Illustrated advertising in 1911

John Hassall advert from 1911

Illustration was vital to magazines before the first world war because of the cost and difficulty of processing photographs. These adverts are all from one issue of The Bystander, a society weekly, in 1911.

Marich cigarettes advert

At the top of this post is a quarter-page advert for holidays on the English East Coast with the Great Eastern Railway. Notice the slogan – ‘Cool and bracing holidays’.

The artwork is by John Hassall, and the advert appears three years after his famous poster ‘The Jolly Fisherman’, showing a trawlerman skipping along the beach, with the slogan ‘Skegness is SO bracing’.

‘The Jolly Fisherman’ was done for the Great Northern Railway and is regarded as a classic of advertising. To this day, Hassall’s fisherman is a symbol of Skegness.

Marich cigarettes came from Malta and were ‘smoked by royalty’.

Faulkner & Sons bookmakers were founded in 1871 and used the ‘finest and choicest materials available’ at their South Molton Street premises in London.

But my favourite is the advert below for Keating’s powder, which killed fleas, beetles and moths.

‘My word,’ says the woman, in an image that could have inspired Alfred Hitchcock.

Keating’s kills fleas, beetles and moths, says the spooky woman

Unlikely bedfellows – suffragettes and the FT

1920 advert for St Clements Press by Alfred Leete

St Clements Press was (in fact, phoenix-like, still is) a printing press and it has played a role in the history of two unlikely bedfellows – the Financial Times and the suffragette movement.

The press, which had a grand building on Portugal Street off Kingsway in central London, printed both the Financial Times and Votes for Women, the organ of the Women’s Social and Political Union, in the Edwardian era. It also printed the War Budget magazine for the Daily Chronicle during WWI, and The Spectator and The Economist during the Second World War.

Censoring The Censors magazine from 1916

Possibly even more unusually, St Clements Press produced Censoring The Censors – and Others, a souvenir satirical magazine compiled by and for the staff of War Office Censorship (POW Division). This Great War outfit was based at Gilbey Hall in Islington and it is where parcels for British prisoners interned in Germany were checked to see there was no contraband, by wounded soldiers. The Imperial War Museum reckons military censors examined 300,000 private telegrams in 1916 alone.

The advert for the press shown at the top of this post was drawn by the Kitchener poster artist Alfred Leete and published in the FT in 1920.

By 2000, the FT had closed St Clements Press and put its printing out to West Ferry Printers, the Docklands-based plant that printed several national newspaper. It later switched to contract newspaper printer Newsfax, but when this was put into administration in 2012, the FT bought the assets of the Newsfax plant in Bow and revived the dormant subsidiary St Clement’s Press. In effect, this brought the FT’s printing back in-house. The St Clements Press was sold in 2015 by Pearson with the FT to Nikkei.

Fittingly, given its connection to The Economist, the St Clement building is now part of the London School of Economics, and Sue Donnelly the LSE archivist did a nice post about its history.

Nova magazine’s front covers

Like Haymarket’s Town magazine and London Life – the relaunched version of Tatler – Nova magazine was a star of the 1960s and 1970s. Nova is regarded as legendary today, and certainly made its mark, but ultimately could not make a long-term profit.

It is famous for its covers – they regularly make it into best cover compilations – and I’ve put all Nova‘s covers from 1965 to 1975 online so you can see for yourself.

>>Nova‘s covers from 1965 to 1975

>>Man About Town / Town covers from 1955 to 1968

>>Tatler / London Life magazine covers from 1965 to 1966

Prince Philip – Men Only cover star – dies

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Prince Philip, sportsman, Greek playboy who served in the Royal Navy throughout the war, and then married the woman who would become Queen in 1952, has died.

The coverage of him has been immense in magazines, but this cover marked the start of a serialisation of his life in Men Only, in June 1955.

