some more coloured paint on canvas.

Howard Hodgkin

In bed in Venice

But Hodgkin does give his paintings apparently descriptive titles – such as Nick 1977 which looks like two windows covered by Venetian blinds, You Again 2001 which is three interlocking pyramids, and Learning About Russian Music 1999 in which a red and ochre frame surrounds blue, green, and brown brush strokes. So the problem remains.

There is the merest smidgeon of representation still present in his work, but the acid test would be guess the subject if the paintings were not captioned. I doubt if Andrew Graham-Dixon or anyone else could do it.

Fortunately, I don’t think it matters in the end. Personally, I am quite happy to accept Hodgkin as a quasi-abstract painter whose sense of colour is simply ravishing. The reproductions of the paintings here are excellent, and this is a good-value survey of them.

© Roy Johnson 2005

Howard Hodgkin Buy the book at Amazon UK

Howard Hodgkin Buy the book at Amazon US


Andrew Graham-Dixon, Howard Hodgkin, London: Thames and Hudson, (revised and expanded edition) 2001, pp.232, ISBN 0500092982


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Filed Under: Art Tagged With: Art, Art criticism, Howard Hodgkin, Painting, Theory

Internet Art

June 25, 2009 by Roy Johnson

modern art meets digital technology – the latest results

As bandwidth has increased and rates for subscribing to it have dropped, so we have easier access to sites offering high quality graphics, animations, and even streamed videos. Digital artists can now make their work available to a very wide audience. This survey of contemporary internet art attempts to merge visual art with the digital world. It comes from the cheap-and-cheerful but excellent value ‘World of Art’ series of paperbacks from Thames and Hudson. As somebody who has recently started to experiment with Internet art – albeit in a Blogging sort of way – I bought this book thinking it would give me some new ideas. It did – but it’s a lot more besides.

Internet ArtIt starts off quite usefully with a quick overview of computers and the Internet, then situates the origins of Net art in the experimental art of the 1960s and 1970s. I was surprised Rachel Greene didn’t have examples from these early years. For instance, it’s half way through the book before she even mentions ASCII art.

Instead, she pitches straight into Web-based ‘happenings’ from the 1990s, where web sites are used to co-ordinate and publicise public events – usually of a ‘situationist’ type. The most interesting innovation which I had not seen before is ‘Browser Art’- where browsers are re-programmed using JavaScript and Perl scripts to simultaneously display a mosaic of materials from multiple sources. The other genre which seems promising is software art.

She is very well informed about what is going on in what I suppose still calls itself the avant-gard, so it’s all the more disappointing that her expression of it is clouded by the written style of the art school manifesto:

As site-specific sculpture operates vis-a-vis the particular components and ideologies of a place, so do many works of Internet art derive in significant ways from their location within a networked public field of vision and consumption.

Fortunately, the book is profusely illustrated, which helps you through two hundred pages of that sort of thing.

I was disappointed that she missed the chance to categorise the various genres of art object that are made possible by the Internet – the web site as display gallery, as record of an expedition, as interactive game or challenge, as multimedia experience, and so on – though she does discuss examples of each.

Blogging is covered in one sentence, and Flash animations don’t even get a mention. Even hypertextuality doesn’t get much of a look in, yet lots of space is devoted to silly art-school pranks and radical [for which read pretty useless] ‘experiments’.

Overall, this strikes me as a missed opportunity, because she clearly knows a lot about radical art of the 1990s, but her lack of historical and conceptual depth means she is unable to synthesise it. Instead, she provides a descriptive tour of various fin de siècle activist posturings, happenings, and staged art events about which most sane people will neither know nor care.

So far as I’m aware, the book on Internet Art has still to be written. Correct me if I’m wrong. Yet there’s bound to be something in here somewhere for anyone interested in the relationship between digital technology and art. Despite my reservations, I look forward to browsing some of the more inventive sites she lists in a well documented Webliography.

© Roy Johnson 2004

Internet Art Buy the book at Amazon UK
Internet Art Buy the book at Amazon US


Rachel Greene, Internet Art, London: Thames and Hudson, 2004, pp.224, ISBN 0500203768


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Filed Under: Art, Media Tagged With: Art, Computers, Decorative arts, Internet art, New media, Technology

Katherine Mansfield – Prelude

October 3, 2009 by Roy Johnson

Hogarth Press first edition book jacket designs

 

Katherine Mansfield - Prelude - first edition

Katherine Mansfield, Prelude (1918)

This was the second publication of the Hogarth Press. It was a re-write of her long short story The Aloe which she had begun in 1915. 300 copies were printed.

“It is a sixty-eight-page book and we printed and bound it entirely with our own hands. The edition must have consisted of nearly 300 copies for, when it went out of print, we had sold 257 copies. Virginia did most of the setting and I did all the machining.”

Leonard Woolf, An Autobiography


“Prelude was published by the Hogarth Press in July 1918, an edition of 300 copies selling at 3s. 6d. It was a book of 68 pages, 19 X 14.5 cm, set in Caslon and bearing the dedication “To L.H.B. and J.M.M.” The early pages had been set by Barbara Hiles, a former student at the Slade who now worked for the Press, then mostly by Virginia Woolf, who recorded that her top speed at hand-setting was one page in an hour and a quarter. The book finally was not run off on the hand press at Hogarth House, but at a jobbing printer’s in Richmond, with Leonard himself working the machine.

