By Nick Gill, London Transport Museum Friend and Volunteer Guide
London Transport has a long tradition of commissioning established and emerging artists to design advertising posters for the transport network. London Transport Museum’s collection holds around 15,000 between posters, prints and original artworks, the majority of which are housed in our Art and Poster store at the Museum Depot in Acton. As part of our Poster Power online celebrations from 25 April to 3 May 2020, we have asked Nick Gill, London Transport Museum Friend and volunteer guide for 17 years, to tell us about his favourite poster in the Museum’s collection.
My favourite poster in London Transport Museum’s collection is The Way For All by Alfred France (1911), both for the stunning visuals and the powerful statement about travel for all on the newly-formed Underground Electric Railways of London (UERL).
The Way For All is among a number of posters commissioned between 1909 and 1912 by Frank Pick. Before becoming London Transport’s first Chief Executive, Pick was Marketing Director of the UERL, having been appointed in 1906. A great visionary, he commissioned artists and graphic designers to create artwork for the UERL’s intense poster campaigns, and quite significantly he did so irrespective of gender, thus bucking the trend prevalent at the time.
The central figure in Alfred France’s poster represents a middle-class woman who could be a member of the Suffragette movement, highly topical at that time. The poster’s message is that women should feel safe to travel alone on the new Underground. The backdrop depicts silhouettes of people from all social backgrounds who can use the classless Underground for business or pleasure, with just one level of fare. The choice of the colour green is a nod to the booking hall tiles typical of Leslie Green’s station design.
Leslie Green’s design was heavily influenced by the contemporary Art Nouveau and Art & Crafts movements and complimented the modernity of the world’s first underground railway. The frieze in the poster alludes to the ornamental green dado friezes in Green’s design.
The story around the original artwork for the poster is quite interesting; the UERL Board considered the central character to be somewhat lacking in colour and bearing an air of intimidation in her stare. They also found the backdrop to be cold and uninviting. The lithographers were therefore requested to bring more colour into the poster and adjust the lady’s stare to a gentle distant gaze.
There is a strong feminist tone to the poster’s message which proclaims no social boundaries on the Underground. The poster also represents a strong link with the contemporary design of the newly-formed UERL which soon became known as the Tube.
To me, this poster sums up everything Frank Pick believed in when it came to design: beauty, utility, goodness, truth, immortality, perfection, righteousness and wisdom.
During this unprecedented time of global lockdown, the following selection of posters from London Transport Museum and V&A poster collections showcases a golden age of illustrative graphic design in the UK. Originally compiled for the Poster Power Open Weekend at the Museum Depot, it has been reorganised as a virtual trip down memory lane, looking forward to the time when we can get back to enjoying the rich cultural offerings of city life. Join us on a nostalgic look at the history of urban attractions and the advertisement of days out to museums, cinemas, and shows in London and beyond.
This charming poster by Irish artist Albert Morrow depicts an audience dressed up to the nines for an evening out to enjoy the new pastime of cinematic entertainment. From 1896, variety theatres and music halls in Britain started to show the novel art form of moving pictures, spawning a whole new genre of poster art in the process.
The most valuable and widely collected posters of all time advertise films of the 1920s and 30s. This 1935 gem by design duo Tom Eckersley and Eric Lombers advertises bus services to go out to cinemas. They worked together from 1934 to 1940 after both studying in Salford School of Art. The actress on the big screen resembles the star of the decade, Jean Harlow, with pencil thin eyebrows and large blue eyes. There is a surreal cheekiness in the superimposing of her face onto the plain everyman in the audience.
This sumptuous interior view depicts the Queen’s Hall in Langham Place, home of The Proms before the venue was destroyed in the London Blitz, never to be rebuilt. However, the message again is the mode of transport to attend evening events by Tube, so is not a recommendation for any single concert or artist.
Artist Fred Taylor (1875-1963) was one of the favourite designers for the London and North Eastern Railway (LNER), London Transport, and other travel companies from 1908 to the 1940s. He was one of the first ten designers who were conferred with the title Designer for Industry (DI), considered the highest accolade in the UK. Best known for posters highlighting train travel to cathedrals and castles up and down the United Kingdom, he fell into this style rather by accident, starting out as a figure artist. After 30 years of working in the same vein, in 1938 he said he longed for a change.
In just over a year, change and tragedy was thrust upon the entire world at the outbreak of World War II. Taylor moved to work on naval camouflage, a tactic of dazzle design invented by Norman Wilkinson during World War I. An example of it can be seen in this poster designed by Edward Wadsworth (1889-1949) advertising an exhibition on English graphic design at the Kunstsalon Wolfsberg in Zurich.
Wadsworth was an official dazzle artist himself, aligned with the short-lived Vorticist group of artists who launched in 1914 and broke up shortly after war broke out. It was also around this time that the Imperial War Museum was founded in 1917, first opening to the public in 1920 at the Crystal Palace in Sydenham Hill.
