In the November 1927 issue of Good Housekeeping Miss A. Gardyne suggests decorating a Christmas table for children. Most elements of it seem awfully jolly and fun (to use the language of the time), but to a Health and Safety Inspector of 2017 some features would be regarded as positively dangerous.
This the final part of this amazing series. Many thanks David Redd.
Assorted background and peripheral information on Bear Hudson and others.
Norah C. James
Her 1939 autobiography I Lived in a Democracy is good on reminiscences of Victorian childhood and early grass-roots politics, but then becomes sketchier, mainly due to James’ determination “to avoid my emotional life”. Love affairs with “C” and “Y”, and indeed the obscenity trials of The Well of Loneliness and James’ own Sleeveless Errand, receive only brief treatment, as (with more reason) does a phase of subsequent writing covered by “I decided to write some more books, and used a pseudonym for some of them.” However James’ many cameos of social attitudes are revealing, and the reader can discern the mood which made “Jimmy” write Sleeveless Errand the way she did. The appearance of her Straphangers as a Cub Book is just one of the minor mysteries which must lie behind so many Bear Hudson activities.
Bernards’ Fiction Series
Bernards contained mysteries too. This sub-series seems to have consisted of just two thin paperbacks, Nos. 27 and 29 within the general wartime numbered series otherwise labelled “Bernards’ Technical Books”. Continue reading
Some of the other things?
On 8 June 1956, Abraham Assael (“known as Albert Assael”) was granted a Certificate of Naturalisation according to the London Gazette, 17 August 1956. His origin was given as Turkey. His occupation was given as Company Director (Printers, Publishers and Stationers), probably a standard category rather than a full and accurate description.
This led into my other question. What was Bear Hudson doing after its Forties publishing wound down?
If your interest is only in the pulp fiction, the following may not appeal. Please flick down past the reading-bear logo, and resume when it reappears.
Bear Hudson after publishing
One clue as to the firm’s further activities appears in, of all places, the Chemist and Druggist, 11 July 1953:
“REPRESENTATIVE required by established house to carry an attractive and original line. Non-competitive with present lines carried. Liberal commission. Apply: Bear Hudson, Ltd., 63 Goldhawk Road, Shepherds Bush, W.12.”
I wonder what that “attractive and original line” could have been. Perhaps something like the “Key-lite” device advertised in Motor Sport for December 1964?
Technical Suppliers Ltd.? At the same address? Oh, yes. See a brief mention in the Jewish Chronicle for 24 June, 1966:
“… our Managing Director, Mr. B. Babani, Technical Suppliers Ltd., Hudson House, 63 Goldhawk Road, London, W.12.”
Babani. Hudson House. Again. Technical Suppliers Ltd. had evidently moved from W.6 to W.12. along with Bear Hudson. Parts of the jigsaw puzzle are starting to fit together. I find another piece, a 1964 half-page advertisement in Practical Wireless for Bernards Books’ radio manuals. They are available by mail from Bear Hudson Ltd. of 63 Goldhawk Road.
So the close link to Bernard Babani continued for decades. In 1944 Technical Suppliers Limited was printing booklets for Bernards and for Bear Hudson. In 1953 it was printing the Hudson House Classics. In 1964 it was operating from the same building as Bear Hudson, as presumably it always had. Continue reading
John Lane, the London publisher of Eudora Welty’s classic story-collection The Golden Apples, decided in 1952 that sales had slackened too much to justify keeping the work in print. According to Noel Polk’s Eudora Welty – a bibliography of her work (1994), “1175 unbound sheets were sold to “Bear Hudson[?].” How very odd. Perhaps across the world there are copies of John Lane’s edition of The Golden Apples in unusually basic binding.
Did Bear Hudson do that kind of thing often? Apparently, yes. Or at least, it did in 1952. The Reading University literary archives include records from publishers George Allen & Unwin Ltd; in 1952 there was correspondence with “Bear Hudson Ltd who buy remainders from A&U”. Interesting.
A year later, though, Bear Hudson made one last attempt at an orthodox publishing venture.
The Hudson House Classics
After the gap, in 1953-54 there materialised the “Hudson House Classics”. These were five hardcover books reprinting safely out-of-copyright children’s stories such as Treasure Island.
Despite the statement “Published by Hudson House, London” these were clearly Bear Hudson productions. The 1953 dust-jacket spine of Kidnapped carries the familiar logo of the reading bear, and the books were printed by Technical Suppliers Ltd., known to be located at 63, Goldhawk Road, as was Bear Hudson Ltd. itself.
