John Hassall – 150th anniversary of the Poster King

As a historical picture library, anniversaries frequently punctuate our working year, but there’s a significant anniversary this week which will probably pass most people by.  One hundred and fifty years ago, on the 21st May 1868, one of the most popular artists of the early 20th century was born – John Hassall. I’ve been a fan of Hassall’s work for some time and, having written a number of books and articles about illustrators, hope to make John Hassall’s life and career the subject of my next book. But mention of this to most people usually illicits the response, “Who? I don’t know him.” The penny drops when I ask if they know Hassall’s most famous work, his ‘Skegness is SO bracing poster’ featuring a carefree, jolly fisherman prancing along a beach and designed for the London North East Railway in 1908, but by and large, John Hassall’s name has disappeared from public consciousness.

skegness, liversalts, colmans

A century ago, every man and woman knew who John Hassall was; he was ‘The Poster King’ and, although he was an artist talented in many disciplines, it was the advertising hoarding that was his kingdom and which was to make him a household name. An article in Answers magazine from 1912, entitled, ‘The Poor Man’s Picture Gallery’ gives some indication of the impact of the picture poster in the early years of the twentieth century.

“The development of British poster art in the last few years has been altogether astounding. Not many years ago, the mention of the word ‘art’ in connection with the hoarding would have raised a smile. Poster advertising has gone on in leaps and bounds until today it has been fitly termed, “the poor man’s picture gallery”

Later in the article: “Probably no poster artist has enjoyed so great a success as John Hassall…The mistake that too many poster artists make is crowding too many figures into one picture. This is never a fault of Hassall. His faces are good-humoured and a feature of his work.”

Born in Walmer, Kent, John Hassall was educated in Worthing and then, as a young man, after failing to gain entry to Sandhurst tried his hand at farming, moving to the remote wilderness of Manitoba in Canada with his brother Owen. During that time, he began to draw, and on successfully entering several local art competitions, realised he had a talent. Returning to England in 1890, he befriended fellow artists Dudley Hardy and Cecil Aldin, both of whom would become lifelong friends, and travelled to Paris and Antwerp to study art, there becoming influenced by great poster masters such as Cheret and Mucha. His career took off in 1895 when he was engaged by the poster printing firm David Allen & Sons, a relationship that would last for most of Hassall’s lifetime. Aside from the ubiquitous Skegness poster, Hassall produced designs for well-known brands such as Bovril and Colman’s Mustard, countless posters for theatrical productions (600 alone between 1896 and 1899) and, intriguingly, a number of posters and postcards for the anti-suffrage campaign, including the famous, ‘A Suffragette’s Home’ in which a working class man returns home at the end of the day to find his home in disarray due to the activities of his politically enlightened (but apparently neglectful) wife. Developing an eye-catching and engaging style, Hassall’s designs used bold outlines, flat colour and made spatially confident decisions demonstrating not only the influence of Japanese art on British design at the end of the nineteenth century, but how this technique could translate into bold and effective advertisements.

suffragette, santa, snowballing

frys, shaws, vacuum cleanersleeping beauty

Aside from posters, Hassall, a prolific artist and lifelong workaholic, worked across a variety of media and disciplines, showing himself to be a designer of great versatility. He was a painter in oils in the traditional manner who exhibited at the Royal Academy; a book illustrator, and a humorous ‘black & white’ artist for magazines, particularly for The Sketch, which is held here as part of the Illustrated London News archive. In 1905, he founded the New Art School which could count H. M. Bateman and Annie Fish among its illustrious alumni. When war broke out, the school continued as a highly popular correspondence course. He was a designer of toys, figurines, pottery and nursery décor and ever the innovator, he was keen to push boundaries, working with the Animated Hoardings Company before the Great War to create mechanised advertising posters.

art course, Hassall himself

THE MARCH OF THE UNEMPLOYED Date: 1912

Journalists flocked to his studio, built in the garden of his home at 88, Kensington Park Road, to interview the poster king who was a generous and talkative host, full of stories and anecdotes about his life and working methods. Last year, I visited the University of Essex where the archives of John Hassall are held including his diaries, log books and photograph albums. With only a brief day to skim through the wealth of material, it nevertheless soon became clear that John Hassall was a man of great charm and energy with a wide circle of friends, acquaintances and admirers. A long-serving member of both the Savage and Sketch Club, he was at the very centre of London’s artistic community and his home was always busy and open.

