Paul Hogarth, Inns of St Edmundsbury, Suffolk - Original 1960 pen & ink drawing
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An original 1960 pen & ink drawing, Paul Hogarth Inns of St Edmundsbury, Suffolk.
A characterful small pen and ink illustration. The drawing was reproduced in a October 1960 edition of East Anglian Magazine illustrating an amusing story about the "Hotels and Inns of St Edmundsbury". The drawing is accompanied by a printed photocopy of the magazine page where the illustration was reproduced.
Unsigned. Dated verso.
There is a vertical fold crease to the right of the image, and blue guidelines drawn to the left.
9.1cm x 8.1cm.
This work forms part of a collection of illustrations associated with East Anglian Magazine from the 1950s. The drawings are by a variety of hands and the quality is exceptionally high – including works by esteemed draughtsmen Paul Hogarth and Andrew Dodds.
East Anglian Magazine was published monthly in Ipswich between 1935 and 1982, was an eclectic collection of stories, illustrations and old photographs relating to the counties of Norfolk, Suffolk, Essex and Cambridgeshire.
The majority of the drawings were reproduced in in this magazine, and by virtue of this they all share a quirky, English appeal – often slightly humorous or oddball, depicting local personalities and customs, or illustrating amusing anecdotes or intriguing scenes from local history.
Paul Hogarth (1917-2001) was one of the most prolific and successful commercial artists of his day. Born in Kendal, Cumbria, he studied at Manchester College of Art 1934-6 and at St Martin’s School of Art in London. He collaborated with writers including Doris Lessing, Brendan Behan, Graham Greene, Robert Graves and Lawrence Durrell, bringing recognition to his work across the globe. He illustrated the New Penguin Shakespeare series of paperbacks in the 1970s. He was elected an associate member of the Royal Academy in 1974, became a full member in 1984 and was awarded OBE in 1989.
Hogarth travelled widely and was politically engaged, with communist sensibilities – he was committed to the radical Left in the 1950s, taking him to China and the USSR as graphic reporter. But he was also a shrewd reporter of post-war British life. With fantastic economy of line and wit he could capture the truth of personality and place.