The book was clearly the work of amateurs, but cleanly done and unpretentious. The Woolfs misnamed the story The Prelude in both the heading preceding section I, and in the running head as far as p.19. After the first few copies, they removed from the front of the dark blue paper jacket the line block of a woman’s head, surrounded by the spiky leaves and the flowers of the aloe and from the back cover another head, with the leaves now fallen into rather a Medusa-like severity, which had been designed by Mansfield’s friend, the Scottish painter J.D.Fergusson.”

Aloe - colophon

Vincent O’Sullivan (ed), The Aloe

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Hogarth Press studies

Woolf's-head Publishing Woolf’s-head Publishing is a wonderful collection of cover designs, book jackets, and illustrations – but also a beautiful example of book production in its own right. It was produced as an exhibition catalogue and has quite rightly gone on to enjoy an independent life of its own. This book is a genuine collector’s item, and only months after its first publication it started to win awards for its design and production values. Anyone with the slightest interest in book production, graphic design, typography, or Bloomsbury will want to own a copy the minute they clap eyes on it.

Woolf's-head Publishing Buy the book at Amazon UK
Woolf's-head Publishing Buy the book at Amazon US

The Hogarth Press Leonard and Virginia Woolf as Publishers: Hogarth Press, 1917-41 John Willis brings the remarkable story of Leonard and Virginia Woolf’s success as publishers to life. He generates interesting thumbnail sketches of all the Hogarth Press authors, which brings both them and the books they wrote into sharp focus. He also follows the development of many of its best-selling titles, and there’s a full account of the social and cultural development of the press. This is a scholarly work with extensive footnotes, bibliographies, and suggestions for further reading – but most of all it is a very readable study in cultural history.

The Hogarth Press Buy the book at Amazon UK
The Hogarth Press Buy the book at Amazon US

© Roy Johnson 2005


Filed Under: Hogarth Press Tagged With: Art, Bloomsbury, Graphic design, Hogarth Press, Katherine Mansfield, Literary studies, Prelude

L.B.Perkin – Darwin

October 5, 2009 by Roy Johnson

Hogarth Press first edition book jacket designs

 

L.B.Perkin - Darwin - first edition

 
L.B. Pekin, Darwin (1934) World-Makers and World-Shakers: a series of short biographies.

“L.B. Pekin was the pseudonym of Reginald Snell, who wrote “two Hogarth pamphlets expanding on subjects he had introduced in [earlier] books: The Military Training of Youth: An Enquiry into the Aims and Effects of the O.T.C. (1937) and Co-education (1939). As the titles of his books and pamphlets suggest, Pekin was an innovative educator, highly critical of public schools (the British private boarding school) and in favour of progressive educational reform, including the efforts to broaden the curriculum with more science and mathematics and to introduce sex education and manual training. He strongly opposed the Officer Training Corps and supported coeducation enthusiastically.

The newly formed pacifist organization the Peace Pledge Union (with luminaries Canon Dick Sheppard, Julian Huxley, Rose Macaulay, Arthur Ponsonby, Bertrand Russell, and Vera Brittain among the early sponsors) was so impressed by Pekin’s OTC pamphlet that it ordered several hundred copies from Leonard Woolf for distribution to its members.”

J.H. Willis Jr, Leonard and Virginia Woolf as Publishers: The Hogarth Press 1917-1941

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Hogarth Press studies

Woolf's-head Publishing Woolf’s-head Publishing is a wonderful collection of cover designs, book jackets, and illustrations – but also a beautiful example of book production in its own right. It was produced as an exhibition catalogue and has quite rightly gone on to enjoy an independent life of its own. This book is a genuine collector’s item, and only months after its first publication it started to win awards for its design and production values. Anyone with the slightest interest in book production, graphic design, typography, or Bloomsbury will want to own a copy the minute they clap eyes on it.

Woolf's-head Publishing Buy the book at Amazon UK
Woolf's-head Publishing Buy the book at Amazon US

The Hogarth Press Leonard and Virginia Woolf as Publishers: Hogarth Press, 1917-41 John Willis brings the remarkable story of Leonard and Virginia Woolf’s success as publishers to life. He generates interesting thumbnail sketches of all the Hogarth Press authors, which brings both them and the books they wrote into sharp focus. He also follows the development of many of its best-selling titles, and there’s a full account of the social and cultural development of the press. This is a scholarly work with extensive footnotes, bibliographies, and suggestions for further reading – but most of all it is a very readable study in cultural history.