Hassall Archive

He was someone who was generous with his time and took delight in his family. Hassall was married twice with three children by his first wife (Isabel Dingwall who died in childbirth in 1900), and two by his second, Maud Webb. The daughter of his second wife was the renowned book illustrator and engraver, Joan Hassall; his son by that marriage was Christopher Hassall, actor, poet, lyricist and dramatist. The family would spend each summer at a holiday cottage at Walton-on-the-Naze on the Essex coast where he took a keen interest in finding and accumulating a world-class collection of prehistoric flints.

When war broke out in 1914, Hassall was approaching 50 and too old to join up. Instead he served as a special constable and increasingly gave his time for free producing countless sketches and drawings at the request of stage stars such as George Robey to promote or sell at charity auctions, matinees and shows. His log books from this period are something to behold – full to the brim with commissions, at least half of which he carried out without charge. Although Hassall’s style would begin to fall out of fashion, in 1939 he was granted a civil-list pension for services to poster art and he continued to work until shortly before his death in 1948.

soldier, VAD, hippodrome

Here at the library, John Hassall’s work crops up frequently, either in illustrated magazines, in children’s books and, more recently, in the numerous theatrical posters making up the Michael Diamond Collection. This week, to mark the 150th anniversary of Hassall’s birth, it seems like a timely moment to share and celebrate the work of an artist whose talent gave so much pleasure to so many. It’s time for the Poster King to return to his throne.

A group of children in fancy dress standing in a line Date: circa 1900

 

 

Motivational Posters from the Maurice Collins Collection

As we look to the start of a new year, thoughts inevitably turn to New Year’s resolutions and self-improvement.  With the help of the fabulous Maurice Collins collection that we represent here at Mary Evans, we turn the clock back 90 years and take a look at self-improvement 1928-style, through the medium of workplace motivational posters. Never mind mindfulness, forget Feng shui – these posters channel bold, colourful imagery with pithy positivity for the workplace and beyond.

Incentivisation Poster - Gossip
Incentivisation Poster - Look Pleasant
Incentivisation Poster - Who Thought

Parker-Holladay, a now defunct print company, was one producer of these motivational posters, which it made on a subscription basis for business owners to display and disseminate to their employees. Bill Jones, a fictional character created by Parker-Holladay, encouraged punctuality, good self-care, courtesy and teamwork, amongst a raft of other virtues, helping to instill best practice and positive mental attitude in the workplace.

Incentivisation Poster - Late Again
Incentivisation Poster - Health is priceless

Popular in their day, these striking posters fell from favour following the Wall Street Crash and the ensuing Great Depression of 1929, with economic events dealing a heavy blow to the self-made man and his entrepreneurial spirit. Though thankfully the economy is not suffering  today as it did back in 1929, even nearly a century later these images still convey the power of positivity and the beneficial effect this can have in the work place and on an individual’s outlook.

Incentivisation Poster - Criticism
Incentivisation Poster - Tomorrow
Incentivisation Poster - Who Thought
Incentivisation Poster - Worry

Here on The Inquisitive Archivist, these posters march again, on into 2018, with messages that are still pertinent to the workplace today.  Which of Bill Jones’s maxims will you take into 2018? Wishing all our readers a very happy and productive new year!


Incentivisation Poster - Goodbye Old Year

Answers to Correspondents

BUSY CORRESPONDENT
The agony column is not a new phenomenon. Back in the 19th century, earnest readers of The Girl’s Own Paper wrote in to the weekly publication under pseudonyms asking for advice on all manner of problems. It’s unlikely that many girls today concern themselves with pressing issues such as how to remove ink stains from ivory piano keys, the correct etiquette of visiting cards, or, thankfully, how to remove a boil from the eyeball.