New organ for journalists

First issue of the National Union Journal from 1908

I hear on the radio that it is 150 years since trade unions were made legal in Britain, with the passing of the Trade Union Act 1871. So, here’s the cover of the first issue of the journal for the National Union of Journalists, the National Union Journal, or The Organ of the National Union of Journalists. The organ was eight pages long, is dated November 1908, and was printed by Hall & Sons (Manchester) Ltd, at 116 Portland Street.

Leete’s animals in Country Life

Country Life issue with Alfred Leete article

Country Life magazine has a nice feature this week about the animals – real and imaginary – of Alfred Leete. The writer, Nicholas Hodge, is a descendent of the Kitchener-Needs-You artist – his great-grandmother Dorothy was Leete’s sister.

Despite writing a book with Martyn Thatcher, Kitchener Wants You: The Man, the Poster and the Legacy, I still find it astounding how overlooked Leete’s work is, given that he created the 20th century’s most famous image, so it was great to hear that there’s a movement afoot to persuade English Heritage to mark his achievements with a blue plaque on what was his London home. The PG Wodehouse Society (Leete was the first illustrator of his books), the House of Illustration, the London Sketch Club, the Cartoon Museum (which displayed some his wartime work a few years ago), and the Artists’ Rifles Association have all backed the idea, says Hodge.

Opening spread of the four-page feature by Nicholas Hodge in Country Life

Magazine tributes to John Lennon

Time Out tribute to John Lennon from 12 December 1980

This post was meant to have been published in December, after I showed three newspaper front pages from John Lennon’s murder in 1980. So here, belatedly, are three magazines that covered the same horrific event.

First up is the London listings magazine Time Out. You’ll notice that the cover date is December 12, just four days after the killing. Getting this tribute out so soon would have been quite a feat at the time. The cover is straightforward, with a photo of the young Beatle, barely recognisable as the same person on the Daily Mirror‘s front page shown on the previous post.

Inside, the centre four pages of the stapled issue were printed on a heavier varnished paper to take colour printing on both sides (the magazine’s usual paper stock was newsprint). The text was reversed out of black on the four pages and told the story of Lennon’s life in diary-like entries illustrated with contemporaneous photographs.

Time Out’s colour centre pages to mark Lennon’s death

In New York, it took six weeks for Rolling Stone to produce its tribute issue, even though Annie Leibovitz had taken her photograph of a naked John Lennon curled up against Yoko Ono five hours before Lennon’s murder on December 8. Even so, it is Rolling Stone‘s most famous cover and made the career of Leibovitz.

Rolling Stone’s most famous cover: John and Yoko by Annie Leibovitz (January 22, 1981)

A few years before this, Dick Stolley, the founding managing editor of People, a weekly celebrity magazine in the US, had come up with a mantra for his cover images.

Young is better than old. 
Pretty is better than ugly. 
Rich is better than poor. 
Movies are better than music. 
Music is better than television. 
Television is better than sports 
. . . and anything is better than politics.

Lennon’s murder led Stolley to update the mantra, with an new final line:

… and nothing is better than the celebrity dead.

The 22 December 1980 tribute issue was People‘s best-selling cover at that time.

Best-selling People cover: John Lennon tribute (22/12/1980)

>>>Analysis of British press: ‘Times readers run the country…‘

Private Eye’s ‘naked bunny’ in the movies

Michael Caine with Private Eye ‘Naked bunny picture!’ poster

In a recent ‘magazines in the movies’ post, I listed the many walk-on parts for magazines in the 1969 film The Italian Job and mentioned a Private Eye poster. The poster is on the wall next to a photographic montage of Bob Dylan in 1960, Marlon Brando with his Triumph motorbike in The Wild One from 1953, and an unknown man wearing glasses.

Having seen the film recently, it turns out the poster consisted of the Private Eye logo – created by Matthew Carter in 1962 using Letraset – with the hand-drawn words below: ‘Naked bunny picture!’ I wonder how that came about? The posters are on the walls of the Michael Caine character’s flat in the film.