This sombre poster marks the souvenirs of war as tanks, bombs and destruction. A bold and hard-hitting design choice by Austin Cooper (1890-1964), he was a Canadian-British artist who created posters for many of the London museums. Note the South Kensington address, the IWM was then housed in the Imperial Institute on Exhibition Road before moving to its current home on Lambeth Road, 1936.
The South Kensington area has been a museum hub since the Great Exhibition of 1851. The Science Museum and the V&A were once part of the same institution called the South Kensington Museum. In 1909, they split into separate museums with science and technology on one side of Exhibition Road and art and design on the other.
Cooper’s multi-faceted style was put to excellent use by the Underground Group for 22 years. This jaunty example advertises historic bicycles in the Science Museum collection, nostalgically looking back to the late Victorian and Edwardian era.
This similarly fun poster of 1967 by Barbara Swiderska sports some opulent historical fashions to advertise the Victoria and Albert Museum. Little is known about this illustrator except that she continued to work throughout the 1970s as a cover designer for a number of children’s books. The poster text describes the museum as a sort of Aladdin’s cave to be explored at your whim, inviting audiences to put themselves in the picture:
‘… these are showcases, brilliantly illuminated and filled with figures from nearly 400 years of fashion’s pageant, from Jacobean gallantry via Georgian magnificence, Victorian upholstery, Edwardian confectionery and the twenties to Dior’s ankle-flapping New Look. Imagine your own choice of outfit – yesterday’s trend is often tomorrow’s…’.
The final behemoth of the South Kensington area is of course the Natural History Museum, superbly represented here by the woolly mammoth beneath an eye-catching rainbow motif by Edward McKnight Kauffer (1890-1954). The Natural History Museum was originally an offshoot of the wide-ranging British Museum collections, the two institutions separating completely in 1963. The NHM as we know and love it today has been in its present home on Cromwell Road since 1881.
Dubbed ‘The Poster King’, this extraordinary Montana born artist emigrated to the UK aged 25 and promptly became a graphic design tour de force. Weaving avant-garde and dynamic motifs into advertisements for airlines and department stores, it is his work for the London Underground which is the most celebrated. From his arrival in London in 1915 until his return to the USA in 1939 at the outbreak of World War II, around 140 of his poster designs brightened up the city under the commission of Frank Pick and the Underground Group.
This swirling dragon piece summarises the South Kensington museums, the British Museum, and the London Museum (a precursor to the Museum of London) all promising a dry and comfortable indoor experience on rainy days. It is by Freda Mildred Beard (1897-1984) who designed for the Underground Group between 1921 and 1926.
She was born in Clapham and besides working for the Tube poster campaigns, she designed advertisements for foodstuffs including many brands still going today like Jacob’s cream crackers, Cadbury’s chocolate, and Hartley’s jam. This poster drew high praise in ‘Advertising and British Art’ (1924) saying that Beard had adapted ‘the astonishing sea serpent’ from a Japanese cloisonné vase and that this creature was imbued with more imagination than was present in most modern British branding.
This rather naïve butterfly design by John Banting (1902-1971) is another summary of some of the South Kensington Museum transport links and shows an African Emperor Moth. This is actually an entire genus of moths in the Saturnia family of many varieties of evocative names such as the Cavorting Emperor, the Pallid Emperor, and the Confused Emperor! This one is commonly known as a Bulls Eye Silk Moth and perhaps was chosen by the artist due to the markings resembling a tube stop and the yellow Circle line.
Some of the liveliest posters to advertise attractions include animals, and in urban areas that usually means circuses or zoos. Many of the best posters for the London Zoo were done by female artists of the 1920s and 30s. Dorothy Burroughes was one such artist who achieved her first commercial break with a London Underground commission in 1920 depicting a trio of primates playing on a tree branch. Her second in 1922 was one of the most popular of the time, with requests pouring in for reproductions.
While her name will forever be synonymous with zoo posters, in an interview with Drawing & Design (1923) she spoke at some length over her sadness at seeing animals in captivity.
David Bownes, previously Head of Collections at London Transport Museum, wrote an excellent article on Burroughes which you can read here.
Another of my favourites is Ruth Sandys (1884-1941). These 1925 designs precede John Gilroy’s famous seals utilised for the Guinness posters by a decade.
Ruth was the daughter of the artist Frederick Sandys who had ten illegitimate children with the actress Mary Jones. Many of them were trained in artistic pursuits and include the portraitist Winifred Sandys. Ruth was active between 1912 and 1940 but it is this poster commission for the London Underground which remains her most well-known work.