The advice they received in the ‘Answers to Correspondents’ page was prescriptive, stern, sometimes harsh and often astonishingly encyclopaedic. Any indiscretions involving the opposite sex were severely reprimanded, while those with poor handwriting usually suffered a withering critique.

The questions themselves were never printed which make many of the answers all the more intriguing, and, we have to admit, occasionally hysterical.  Whoever the Girl’s Own agony aunt was, she refused to suffer fools gladly and her advice perhaps tells us more than many other contemporary sources what life must have been like for a middle class girl in the 1890s.

The First Letter'

ALICE. – A crayon copy is not eligible for exhibition at the Royal Academy.

MADGE. – Yes, there is a verse in the Bible that has all the letters of the alphabet in it. See Ezra vii. 21.

Johann Strauss II
A DALSTONIAN
. – Why do you wish to whiten your face and neck? Of course you could dip your face in a flour-barrel, or get some whitewash applied by the cook next time she whitens the scullery. But what a coarse, orange-peel-looking skin you will soon have if you fill up the pores of the face!

BLACK TOM. – 1. The girl you name as being hopelessly attached to a man she has never met but only seen at concerts, should be sent away from the foreign town where you are both staying. The story is of a most humiliating character; she disgraces the sex, the members of which should be sought, not themselves the seekers. 2. We could not hazard an opinion on what was your disease. Your writing slopes the wrong way.

ALYS and MABELLE. – ‘Nigel’ is pronounced as it is spelt; the last syllable as the first in ‘gelatine’.

SHE READS A LETTER 1889

WORRIED (but not) TO DEATH. – We know nothing of the method advertised. We can only advise you not to try it without the opinion of your own family doctor.

PUSSIE. – We cannot tell you of the diseases induced by the bad habit of eating anything not designed for food. You must be already in a very unwholesome condition. The best means of curing yourself would be to tell your mother, and request her to put a stop to it at once, if you have no strength of mind and will to cure yourself of such nasty habits.

School class in Great Britain, 1930...

MARJORIE. – 1. Your heliotrope dress will probably fade if you wash it. 2. To raise his hat on the first meeting is all that is required of a man. To do so five or six times would be ridiculous.

CUSTOMS/ETIQUETTE

A Transcontinental Metro and other dreams of the future – as illustrated in the past

I always love delving into the unusual here at the archive and from spooky spectres to spoon-bending we have it all, but one area I’m particularly fascinated with is the collection of imaginative illustrations dating pre-1960 which fantasise on what the future may hold in the year 2000 and beyond.  These popular images regularly appeared in scientific and general interest periodicals, children books, collectables and magazines.  Common illustrated themes included wonderful and complex infrastructure, high capacity and ultra hi-speed transport, space exploration and domestic living with machines for every chore you could think of.

Much of the ideas depicted were entirely plausible at the time, for example video calling, but equally some imaginations of the future were a good way off reality and really delved into the realm of fantasy;  ideas such as life on Mars in 50 years time and underwater bikes being used for the casual commute across the English Channel!

One particularly charming example in the archive is the promotional sticker book published c.1950 by Belgian chocolate company ‘Aiglon’, titled ‘L’An 2000 / ‘t Jaar 2000’ The album features many unique future scenarios such as the dredging and reclaiming of the Mediterranean sea between France, Spain, Italy and North Africa, aeroplanes the size of cruise ships and post sent by intercontinental rocket.  How I would have loved to collect each individual sticker with the purchase of a chocolate bar!  At Mary Evans we are lucky enough to hold the full completed album (images below).

As much as some of the ‘guesses at futurity’ are hard-to-swallow, the images offer a fantastic insight into the vivid, thought-out and often humorous imaginations of our forefathers at what our world may look like by the new millennium.  There are hundreds of images of the ‘future’ for your perusal on our website, which are available to license and you can find them here, but below you can see some favourites from a variety of sources – I do hope they delight!

Future 1

Future 1a


Cityscapes of the Future:
 

New York of the future

Left: Autogyros and other aircraft land on rooftops in the London of the future, by Henry Woolley in ‘The Wonder Book of Aircraft’, 1931.

Centre: Postcard showing the New York of the future, date unknown.

Right: A city street of the future by Henry Woolley in ‘The Wonder Book of Aircraft’, 1931.