Not all Hudson House Classics were dated (or indeed showed the bear anywhere). I found a 1954 date for Treasure Island hiding behind the frontispiece, inexplicably avoiding the title and back-of-title pages. Some books may have been reprinted or only bound-up intermittently; their boards can be either red or green.
Then, after these five, nothing. (More Hudson House Classics were said to be forthcoming, but naturally I can’t find any, not even Little Women despite the HHC Good Wives being its sequel.) So there are still questions.
What was Bear Hudson doing after the Forties? Who were the people behind it?
I looked for the people first. Continue reading
Bear Hudson authors
Much could be written about “Elmer Elliot Saks”, better known as F Dubrez Fawcett or as the main “Griff” of many near-the-knuckle paperbacks. With short page counts and fast typing he could breeze through a book a fortnight and still take afternoons off.
The House of Fear by “Frank Richards” reminds us that Charles Hamilton had years of wartime struggles, scraping along in low-paying marginal markets before his post-war resurgence with Billy Bunter in books, theatre and TV.
Frank Griffin in Nos. 525 and 538 may have been the F. Griffin who wrote Bear Hudson’s factual No. 518, Women’s Legal Problems. However, he was more obviously the Frank Griffin who wrote pulp action paperbacks for Mellifont, Hamiltons and others.
Pure non-fiction contributors also intrigue. No. 515 The 20th Century Guide to London was by Vernon Sommerfield, a pre-WWII transport writer who had broadcast as early as 1925 on “The Human Side of Railways” from 2LO, the forerunner of the BBC; his son was the noted political activist/novelist John Sommerfield.
And who was W.T. Baker, author of the atypical polemic I Speak to the Workers, No. 503? A review of his book mentioned that “Under the pen-name of “Benchfitter” he has contributed frequently to house-organs published by the staffs of factories.” Clearly Mr Baker had spoken to the workers before. Did his proposed next book, ‘Two-tenths of a thou’ from Nazi domination, ever appear? Apparently not. Continue reading
Bear Hudson numbered booklets
The first Bear Hudson booklet was Be Clever with Leather, numbered 501. (No doubt the numbers 1 to 500 were left clear for Bernards.) The highest Bear Hudson number I know of was No. 555, How to Make Rugs, by F.J. Christopher. Some titles carried both the general number and a subset number within a “Model Engineering Series”.
Incidentally, the first few titles were published from 14 The Broadway, Hammersmith, W.6, before the firm settled down at Goldhawk Road, W.12. (A reprint of Be Clever with Leather had the old address on its front cover and the new address on its back, before a further reprint saw 63 Goldhawk Road reach the front cover at last.)
The Bear Hudson publishing story had several twists and turns. Omitting various oddities of 1946-48 for now, I would place the numbered booklets into three main phases:
1943-5 mostly craft/DIY subjects
1946 mainly pulp fiction
1947-50 returning to crafts
Booklet prices and formats
The prices ranged from 1/- to 2s.6d (5p to 12½p in modern money), with a very few at 6d or 3s.6d. This may have seemed expensive at the time for small stapled pamphlets, but in wartime the printers often controlled the scarce paper stocks and could negotiate a high cover price to increase their own profits. The flimsy pink interior paper just visible in the early printing of Be Clever with Leather above may have been an attempt to imitate home pattern paper, or may have been simply what was available; later impressions saw variations in paper, printers and even the number of staples. (Wartime shortages may explain why, for example, Bernards’ booklet No. 42 used eye-straining dark red paper, while No.51 was slightly more legible on blue.) Most Bear Hudson titles were printed on ordinary white paper. Continue reading
Sent in by David Redd this original history of London publisher Bear, Hudson Limited. For which much thanks. Here is the opening part– the rest will follow over the next few weeks..
This is the book which caught my eye:
It was small, old (1946), oddly-shaped, and from a publisher new to me, Bear Hudson Limited of London. Over a few years I acquired this and other slightly strange little books from the same firm. Bear Hudson, I discovered, had a bafflingly varied mixture of titles and writers:
- Dames Spell Trouble!
- Say It with Violence!
- Model Railway Construction!
- Make Your Own Motors!
- Women’s Legal Problems!
- N Wesley Firth!
- Eudora Welty!
- Frank Richards without Billy Bunter!
- Bob Hope!
- The Curate Finds the Corpse!
- The Case of the Indiana Torturer!
- and a possible relationship with “Bernards’ Radio Manuals”.
Forgive my lack of title-differentiation and excess of exclamation marks. I have tried investigating to make sense of the wide variation in publications, but Bear Hudson seems to have been the original moving target.
