I was prompted to write this post by a Tweet on Twitter about a small exhibition of Heal’s posters. More of which later.
Shops and shopping are what I’m interested in. Both the history and present of. Heal’s publicity from the 1930s holds me mesmerised. Such well tailored combinations of imagery and text. The former addresses my taste for moderne commercial art, the latter my over-developed high-snobriety.
Presents for Particular People was a booklet Heal’s produced yearly. It contains pages of rather glamorous gift suggestions for such 1930s types as: Bright Young People, Those of Riper Years, The Bon Viveur, The Bookworm, The Punctual Correspondent, The Hopeful Gardener, The Fastidious Lady and (pictured here) The Sluggard.
The Sluggard’s list, by the way, included: an Ashtead Pottery breakfast in bed set, a fold-flat table (available in cream, blue, orange or green), a lazy shoehorn, two biscuit jars (one in silver lustre on cream), a cigarette holder, ash tray and bookends. It sounds just right for Bertie Wooster. And not too far off for me.
The cover of the booklet is sweet, a 3 colour lino-looking print signed ‘MF’. No idea who ‘MF’ is and I don’t recognise the hand in this illustration. I had thought of Maxwell Fry, the architect who was designing furniture for Heal’s about this time. But that’s unlikely. Hmm. Intriguing.
And so the ‘exhibition’ of Heal’s posters that I mentioned? Normally the Geffrye Museum can do no wrong for me, it’s a great place. But this particular show, advertised as an ‘exhibition of Heal’s posters’ was just A3 colour prints drawn from the V&A’s archive, shown behind glass. It felt like a con. If you can’t see the real thing in a museum, where can you?
You could argue, I suppose, that posters are just reproductions anyway. And my esteemed fellow bloggers over at Quadroyal argue about posters and authenticity very well. But nevertheless I left unsatisfied. And came home to blog the ‘real’ thing.