In another scene, imprisoned gangland boss Mr Bridger, played by Noel Coward, visits the Wormwood Scrubs governor (John Le Mesurier), and two Vanity Fair chromolithograph caricatures are seen on the walls. The upper print is of Frederick Edwin Smith from Vanity Fair magazine of 9 August 1911 (captioned ‘No Surrender’ by Frederick Drummond Niblett, ‘Nibs’); the other is of Henry JR Dawson-Damer (‘Port’, by Sir Leslie Ward, ‘Spy’, 24 August 1878). Smith was a Liverpool politician, lawyer, and orator who became Baron Birkenhead and as lord chancellor reformed the judiciary and helped negotiate the Anglo-Irish Treaty of 1921. Dawson-Damer, the third earl of Portarlington, was an Irish landowner and hereditary peer.

Bridger and the governor with two Vanity Fair caricatures

Later in The Italian Job, the royalty-obsessed gangland boss Mr Bridger is given a copy of the Illustrated London News (because there’s a photograph of the Queen in it) and reads it in his prison cell, which is lined with dainty crockery and pictures of the royal family.

Bridger reads the Illustrated London News in his cosy cell

Google is really going nutty

Oh no! I’ve been censored by Google AI!

Google has objected to one or more of the images on a page devoted to monthly women’s magazines. This page has been up for more than 10 years. Google keeps doing this and finding a new page every month to stop serving its adverts on. Each time I just take the Google ads code down and replace it with one of my direct advertisers or Amazon.

Its bots send messages saying: ‘Adult: Sexual content’ and ‘Some advertisers are choosing not to advertise on your page because of issues relating to some of your content.’

What could this be? A 110-pixel wide magazine cover with Cate Blanchett in a red dress? Does someone not like Kylie Minogue? Or Michael Caine? Even with all their clothes on?

Such arbitrary censorship reminds me of the story told by Nobel Prize winner Sir Harry Kroto in the mid-1990s. He said that his emails were being blocked because of their sexual content. What was that? His email address ended @sussex.ac.uk – it had ‘sex’ in the address!

If this is Google AI, then heaven help us!

A right Royal 12th day of Christmas

December 1907 cover of Royal – a milestone in the history of periodical production

This, the last of 12 covers in a magazine version of The Twelve Days of Christmas, is a milestone in the history of periodical production. It is the December 1907 cover of Royal. What marks it out as special is that it is the first cover I’ve seen that looks as if it was printed from a colour photograph.

There were lots of examples of magazines colouring black-and-white photographs, but these usually used just a second process colour with the black, such as on Quiver and The Million. Unfortunately, this copy of Royal is a rather grubby example and there is a fair bit of type show-through from the re

verse side, but this would have been a spectacular image on the bookstands, the like of which would not become common for another 30 years.

The printing of photographs in magazines had only started in 1885; and the application of colour to illustrations, at first from wooden blocks, dated back to 1855. True photographic colour separations and printing did not materialise until the mid-1930s.

So this is a very early and very skilled example of colour cover printing using a photograph. It gives a very punchy result, but was not achieved easily. It was probably printed using two-colour process engraving (red and blue) with additional solids for red, blue and yellow. Some ink squash at edges of the red working suggests this is relief-printed. The design style with the white background is familiar to us today from Dorling Kindersley book covers of the 1980s.

The ‘string’ by which the teddy is holding up the Japanese doll is printed tone using the warm red used for the post box and sock with some yellow.

Detail from the cover showing the letterpress dots on the box of crayons and part of the blue R in Royal

The Royal was published by C. Arthur Pearson, whose offices were in Henrietta Street in London’s Covent Garden. It was printed by Horace Cox, at Bream’s Buildings, which is a street between Chancery Lane and Fetter Lane, just north of Fleet Street in London. 

For more Christmas covers, take a look at the selection from 2019.