I hope my limited findings may intrigue or amuse – and I hope that someone more knowledgeable may fill in at least a few of the many gaps.
–David Redd, 5th February, 2017.
Found in a box of ephemera — this press release from the Paris HQ of legendary fashion designer Coco Chanel announcing a forthcoming exhibition on a May 5th (possibly 1933) of over a hundred dresses made entirely from British materials.
The aim of this non-selling exhibition, which was to be held at 39, Grosvenor Square and would last a fortnight, was to promote co-operation between textile manufacturers and exclusive model houses in Britain and designers in Paris. The show was the result of a previous visit to London when Mlle Chanel had met with forty textile manufacturers. From the samples they had brought with them she had produced a collection that aimed to prove that’ it is possible to be appropriately dressed in British materials for a cloudburst at Ascot or a hurricane at Lords, as for a dead calm at Cowes, or a tropical spell on the Scotch moors.’
‘These dresses and their many accessories ’, the press release continues, ‘will be displayed by English girls, (including Mrs Ronald Balfour and Lady Pamela Smith), and as each dress appears, a card will be shown stating the name of the manufacturer of the materials employed. Continue reading
Bought at eBay for the price of a latte (and muffin) -these 3 photos purporting to be of a British royal – Anne, Princess Royal. The left and right photos are indubitably her, the middle photo (printed on Fujifilm Crystal
Archive paper -as is the other colour shot) may not be. It shows a well dressed and striking young woman emerging from a Ford Thunderbird sometime in the (late?) 1960s in what looks like a field or orchard with other mostly pretty fancy American cars parked there. It has the feel of a Cindy Sherman performance art photograph and if authentic must have been taken on a tour of America by Anne or while she was on holiday there.
The mouth (and nose) and assured demeanour certainly look like Anne. The provenance is good but such web purchases always have an element of doubt- certainly if it is Anne she is looking uncharacteristically ‘cool’ and it is one of the ‘groovier’ moments of her young life. An online search revealed nothing conclusive especially when coupled with the words ‘Thunderbird.’
Found in a box of old text books (Zinn collection) is this copy of part two of C. B. Heberden’s edition of Euripedes’ Medea ( notes and appendices) published by the Clarendon Press in 1886.Stamped in gold lettering on the light brown cover of this distinctly dull-looking school text book are the words MESSEL/TARVERS. Inscribed in pencil on the fly-leaf we find ‘ L.Messel/Tarvers ‘, which suggests that it belonged at one time to Leonard Charles Rudolph Messel ( 1872 – 1953), father of the famous stage designer Oliver Messel. Beneath the inscription are two pencil and ink drawings—one of a veiled lady in Victorian dress, the other a small profile of a man’s head.
Leonard was the eldest son of Ludwig Messel, a German stockbroker who had emigrated to Britain, possibly in the late 1860s.He married and in 1890 bought Nymans, a 600 acre estate near Hayward’s Heath in West Sussex. His son Leonard was sent to Eton, where he joined Tarver’s house, and that is all we really know about his life as a schoolboy. However, if he did execute the two drawings, then he obviously passed on his artistic skills to his son Oliver, who may also have inherited skills from his mother, who was the daughter of Edward Linley Sambourne, the eminent Punch cartoonist. This being so, it is equally likely that Oliver, who also attended Eton, inherited his father’s copy of Heberden’s Euripides, and it was he who drew the veiled woman and male profile. Continue reading
It is a sad fact that most of the best mural paintings executed in canteens, cafes and restaurants in the UK no longer exist. Unlike those executed for some public buildings, those in private premises are subject to the taste of those who take over the property. By far the most notorious example was, of course, the murals executed around 1913 on the walls of Rudolf Stulik’s Restaurant de la Tour Eiffel in Percy Street, just off Tottenham Court Road, by Wyndham Lewis, which were later painted over.
