Tuesday, 26 January 2021

Postcard of the Day No.102 Mazamet, le Kiosque des Journaux


This is the sort of postcard I’m always looking out for - a modest building fully stocked with newspapers and magazines in a melancholy square in a small town in south west France.  It’s a midwinter scene and the only sign of life is a young girl, hands clasped, wearing a beret and an air of resignation that suggests she may be the photographer’s daughter pressed into accompanying her father on a weekend expedition.  In the distance there’s a flat-bed delivery lorry but everything else points to a bitterly cold Sunday afternoon.

To my astonishment, when I took a dive into Streetview, there it was. Almost unchanged after nearly a century - the finials and decorative ironwork fringe still in place in September 2019 when the Google car passed by.  Paris Match has replaced Le Petit Parisien and l’Illustration and the Franc has given way to the Euro but, despite the temporary nature of kiosks, there it stands - a triumphant survivor, still selling the printed word and image in the digital age.


 

Tuesday, 19 January 2021

Bridges of Paris: 1 Viaduc d’Austerlitz

While most Paris Métro lines (with the notable exception of line 6) burrow underneath the Seine, line 5 crosses over the Seine between Quai de la Rapée and Quai d’Austerlitz by courtesy of the graceful Viaduc d’Austerlitz, a single arch steel bridge built in 1904, slender in appearance but rich in decorative ironwork.  On the north bank the bridge approach is via a curving steel ramp that lifts the tracks to the required height. At the other end the bridge extends over the Quai d’Austerlitz and the roadway before plunging into the roof space of the Gare d’Austerlitz - the only terminal station in Paris where the Métro platforms are situated above the station rather than safely interred beneath.  The view from downstream includes glimpses of the clock tower at the Gare de Lyon and the offices of RATP, the nerve centre of Parisian public transport.  There are houseboats tied up alongside the Quai d’Austerlitz - in an early series of The Spiral, the stocky figure of the eternally compromised Gilou (aka Escoffier) could be seen there, going aboard for a critical meeting with an organised crime boss to whom he would offer his services as an informer from inside the police.

Jean-Camille Formigé (1845-1926) designed the bridge with the engineer, Louis Biette. Formigé is no household name but he left a distinctive mark on the city around the turn of century.  He designed the Pont de Passy (1905) and the extended viaducts that supported Métro line 2 on its aerial sections through northern Paris. His taste for decorative moulded reliefs can be seen on all these structures. The nautical themed coat-of-arms for the City of Paris with its anchor and trident, is stretched and extended and draped with fronds of seaweed and undulating fish, then repeated at intervals across the Viaduc from the main arch to the balustrades.  Robustly carved bulls’ heads surmount the stonework of the massive abutments to amplify the sense of structural strength.












 

Thursday, 14 January 2021

Eno’s “Fruit Salt”

In 1924, a bold and colourful poster designed by E McKnight Kauffer appeared on the nation’s billboards with the slogan “First Thing Every Morning”. E McKnight Kauffer, an American emigré, was Britain’s most avant-garde designer, the first to absorb the pictorial language of Cubism and a brave choice to publicise an antiquated Victorian product.  This marked a decisive break with Eno’s Victorian heritage and would be followed by a long association with contemporary designers including Ashley Havinden, Charles Pears and Austin Cooper as well as an extended series of variants on Kauffer’s original. The version shown above was an adaptation miniaturised for use on a Bryant & May matchbook cover.

Eno’s was a product of eternal Victorian anxieties around metabolism, digestion and bowel movements. Advertising was essential to its success and the name was prominently displayed on Victorian railway station platforms and almost every passing omnibus. The Victorian public had an insatiable appetite for miracle cures and instant remedies.  Pharmacists leapt into action, concocting an enormous range of chemical compounds and magic elixirs, to meet the demand. One of the most successful was a Newcastle chemist, James Crossley Eno who invented an effervescent powder that promised to ‘clear the intestines, rouse the torpid liver and stimulate the mucous membrane’.  Decoratively packaged and relentlessly publicised, it rapidly became the market leader and spawned many copies and imitations.

Eno saw no need to employ an advertising agency, convinced as he was that he could do a much better job himself with a mind well-stocked with aphorisms and received ideas.  His bizarre contributions to the history of Victorian advertising were memorably described by E S Turner thus.