This is of course just a tiny taste of our poster collections. While we are all unable to visit the museums in person at the moment, we hope you enjoy delving into London Transport Museum’s and V&A’s online catalogues to discover more until we are all able to get out and about into our cities once again.
London Transport Museum is turning 40 years old in March 2020!
To celebrate its ruby anniversary, we’re taking a brief look at the origins of the Museum and its collection. We are also reliving the first days of operations through the first-hand memories of former members of staff, starting with Mike Walton, who was working in the Museum shop when it opened on 28 March 1980.
Our collection counts over 500,000 items, from heritage vehicles to signs and maps, posters and ephemera that document 200 years of London’s transport and social history . But it all started with two Victorian horse buses and an early motorbus. In the 1920s, the London General Omnibus Company (LGOC) decided to preserve these vehicles for future generations to enjoy.
In the 1960s, our growing collection was housed in an old bus garage in Clapham, south London, and referred to as the Museum of British Transport. In 1973 it was moved to Syon Park, west London, taking the name of London Transport Collection. Between 1979-80, the public display moved to its current home, the old Victorian Flower Market, a Graded II-listed building in Covent Garden. London Transport Museum as we now know it was born!
The Museum was officially inaugurated by Princess Anne on 28 March 1980, and opened its doors to the public the following day. Mike Walton, Poster Art Commissioner for Transport for London and London Transport Museum, recalls:
“Prior to the Royal Opening on 28 March, work to prepare became increasingly frantic. Staff were recruited, or better transferred from other teams within London Transport, and the shop was filled with many products from London Transport’s Publicity Office which was simultaneously closing its long-established retail outlets.
On the day of the opening all Retail and Admission staff lined up in the shop area as Princess Anne and London Transport Officials arrived and toured the Museum. I disgraced myself by curtsying to Princess Anne by accident much to her amusement. The assembled officials were less amused!
The day went very smoothly and was deemed a great success, but the official event left us with little time to prepare for the public opening the following day. The Museum opened its doors to its first visitors at 10:00 on Saturday 29 March 1980. Unsurprisingly, the queues around Covent Garden Piazza lasted all day. An Adult ticket cost £1.40 with various discounted tickets available for children, students and pensioners.
The tickets were dispensed from an old Underground ‘rapiprinter’ and customers passed through a then standard Underground automatic ticket gate, a system which caused much unreliability for staff and considerable confusion for customers. Our supposed plentiful supply of change had run out by midday and someone was delegated to tour local Tube stations begging for spare change!
At the end of the first enormously successful day’s trading, cashing up had to take place. With endless piles of £1 notes, no credit cards and no counting machines, the task was completed at 23:00. My working life had changed for ever!”
Celebrate the Museum’s 40th birthday throughout the month of March 2020 with us. Share your fondest memories of the Museum on social media with the hashtag #LTMLove.
Guest blog by Paul Cowan, Manager at TfL’s Lost Property Office
Nearly ten years ago, I took up position as Manager at Transport for London’s Lost Property Office (LPO). The first time I ventured into the cavernous basements at 200 Baker Street, I thought I’d stumbled upon some long-lost treasure hoard, plundered by pirates of the Northern Line or a number 97 bus maybe. Although slightly less dramatic, the truth turned out to be no less fascinating.
The LPO was set up in November 1933, subsequent to the commencement of the London Passenger Transport Board. It is estimated that over the following 86 years, more than 15 million items of property have been processed here and stored on the famous green shelves. Anything that passengers have been able to carry on our services, they have been able to lose on our services – and this has included a staggering array of clothing, bags, work and personal items and, more lately, electronic gadgets which we now take for granted. All of these have been dutifully catalogued and stored for a period of three months, pending their hopeful restoration to grateful owners.
200 Baker Street has been our only home and has become synonymous not just with the Lost Property department, but of the people and culture that support it. There is something quintessentially British about the way items are neatly stored, accompanied by the ever-present lost property label on a piece of string. Around every corner of the three-storey subterranean labyrinth is another nook or cranny filled with an assortment of the mundane or the bizarre, the quirkiness of the building layout adding to the overall romance of the site. Artefacts and mementos of time past are dotted throughout – a reflection of the care and love poured into the operation by staff.
As much as we like the place, though, the reality is that it is no longer fit for purpose for the running of a modern, high-volume warehousing operation. We need to adapt to the changing environment in which TfL operates, so are taking up short-to-medium term residence in TfL premises at Pelham Street, South Kensington, whist we consider the longer-term options for the LPO.
It may take a while for the new location to feel like home, although I suspect the distilled essence of things London passengers have lost and reclaimed over so many years will almost certainly follow us wherever we go; it’s in our DNA and always will be.
Should you ever need our services, simply visit the website at tfl.gov.uk/lostproperty to find out how we can help. Of course, we’d prefer if you didn’t lose things in the first instance, so do keep an eye on your possessions when travelling on the network!