The prevalence of the post-war obsession of interior decorators with the ‘ white wall ‘ was a possible explanation for the disappearance of most the Second World War murals that feature in an article by the architect Oliver Hill in the November 1943 issue of The Studio magazine. Working within the tradition of thirteen centuries of mural painting in English churches, and using the contemporary iconography of posters, notably those of McKnight Kauffer, many of the muralists commissioned during the Second World War were asked to address what was essentially a captive audience –diners at many British restaurants, staff dining rooms and government canteens. Muralists saw these projects as an opportunity to introduce otherwise unappreciative diners to good public art. To the architect Hill, the mural was not the equivalent of a large framed representational painting that focussed the attention of the viewer on itself, but was part of the building on which it was painted. As such, rather than realistic representation, a ‘good mural ‘ should, according to Hill, ‘ fire the imagination and, by its effect and phantasy, allow the mind of the observer to escape beyond the confines of the room, without, of course, forcibly obtruding itself upon him ‘. Continue reading
From the ever-giving El Mundo archive is this quite astonishing Fox Photos pic of a multi-storey garage housing what appear to be bran new, high-class, automobiles. Along with the press agency stamp and the date 6 Feb 1930 is a description in Spanish of the scene. Here it is in full:
Un “garage” moderno, ofrece a los ojos un aspecto fantastico y desconcertante .El automovil ha reemplazado definitivamente al caballo como elemento de transporte y las grandes ciudades se preparan par albergar la avalanche de coches que diariamente sugen de las fabricas e inundan las callas. Este “garage” , que pareciera el producto de una fantasia, ha sido construido en Paris.**
I have yet to see a photo that better expresses the visual impact of the Art Deco era. [R.M.Healey]
**A modern "garage " offers a fantastic and baffling appeal to the eyes. The car has definitely replaced the horse as a transport medium and big cities are preparing to host the avalanche of cars daily coming out of factories and flooding the streets. This " garage " which seems the product of a fantasy , has been built in Paris .
From the wonderful El Mundo archive here is a press photo of the post-war Labour Chancellor of the Exchequer, Sir Stafford Cripps, with Lady Reading, chairwoman of the Women’s Voluntary Service, among products featured in the 1947 Home Industries Exhibition sponsored by the WVS, which was held, rather bizarrely, in the entrance hall of Charing Cross Underground Station (now renamed Embankment) in London.
Apparently, far from resembling the rather naff home produced textiles that can still be found in countless craft fairs and garden fetes round the kingdom, these products were rated good enough to be part of a post-war export drive. The exhibits shown in the photo attest to the quality of the textiles.
Indeed, the seat covers on show were probably amongst the six examples which Queen Mary herself created for the exhibition and which were later sold for $10,000 in the United States! The Queen also wove panels which were later sewn together by other craftswomen to form a carpet that was presented to the National Gallery of Canada. Later, the Queen Mother got in on the act by contributing one or more of the seventy-two tapestry kneelers commissioned by the Washington National Cathedral.
The example shown by members of the Royal Family was doubtless a fillip to Women’s Home Industries, as the enterprise became known, with the result that before too long the flood of high quality textiles being supplied by home craftswomen from all over the UK became so enormous that a shop in West Halkin Street, around the corner from Harrods, was opened
By 1964 there were 3,000 home knitters supplying products to the London store and by the end of the decade some of the best known figures in textile design had become associated with the enterprise, which survived into the early seventies. [R.M.Healey]
Found on the dust jacket of a Collins 1939 edition of Alice in Wonderland this notice:
This book is bound in fadeless Sundour cloth, which can be lightly rubbed with a sponge when soiled, with perfect safety.
The cloth has hardly faded in its 77 year life and does not need sponging. The Sundour company is still going (in Warrington, Lancs) but now deals almost exclusively with curtains. Its involvement with book cloth seems to have ceased in the 1940s. There is very little online about this and Sundour’s fadeless cloth is mostly mentioned in the more meticulous used bookseller’s lists…
Devoted Jot101 followers will perhaps recall a previous jot of about a year ago which featured some unusual photographs of three ‘ women home decorators’ going about their work inside a what appeared to be a Georgian town house. The snaps, which appear to date from the late twenties or very early thirties, were attached to a short handwritten article composed by a women of feminist sympathies outlining the rewards and pitfalls of self-employment for a woman intent upon a career as a decorator. It is not known whether the article was ever published—possibly not, as the manuscript was recovered from an archive of various material. Anyway, here is the article in full.
Home Decoration as a Career.
‘House Decorations is a most enthralling & interesting business, but let no-one imagine it is not a very serious undertaking.
Its aims are artistic, its ideas are artistic, but in the carrying out of these ideas stern business ability is required and no-one need undertake it who does not realise this.
Plain Business means incessant work, physical and mental control, knowledge of men & things, and insight into the character of others.
Found – this 1969 press photo. The byline reads: “1/10/69 London. Christine Keeler (left), whose name figured prominently a few years back in a scandal that rocked the British government attends a party in Chelsea 11/9 to launch a new book on the “Swingin’ Sixties”. With her is photographer David Bailey actress Penelope Tree and singer Marianne Faithfull (right).”