The most eccentric, the most obstinately ‘different’ advertisements in late Victorian magazines, and for a long time afterwards, were those personally devised by the founder of Eno’s Fruit Salts. Three quarters of his space would be taken up by high-flown quotations on the theme of man’s unconquerable mind, from the ancient and modern philosophers.  The underlying theme, so far as it was distinguishable, was the sin of allowing the human intellect to be harnessed to a sluggish gut; but often the quotations came so thickly and haphazardly that it was impossible to trace a continuity of thought behind them. Now and again the compiler would throw in an uplifting poem which had taken his fancy, or perhaps an original rhymed tribute from a retired major-general. He kept an artist busy drawing scenes in which lost wanderers stumbled into forest glades and found words like ‘Integrity’ mysteriously carved on the rocks, or in which seated greybeards solemnly drew the attention of milkmaids to moral phrases graven on the ground before them. Sometimes the descent from the cloudless peaks of the intellect to the mucous walls of the intestinal canal was achieved almost in one sentence. For a generation the strong-minded founder of the firm fought off any suggestion that he should ‘modernize’ his announcements.


(The Shocking History of Advertising, 1965 Penguin edition, page 89.)

This drawing of the goddess Hygeia banishing the evil imps of ill-health marked a rare excursion by Arthur Rackham into the world of commercial art.  Taking a break from his routine of terrorising the children of the Edwardian professional classes with nursery tales transformed into nightmares, Rackham drew a small army of evil spirits, from Inferiority Complex to Raspberry Tongue via the Pip and Housemaid’s Knee, all sent packing by the purgative powers of Eno’s.  The mood lifted in the late 1920s when Eno’s engaged the services of W S Crawford advertising agency and began a dramatic shift to a more contemporary visual approach. After McKnight Kauffer came the young Ashley Havinden, who in 1927, fresh from an extended visit to study modern publicity in Germany, designed a famously dynamic ad in which 3 angular horsemen trailed banners emblazoned with the virtues of Eno’s on a diagonal march across the page.  The result owed more to the Gebrausgraphik tradition than to any Bauhaus influence.  It would be followed by many more ads designed to appeal to the contemporary eye while conveying a sense of breezy optimism about the comforting sense of well-being that awaited the consumer of Eno’s Fruit Salts.  Eno (minus the apostrophe ’s’) is today owned and marketed as an antacid in Asia and South America by GlaxoSmithKline (GSK) - a curious afterlife for a quintessentially Victorian patent treatment.







 

Thursday, 31 December 2020

Bridge Postcards of 2020

For some reason 2020 hasn’t been a great year for exploring and photographing bridges and it’s not been much better for acquiring postcards.  Gatherings of elderly postcard obsessives would make the perfect playground for the Coronavirus - as the collectors succumbed the world would be left with mountains of unsold and unwanted postcards. All of which makes this selection of the best bridge postcards much smaller than usual. There are two swing bridges - Cherbourg and Littlehampton. The Littlehampton bridge opened in 1908 and was notable for its elevated control cabin. It was replaced in the 1980s with a pedestrian retractable bridge which does the same job (with difficulty) while offering nothing to delight the eye. The Pont Gisclard is an elegant suspension bridge that carries a  single track railway across a dramatic gorge in Southern France. It also opened in 1908 but in a tragic footnote, bridge designer Albert Gisclard was killed along with 5 others when a load test led to an accident on his own bridge the following year. The Kingsferry vertical lift bridge in Kent links the Isle of Sheppey with the rest of Kent and carries both road and rail. Built in 1960, its concrete towers resemble gigantic Brutalist clamps and convey a sense of strength. There’s an account here of 2020’s single bridge visit (Cannington Viaduct in East Devon) and every hope that number might be exceeded in 2021.













 

Wednesday, 30 December 2020

New York City Landmarks No. 3 - Brooklyn Bridge

When it opened in 1883, the Brooklyn Bridge was the longest suspension bridge in the world - a distinction it would hold for 20 years.  It spans the East River and links Manhattan with the borough of Brooklyn.  Design and construction was a family affair - John Roebling was the designer, his son, Washington was the project manager and his wife, Emily Warren Roebling, supplied additional design work.  The granite and limestone towers, each with twin gothic arch piercings went up first, followed by the cable work - constant technical details prolonged the construction to a total of 13 years.  Lengthy approach viaducts were needed to raise the roadway to the deck level, itself elevated to allow for the free passage of ocean going shipping.

Visually striking for the grandeur of scale and for the contrast between the delicate cable stays and the massive presence of the two towers, the bridge rapidly became a source of fascination to graphic artists and painters. Artists from all over the US and beyond felt the need to record their impressions of this stupendous structure. Georgia O’Keefe, Joseph Stella, John Marin, Richard Estes, Albert Gleizes, and C R W Nevinson. For the editors of the New Yorker, the bridge is one of the most powerful and emblematic symbols of the city to go by the frequency with which it appears on the front cover