He had been introduced by the illustrator Kathleen Hale to Noel Carrington, editor of the series. She had made the lithographs for the Orlando books and significantly enough Chopping both lithographed and wrote what must be the finest of the Puffin books.
He had trained, after a fashion, at Cedric Morris' school of art in East Anglia, never believing that he had really grasped perspective even. That stood him in good stead as you can see from the shallow depth and subtlety of tone in these memorable illustrations. He was probably also lucky with his editor who decided to offer him a subject that relied on more colours than most his other artists were allowed.
Page after page, they spring out at you, fresh and spectacular, as the day they rolled off the press. Indeed, they were so successful, Allen Lane, the publisher of both Puffin and Penguin Books, then gave him his head with the illustrations for the 22-volume British Wild Flowers.
After seven years work for both Chopping and the writer Frances Partridge the whole project was dropped due to the expense involved. What it would have been like no one probably now knows. All we have are these little books on cheap paper as testament to the belief that fine illustration could be both popular and affordable and that art and education had a common purpose.
Readers will perhaps notice the pattern in recent posts - the vigour and intensity of youthful vision. I think Chopping sums it up.
These are astonishing. You have been very productive in your output, kudos. By the way, a curator at the NGS is chasing you. Did you know?
ReplyDeleteSee the other comment re the NGS. But I'm really pleased you like these. They remain badly underrated.
ReplyDeleteI'll immediatly start chasing for a copy Charles. I have an old (pré 1900) book on British Moths, but these are really nice. If this is only the beginning of your output ........
ReplyDeleteGerbrand, I knew you would. You always do. Such an enthusiast!
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