Transport and Infrastructure:

TRANSATLANTIC TUNNEL

Left: Transatlantic tunnel, c. 1950 for the Biekens biscuit company, Belgium.

Right: Observation of the sea bed from transparent-bottomed boats, using atom-ray illumination, c. 1950 for the Biekens biscuit company, Belgium.

MEDITERRANEAN RECLAIMED

Left: Reclaiming the Mediterranean for agricultural use, c. 1950 for the Biekens biscuit company, Belgium.

Right: Transcontinental metro travelling underground beneath continents, c. 1950 for the Biekens biscuit company, Belgium.

 

SUPER-JUMBO AIRCRAFT

Left: Super-jumbo aircraft carrier, c. 1950 for the Biekens biscuit company, Belgium.

Right: Submarine motorbike, c. 1950 for the Biekens biscuit company, Belgium.

 

CHANNEL ROAD BRIDGE

Left: Channel road bridge between Calais and Dover c. 1950 for the Biekens biscuit company, Belgium.

Right: Jet-propelled snow mobile, c. 1950 for the Biekens biscuit company, Belgium.

 

FUTURE MONORAIL

Left: Traffic control centre, c. 1950 for the Biekens biscuit company, Belgium.

Right: Monorail proposal, March 1941.  Illustration by B und H Romer- Munchen, in Delhagen und Klafigs Monatshefte.

 

CIRCULAR AIRPORT PROJECT

Left: A prediction that aircraft will be guided to their destinations by beacons – vertical lights positioned beside motorways, indicating the route from town to town, c. 1935.  Collectors’ card by Byrrh, French aperitif.

Right: A suggested central London overhead airport at King’s Cross showing aeroplanes landing on the runways of a huge wheel-shaped structure. Illustration by Charles W Glover in the Illustrated London News, 6 June 1931.

 

TRAIN OF TOMORROW

Left: Prediction of what the railway train of tomorrow will look like.  Totally streamlined for greater speed and economy, c. 1935.  Collectors’ card by Byrrh, French aperitif.

Centre: Future Transatlantic passenger liners, which will be aerodynamically shaped for faster travel. This vessel is based on a project by American designer Norman Bel Geddes, c. 1935.  Collectors’ card by Byrrh, French aperitif.

Right: Landing spot for airplane, parking space for cars on every storey, France, circa 1930.


Domestic living:

future, vision In the year 2000, television-phone,

Above: Future vision un the year 2000, television-phone, colour lithograph, France, 1910.


future, household, automatic floor polisher with

Above:
Future vision in the year 2000, an electric scrubber, colour lithograph, France, 1910.

Futuristic home, with chores done automatically

Above: A futuristic home, with chores done automatically. The housewife’s life will be an easy one in which she can sit back, read the paper and listen to music.  Allers Familj Journal (Sweden), 24 May 1929.


Robot servant polishing shoes

Left: A futuristic device to help a gentleman get dressed in the automatic home of the future. At the press of a button, a mechanical arm holds out his suit, top hat and walking stick, while a platform on wheels delivers his shoes. Allers Familj Journal (Sweden), 24 May 1929.

Centre: The servant of the future – a robotic servant polishes a man’s shoes while he sits reading in his armchair. Le Petit Inventeur (France) c. 1929.

Right: A futuristic invention for the lazy person — no need to leave your seat when you need a drink, in the automatic home of the future. A man sits in his armchair, smoking a cigar, while a mechanical arm drops through the ceiling to offer him a tray of drinks. Allers Familj Journal (Sweden), 24 May 1929.