We covered this in an earlier jot with a different photo. One comment said that the super model Penelope Tree ‘owned’ the photo, but in this shot she shares the limelight with the handsome hippified Bailey. A rhyme at the time went: ‘David Bailey/ Makes love daily.’ Christine Keeler appears uncharacteristically jolly and Marianne Faithfull was appearing at the Theatre Royal Brighton in Alice in Wonderland about this time.
The book was Goodbye Baby & Amen. A Saraband for the Sixties. The text was by Peter Evans and photos by Bailey. The sitters included Brigitte Bardot, Cecil Beaton, Marisa Berenson, Jane Birkin, Michael Caine, Julie Christie, Ossie Clark, Joan Collins, Catherine Deneuve, Mia Farrow, Albert Finney, Jean-Luc Godard, Mick Jagger, Brian Jones, John Lennon, Paul McCartney, Dudley Moore, Rudolf Nureyev, Oliver Reed, Keith Richard, Peter Sellers, Jean Shrimpton, Barbra Streisand, Andy Warhol, Franco Zeffirelli. Presumably some of these illuminati were at the party..
This house is much frequented by ship carpenters, and ship brokers. Dinners are very well served up at 15d a head. Rural city merchants, that is, those who sleep in the country, generally dine here. The entertainment is good, and the charge moderate. As to the mistress at the bar, she is very obliging; she is as prolific in curtseys as a Frenchwoman, and as prolific in issue as a rabbit.1)
Mill’s, Gerrard Street, Soho
This house is remarkable for good red port, and good spirits. They dress dinners and suppers in style —and the breakfast are very comfortable. Several intelligent gentlemen, stricken in years, are it’s constant guests, and the conversation is both pleasing and instructive. The charges are indeed very reasonable, and the attention prompt and agreeable. It is celebrated for being the very first house that reduced the prices of wines and spirits, after the commencement of the French treaty. 2)
Batson’s Coffee House, near ‘Change.
|New Brighton Beach, Capitola|
Having returned to Northern California recently I noticed a new phenomenon on a beach that I regularly walk on when here - people looking intently at the stones and digging about in the sand. I asked one guy what it was all about and he said they were looking for sea glass, and that he had heard about this beach online. People make jewellery with this glass and also sell it online or just wear it. It is attractive stuff especially the more unusual colours (red, blue and the very rare black). So popular is it that people fake it - this type of glass is known as ‘tumbled.’ Some of the glass is not that old - a type of frosted white glass is said to come from Skyy vodka bottles. The best beach is at Fort Bragg (Glass Beach) in Northern California. The photo below is probably from before the recent craze, although remoter parts of the beach still have good yields. The amount found there is something to do with passing passenger ships and tides etc., The best time to look is after a storm. Some sea glass jewellery, especially in fancy settings, sells for $500 plus. See this high end seller in Santa Cruz.
There are a few shops selling nothing but sea glass rings and bracelets and a few colourful books...
|Many thanks Find Sea Glass|
The only other one appears to be the racing driver Lewis Hamilton, who was really born in Tewin, a few miles away, though some sites will tell you differently. According to the site devoted entirely to famous Stevenage people, most of the other contenders are bit players on soap operas or models, although it is not specified that the one decent footballer amongst them, Manchester United’s Ashley Young, actually came from the town.
Anyway, it can truly be said that Edward Gordon Craig (1872 – 1966), the eminent man of the theatre, designer of stage sets etcetera, was indeed born in Stevenage, long before the ancient Georgian coaching town had a bright, spanking New Town tacked onto its southern end. The illegitimate son of the famous actress Ellen Terry and architect Edward Godwin, it was almost inevitable that he would make his name as a stage designer, with his radical ideas of neutral non-representational sets and use of top-lighting. This photo (to follow) comes from the same archive of press photos featuring Herbert Read, Stephen Spender, Harold Nicholson and Desmond MacCarthy that inspired previous Jots– so one must assume that it too belongs to the Sunday Times Book Exhibition of 1936.
One extraordinary fact about Craig is that although he lived to be 94, all his most significant work was done before the age of 40—that is, before 1912. [RR]
Recently found - this 1969 press photo. The byline reads:
1/10/69 London. Christine Keeler (left), whose name figured prominently a few years back in a scandal that rocked the British government attends a party in Chelsea 11/9 to launch a new book on the "Swingin' Sixties". With her is photographer David Bailey actress Penelope Tree and singer Marianne Faithfull (right).
The book was Goodbye Baby & Amen. A Saraband for the Sixties. The text was by Peter Evans and photos by Bailey.