The Hogarth Press Buy the book at Amazon UK
The Hogarth Press Buy the book at Amazon US

© Roy Johnson 2005


Filed Under: Hogarth Press Tagged With: Art, Bloomsbury, Darwin, Graphic design, Hogarth Press, L.B.Pekin, Literary studies

Leonard & Virginia Woolf – Two Stories

July 27, 2009 by Roy Johnson

Hogarth Press bibliographic designs

Two Stories

 
Leonard and Viginia Woolf, Two Stories (1917)

This was the first publication of the Hogarth Press. It contains the story Three Jews by Leonard Woolf and the essay The Mark on the Wall by Virginia Woolf, with four small woodcuts by Dora Carrington. 150 copies were printed. It had 34 pages and sold for 1s. 6d.

We decided to print a paper-covered pamphlet containing a story by each of us and try to sell it by subscription to a limited number of people … We set to work and printed a thirty-two page pamphlet, demy octavo … We bound it ourselves by stitching it into paper covers.

The total number finally sold was 134, and all but five or six of them were friends or acquaintances … The total cost of production was £3 7s. 0d., which included the noble sum of 15s to Carrington for the woodcuts, 12s. 6d. for paper, and 10s. for the cover paper. The two authors were not paid any royalty. The total receipts turned out to be £10 8s. 0d., so that the net profit was £7 1s. 0d.

Leonard Woolf, An Autobiography

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Hogarth Press studies

Woolf's-head Publishing Woolf’s-head Publishing is a wonderful collection of cover designs, book jackets, and illustrations – but also a beautiful example of book production in its own right. It was produced as an exhibition catalogue and has quite rightly gone on to enjoy an independent life of its own. This book is a genuine collector’s item, and only months after its first publication it started to win awards for its design and production values. Anyone with the slightest interest in book production, graphic design, typography, or Bloomsbury will want to own a copy the minute they clap eyes on it.

Woolf's-head Publishing Buy the book at Amazon UK
Woolf's-head Publishing Buy the book at Amazon US

The Hogarth Press Leonard and Virginia Woolf as Publishers: Hogarth Press, 1917-41 John Willis brings the remarkable story of Leonard and Virginia Woolf’s success as publishers to life. He generates interesting thumbnail sketches of all the Hogarth Press authors, which brings both them and the books they wrote into sharp focus. He also follows the development of many of its best-selling titles, and there’s a full account of the social and cultural development of the press. This is a scholarly work with extensive footnotes, bibliographies, and suggestions for further reading – but most of all it is a very readable study in cultural history.

The Hogarth Press Buy the book at Amazon UK
The Hogarth Press Buy the book at Amazon US


Bloomsbury Group links

Red button Bloomsbury Group – tutorials, critical studies, resources

Red button Bloomsbury Group – portraits and biographies

Red button The Bloomsbury Group – Who Were They?

Red button Hogarth Press book jacket cover designs

© Roy Johnson 2005


Filed Under: Hogarth Press Tagged With: Art, Bloomsbury, Graphic design, Hogarth Press, Leonard Woolf, Literary studies, Two Stories, Virginia Woolf

Leonard Woolf – Fear and Politics

October 4, 2009 by Roy Johnson

Hogarth Press first edition book jacket designs

 

Fear and Politics - first edition

 
Leonard Woolf, Fear and Politics (1925) Cover design by Vanessa Bell

This is number 7 in the first series of Hogarth Essays, which began in 1924. It was the first of Leonard Woolf’s political contributions to the press. Cover design by Vanessa Bell. In his essay, Leonard writes from the point of view of the animals in a zoo:

“Human beings delude themselves that a League of Nations or Protection or armies and navies are going to give them security and civilization in their jungle.” According to the narrator, who is an elephant, humans “are the savagest race of carnivora known in the jungle, and they will never be happy and civilized, and the world will never be safe for democracy or for any other animal, until each human animal is confined in a separate cage.”

J.H. Willis Jr, Leonard and Virginia Woolf as Publishers: The Hogarth Press 1917-1941

previousnext

 


Hogarth Press studies

Woolf's-head Publishing Woolf’s-head Publishing is a wonderful collection of cover designs, book jackets, and illustrations – but also a beautiful example of book production in its own right. It was produced as an exhibition catalogue and has quite rightly gone on to enjoy an independent life of its own. This book is a genuine collector’s item, and only months after its first publication it started to win awards for its design and production values. Anyone with the slightest interest in book production, graphic design, typography, or Bloomsbury will want to own a copy the minute they clap eyes on it.

Woolf's-head Publishing Buy the book at Amazon UK
Woolf's-head Publishing Buy the book at Amazon US

The Hogarth Press Leonard and Virginia Woolf as Publishers: Hogarth Press, 1917-41 John Willis brings the remarkable story of Leonard and Virginia Woolf’s success as publishers to life. He generates interesting thumbnail sketches of all the Hogarth Press authors, which brings both them and the books they wrote into sharp focus. He also follows the development of many of its best-selling titles, and there’s a full account of the social and cultural development of the press. This is a scholarly work with extensive footnotes, bibliographies, and suggestions for further reading – but most of all it is a very readable study in cultural history.

The Hogarth Press Buy the book at Amazon UK
The Hogarth Press Buy the book at Amazon US

© Roy Johnson 2005


Filed Under: Hogarth Press Tagged With: Art, Bloomsbury, Fear and Politics, Graphic design, Hogarth Press, Leonard Woolf, Literary studies

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