SUBURBAN HOME, ROCKET

Left: Suburban home with garage for family rocket, c. 1950 for the Biekens biscuit company, Belgium

Right: Kitchen of the future, c. 1950 for the Biekens biscuit company, Belgium

Bizarre Best Wishes – the Weird & Wonderful World of Victorian Christmas cards

Children attacking a large pudding on a Christmas card. Date: circa 1890s

10997093: Children attacking a large pudding on a Christmas card. Date: circa 1890s

For any student of Christmas festive facts, they will know that first Christmas card was designed in 1846 by John Calcott Horsley at the request of Sir Henry Cole, later Director of the Victoria and Albert Museum.  About one thousand hand-coloured copies were produced, printed by Mr. Jobbins of Holborn and published by Joseph Cundall of Old Bond Street.  The design incorporated two scenes of charity flanking a central picture of a typically Victorian family cheerily raising a glass to toast the recipient of the card.  Although Horsley’s card is the acknowledged ‘first’ Christmas design, another, even earlier card, was designed by Mr. W. N. Egley, and sent by the artist to friends and family in 1842.  Whichever can claim to be truly the first Christmas card, they triggered a trend that became a festive tradition as familiar as trees and mince pies.

These early examples had been private ventures but by the 1860s the firm of Messrs. Goodall had begun to issue Christmas cards to the trade.  In the decades that followed, Christmas card sending rose to prodigious proportions.   During the Christmas period of 1882 for example, more than 14,000,000 letters and packages were delivered in the London area alone.  Such was the demand for new designs of good quality that in 1879, card publishers Raphael Tuck held an exhibition at the Egyptian Hall in London, with well-known Academicians as judges and 500 guineas in prizes.  The contest attracted nearly 900 entrants and was so popular that a second and grander competition, judged by Sir John Millais and Marcus Stone, was held in 1882.  This time £5000 was awarded in prizes.  The result was that many famous artists, including Stone, George Clausen, G. D. Leslie and W. F. Yeames, entered the Christmas card market, with one firm paying out £7000 for drawings in a single season.  Years later, a 1936 interview with Desmond Tuck of Raphael Tuck published in The Sphere, revealed that each season the company rose to the challenge of creating no fewer than 3000 original Christmas card designs, achieving this with a permanent staff of fifteen designers, freelance commissions from outside artists and licensing works from art galleries and museums.  Tuck were undoubtedly market leaders.  They exclusively produced the royal family’s Christmas cards each year and ensured that the designs were distributed to the press who duly published them (many featured patriotic scenes or historic royals from the past), and they pioneered novelty cards alongside more sedate, traditional designs.  In 1901, The Tatler magazine commented on a box of Christmas cards sent by the canny marketeers at Raphael Tuck:

“All Raphael Tuck’s cards are pretty and artistic, but what struck me as the most ingenious were the expanding cards, i.e., those cards by which a slight manipulation can be transformed into ships, soldiers and horses of a real shape and form.”

An 1842 design for a Christmas card by Mr W. N. Egley, though the general consensus is that the first was by John Calcott Horsley for Sir Henry Cole in 1846. There is some debate over whether this one was designed in 1842 or 1848. Nevertheless, a very early example, perhaps the earliest! Date: 1842

11657256: An 1842 design for a Christmas card by Mr W. N. Egley, though the general consensus is that the first was by John Calcott Horsley for Sir Henry Cole in 1846. There is some debate over whether this one was designed in 1842 or 1848. Nevertheless, a very early example, perhaps the earliest! Date: 1842

Reputedly the first Christmas card, this was designed by Horsley in 1843, and a coloured version sent out by Sir Henry Cole in 1846 Date: 1843-1846

10021527: Reputedly the first Christmas card, this was designed by Horsley in 1843, and a coloured version sent out by Sir Henry Cole in 1846 Date: 1843-1846

The designing room at Raphael Tuck & Sons, fine art publishers of prints, cards, Almanacks and postcards, staffed largely by women. Tuck were one of the leading card and postcard publishers in the 19th and 20th centuries. Date: 1903

11657260: The designing room at Raphael Tuck & Sons, fine art publishers of prints, cards, Almanacks and postcards, staffed largely by women. Tuck were one of the leading card and postcard publishers in the 19th and 20th centuries. Date: 1903

Several examples were shown but it is notable that not one single card appears to us to be particularly festive – there are donkeys on the sands of a coastal resort, a Chinese pleasure boat, circus horses and their riders,  a man-o-war in full dress and eighteenth century dandies carrying a lady in a sedan chair.  Not a single snowflake or twinkling bauble in sight.

