Old lighthouses

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From a collection of old postcards depicting British lighthouses. My own fascination with these structures can be traced directly to these two particular examples. The Lower Light or Beach Lighthouse is positioned a couple of streets away from the nursing home where I was born. Although we never lived in Fleetwood, I grew up a few miles down the coast and we often made trips to this unusual port which 19th century entrepreneurs built from nothing in the 1830s.

The lighthouses were built in the 1840s, intended to function together as a guide to ships approaching the docks through sandbanks. To me they helped augment the town’s curious edge-of-the-world quality. Fleetwood is positioned at the end of a peninsular, surrounded by the Irish Sea on two sides with the estuary of the River Wyre on the third. The trams which travel the length of the coast have to make a loop around a block of buildings when they reach the Pharos lighthouse and head south again. A lighthouse built in the middle of a residential street seemed completely bizarre when I was a child; it still looks strange now, as though it was dropped there then forgotten. Once you’ve reached it there’s nowhere left to go. (Well, unless you take the ferry over the river….) Its modest companion is more naturally situated on the promenade nearby. This Flickr photo shows how it looks today.

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Previously on { feuilleton }
Hungarian water towers

The art of Virginia Frances Sterrett, 1900–1933

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“Rosalie saw before her eyes a tree of marvellous beauty” from Old French Fairy Tales.

Continuing the series of occasional posts mining the scanned library books at the Internet Archive, these illustrations are from a 1920 edition of Old French Fairy Tales by Comtesse Sophie de Ségur and a 1921 volume of Tanglewood Tales by Nathaniel Hawthorne. Virginia Frances Sterrett, like Beardsley and Harry Clarke, was another artist whose life was cut short by tuberculosis. She was a remarkably accomplished 19-year-old when she illustrated the Sophie de Ségur book. Her incredible illustrations for The Arabian Nights (1928) can be seen here.

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“They walked side by side during the rest of the evening” from Old French Fairy Tales.

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“She whipped up the snakes and ascended high over the city” from Tanglewood Tales.

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“This pitiless reptile had killed his poor companions” from Tanglewood Tales.

Elsewhere on { feuilleton }
The illustrators archive

The New Love Poetry

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Yesterday’s book purchase was a small poetry collection from the magical year of 1967, edited by Peter Roche. Despite its Beatles cash-in title, Love, Love, Love: The New Love Poetry, not everything here is lightweight fare, Adrian Mitchell’s Peace is Milk is aimed more at the war in Vietnam than some object of affection. Among the other contributors there are the poets one would expect such as Roger McGough and Michael Horovitz, also Pete Brown who wrote lyrics for Cream and later had his own band, Piblokto. And there are contributions from Libby Houston, the wife of Mal Dean, an artist notable for his illustrations for Mike Moorcock’s books of the period and (later) some album sleeves for Pete Brown and others. Some of Libby’s poems appeared in the 50th anniversary edition of New Worlds magazine, along with an illustration by yours truly.

Contents aside, I picked this up mainly for the cover which I guessed was the work of Hapshash and the Coloured Coat, aka Michael English and Nigel Waymouth, along with Martin Sharp the leading psychedelic artists in the UK during the late Sixties. This proved to be a good guess as the book can be seen on this Hapshash page and if I’d have looked closer while in the shop I’d have seen their name written in tiny letters on the purple “O”. Not a difficult guess, their swirly lettering designs are very distinctive. See the full groovy cover here.

A Hapshash and the Coloured Coat gallery

Elsewhere on { feuilleton }
The book covers archive

Previously on { feuilleton }
Dutch psychedelia
Family Dog postcards
The 14-Hour Technicolor Dream revisited