211657259 (left): Adolph Tuck, Sir Adolph Tuck, 1st Baronet (1854-1926), fine art publisher and chairman of Raphael Tuck & Sons, pictured with his son passing a design for a Christmas card in 1903
10999514 (right): Invoice from Raphael Tuck & Sons Ltd, to Mr Frank Blackley, for the supply of one hundred greetings cards, total cost ten shillings and ten pence.

We have an eye-bogglingly varied array of historic Christmas cards in the archive representing this rich period in card publishing.  Many have arrived via our representation of the fabulously bonkers David Pearson Collection featuring designs that range from the mildly inappropriate to the unashamedly weird, most from the late 19th and early 20th century.  We may blame our modern-day sensibilities and taste for laughing at such unfathomable festive themes, but even in 1894, Gleeson White, editor of The Studio, wrote a monograph on Christmas cards in which he commented on the increasingly bizarre and inappropriate styles of card available to consumers.

“It is amusing to note the pictorial accompaniments, considered fit to illustrate the very mundane wish for a ‘A Happy Christmas’.  To accompany this prosaic and wholly carnal greeting we find, often, monsters of nightmareland, pictures of accidents dear to the farce writer, and in short, the subjects, which are in vulgar parlance weird and alarming on the one hand and distinctly uncomfortable on the other.”

Gleeson White, aesthetically sensitive, might have been particularly averse to ‘jokey’ and strangely macabre cards but there was undoubtedly a market at a time when the scale of card-sending meant that designers had to cast about for novel ideas and not all card buyers were discerning enough to prefer the worthy work of an Academician.   Nevertheless, whoever came up with murderous frogs and dead robins, cards in the shape of a hand gun or plucked turkeys lying limp and lifeless on kitchen scales, had perhaps spent rather too long at the drawing board, scraping the brandy barrel of festive ideas.  We don’t care.  Whether it’s Christmas or not, weird Christmas cards continue to be a source of great mirth and amusement at the library.  We’re just waiting for a mischievous someone to select some for a cool and off-beat Christmas card selection box.  We’ll be at the front of the queue.

9

A saw on a Christmas card -- the basis of a fairly excruciating pun. Date: circa 1890s

6

Little dog with a toy gun on a New Year card. circa 1890s

4  A frog murders another frog for money - a somewhat bizarre Christmas subject ! Date: circa 1880

5

Handsome Chaps from History – A Valentines Top 10

Valentine’s Day is this Sunday and with love in the air, and romance on the breeze, how could we not dedicate our latest blog post to the enduring theme of ‘amour’? To be perfectly honest, perhaps the theme is more lust than love. Let me explain. Over the last year, TV viewers have been treated to a feast of lavish historical drama, with, for some of us, characters who remain indelibly stamped into our consciousness forever more. Damien Lewis gave us a simmering alpha male Henry VIII in ‘Wolf Hall’, fans of the epic ‘War & Peace’ may have fallen for the proud and troubled Andrei (though personally, I rather preferred the sexy swashbuckling arrogance of Dolokhov), and need we say any more about Poldark’s scythe or Philip Lombard’s towel in ‘And Then There Were None’?

Inspired by such a parade of historical and fictional romantic leads, we thought it would be fun to share with you a top ten of handsome chaps from history, illustrated, of course, with images from our archive. Here’s our rundown of who we’d like to share an intimate Valentine’s dinner with. And before we’re accused of sexism, we plan a similar list of ladies the minute we find an excuse!

10. Captain Leslie St. Clair Cheape Cheape (1882-1916). We always promise the obscure as well as the well-known at Mary Evans, and Leslie Cheape may not be a familiar name but in his day was hailed, ‘England’s greatest polo player’ – playing for England in the Westchester Cup three times in 1911, 1913 and 1914. He was pivotal in bringing the cup home in 1914 despite a ball breaking his nose during practice just a couple of days earlier (what a hero). Seated here on his polo pony, with, thrillingly, the hint of a tattoo on his muscular forearm, he’s the very essence of the upper class sportsman, many of whom lost their lives during the Great War. Unfortunately Leslie was one of them. He was killed on 23 April 1916 while commanding a squadron of the Worcestershire Yeomanry in Egypt.
9. Gary Cooper (1901-1961) There are so many movie stars from Hollywood’s Golden Age to choose from but Gary Cooper made the top ten because lurking behind those chiselled good looks, is the sense of masculine potency and seductive promise. Talullah Bankhead said there was only one reason she accepted a role alongside Cooper in the 1932 film, The Devil and the Deep, but you’ll have to look it up as it’s unprintable here.
8. Ernesto ‘Che’ Guevara (1928-1967) As Cuban revolutionaries go, Che had his fair share of good looks, and excellent facial hair to boot. Surely not everyone who wore a T-shirt with his face on it did so purely out of political empathy?
7. Anthony Wilding New Zealand tennis player Tony Wilding reputedly caused lady spectators at Wimbledon to faint when he made an appearance and it’s easy to see why. Tall, blond, a dedicated athlete and with matinee idol looks, he won Wimbledon four times between 1910 and 1913. He was also romantically linked with the actress Maxine Elliott, his elder by some fifteen years. Contemporary accounts testify to him being a proper gent and thoroughly nice chap – an ideal Valentine’s dinner companion. He was killed during the Battle of Aubers Ridge in 1915.  Read more about him on our WWI blog here.
6. Paul Newman Undeniably, dazzlingly, perfectly handsome, Newman once joked, “I picture my epitaph: ‘Here lies Paul Newman, who died a failure because his eyes turned brown.’”
5. British WWI flying ace  Captain Albert Ball (1896 – 1917) was our highest scoring fighter pilot during the conflict. Combining heroics with aerial wizardry and devastating boyish good looks, Albert was something of a pin-up but, like so many heroes of the skies, died tragically young, just before his 21st birthday. Special mention must also go to Manfred von Richthofen (1892-1918) whose cheekbones were as finely honed as his cockpit skills. May we recommend Michael Fassbender for any forthcoming biopic?
4. Robert Powell as Jesus of Nazareth (7–2 BC to AD 30–33). We should point out that Mr Powell remains hale and hearty but his portrayal of Jesus in Franco Zeffirelli’s 1977 film saw him give a mesmerising and swoonsome performance as the son of the Lord. Those rippling locks, those piercing eyes…it’s enough to convince the most ardent atheist to attend a Last Supper.
3. Rudolph Valentino (1895-1926). If anyone has any doubt over why the greatest movie idol of the early C20th attracted such global adulation, then this photograph of him in the character of the faun for a proposed film version of the erotic ballet, L’Apres Midi d’un Faun, might prove to be that moment of revelation. Valentino’s sensual on-screen seductions were enough to make millions of women fall under his spell. Here, with oiled limbs and smouldering gaze as the priapic faun, the world may have quite simply imploded with unsuppressed lust had this film ever made it into cinemas. If the Internet had existed nine decades ago, Valentino would definitely have broken it.
2. Leslie Hutchinson (1900-1969). Better known simply as Hutch, clubland crooner and serial womaniser Leslie Hutchinson numbered Edwina Mountbatten, Tallulah Bankhead (and Ivor Novello!) among his many conquests. Suave, sophisticated and a talented tickler of the ivories, Hutch was not only the biggest cabaret stars of the 1930s, he was also rumoured to possess a member of legendary proportions (Sir John Mills once witnessed him in the shower in a men’s changing room and confirmed the rumours by simply commenting “What a man,”). Locker room secrets aside, being serenaded by Hutch might just have been the perfect Valentines treat.
1. King Charles II Claiming the top spot is the Merry Monarch himself, whose lust for life and bawdy bedroom antics marks him out as the king to have a fling with. Swarthy and sensual, he famously stood six feet two inches tall, an impressive height in the C17th. Lavishing apartments, jewels and other gifts and money on his succession of demanding mistresses while the kingdom went to pot, John Evelyn commented that the libidinous Charles would have made a good ruler, “if he had been less addicted to women”. More interested in fleshy delights than government business, the King might not have been the most dedicated ruler, but who wants sensible when it’s Valentine’s Day? Ruled by love, rather than duty, Charles II is our naughty but nice choice for a Valentine’s dinner companion.