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Jo Brocklehurst, Illustration for review of Die Eingeborene, 1999
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 1999, Brocklehurst was artist in residence at newspaper Berliner Zeitung during Berliner Theatertreffen, a festival of new German theatre. The paper wanted to revive the Weimar tradition of theatre reviews being accompanied by illustrations, rather than using photographs. Brocklehurst drew behind the scenes and from her seat during performances. She worked up images like this one overnight for publication the following morning. This illustration accompanied a review of Die Eingeborene, published in Berliner Zeitung on 11 May 1999.
Content warning: sex references
free all political prisoners - SOLIDARITY WITH THE AFROAMERICAN PEOPLE - AUGUST 18, 1971
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. They also criticised the foreign policy of the U.S.A. and supported the Black Power movement.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1429, 'Mary Plain Goes to America: Part 4 - Hollywood's Newest Star'. It aired on 16 November 1972.
Jo Brocklehurst, Untitled (from Brocklehurst Through the Looking-Glass), 2005
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Jo Brocklehurst, Untitled, Date unknown
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Jo Brocklehurst, Untitled, Date unknown
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
solidarity ZIMBABWE - March 17, c. 1970
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South.
Jo Brocklehurst, Untitled (from Brocklehurst Through the Looking-Glass), 2002
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Brocklehurst’s regular collaborator Isabelle Bricknall was the model for this work. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Untitled illustration for Jackanory (Just So Stories: How the Leopard Got His Spots), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1454, 'Just So Stories - How the Leopard Got His Spots'. It aired on 5 January 1973.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Day of Soldarity With The People Of Laos - October 12, 1970
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This design encouraged solidarity with Laotian people on the same date as the founding of the nationalist movement Lao Issara (‘Free Laos’) on 12 October 1945.
Content warning: weaponry
Jo Brocklehurst, Untitled (portrait of Eryka Isaak), 1995
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In the 1990s, Brocklehurst began drawing the fashion designers and performers finding space for experimentation in the fetish clubs of Soho and King’s Cross.
Cover jacket for "The Numbers of Our Days", 1959
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1427, 'Mary Plain Goes to America: Part 2 - The Most Popular Person on Board'. It aired on 14 November 1972.
Untitled illustration for Jackanory (Just So Stories: How the Leopard Got His Spots), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1454, 'Just So Stories - How the Leopard Got His Spots'. It aired on 5 January 1973.
July 26 - Day of Solidarity with the Cuban Revolution, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This design promotes 26 July as a day of solidarity with the Cuban Revolution. The revolutionary 26th of July Movement led by Fidel Castro took power in Cuba in 1959.
Book cover proof for Colette's "Claudine at School", 1960
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. She designed the covers of several books by French author and pioneer of autofiction Sidonie-Gabrielle Colette. Claudine at School was Colette’s first novel, written in 1900. It follows the story of the eponymous Claudine, navigating school and lesbian relationships.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1428, 'Mary Plain Goes to America: Part 3 - Mary the Hero'. It aired on 15 November 1972.
Jo Brocklehurst, Untitled (from Brocklehurst Through the Looking-Glass), 2000s
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Brocklehurst’s regular collaborator Isabelle Bricknall was the model for this work. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Illustration for Beauty and the Beast (the sisters' husbands), c. 1875
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from Boyle’s 1875 retelling of Beauty and the Beast, a fairy tale where a woman is imprisoned by a monster and falls in love with him. Unlike other illustrated versions before or since, Boyle gave her beast walrus-like tusks and flippers. In several of her illustrations, Boyle used shell gold – a mixture of finely ground gold powder and gum arabic (tree sap) that would have been stored in a shallow seashell. In the final publication, the caption for this illustration reads, "One sister's husband, like Narcissus of old, worshipped his own beauty. But the other was full of learning."
AFRICA, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. Many OSPAAAL designers combined images of Indigenous art and craft with weaponry. Their aim was to argue for the right to self-determination and support liberation movements opposing colonial and imperial powers. However, the designers did not always know the meaning or origin of the iconography they used.
Content warning: weaponry
HIROSHIMA - DAY OF WORLD SOLIDARITY WITH THE STRUGGLE OF THE JAPANESE PEOPLE (August 6), 1972
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. OSPAAAL marked the date of the atomic bombing of the city of Hiroshima by the U.S.A. as a day of solidarity with Japanese citizens.
![Teremok [The cabin]](https://cdn.sanity.io/images/n83t80i6/production/f9ec00295d1de824a94cc9766b91be8edf5b57ff-1624x2000.jpg?auto=format&fit=max&q=75&w=1624)
Evgenii Charushin , Teremok [The cabin], 1931
Evgenii Charushin (1901-1965) was an illustrator and author, known for his children’s books on nature and animals. He said, “More than anything else, I love to depict young animals, touching in their helplessness and interesting, because within them one can already see signs of the full-grown beast.” This book is a cumulative story about a hole in an oak tree that is inhabited by a series of different animals as it gets bigger. It was published in Leningrad (Saint Petersburg), Russia at a time when children’s books became a mass media phenomenon. Over a ten-year period, almost 10,000 titles were published in several editions of up to 200,000. Many of these books took experimental approaches to storytelling, design and layout.
Untitled illustration for Jackanory (Just So Stories: The Butterfly who Stamped) , 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1453, 'Just So Stories - The Butterfly that Stamped'. It aired on 4 January 1973.
Jo Brocklehurst, Untitled (portrait of Liz de Havilland), 1995
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In the 1990s, Brocklehurst began drawing the fashion designers and performers finding space for experimentation in the fetish clubs of Soho and King’s Cross.
CUBA - July 26 - 1968, 1968
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. From the 1960s, painter Raúl Martinez started working as a graphic designer, drawn to the social impact of posters and magazines. He was known for his portraits of well-known revolutionary icons, but to commemorate the 26th of July Movement he portrayed an anonymous Cuban patriot.
![Raznye Zveri [Different Beasts]](https://cdn.sanity.io/images/n83t80i6/production/4842f601d9ba1427cd6013f75b3d855946b271f9-1795x2381.jpg?auto=format&fit=max&q=75&w=1795)
Evgenii Charushin , Raznye Zveri [Different Beasts], 1931
Evgenii Charushin (1901-1965) was an illustrator and author, known for his children’s books on nature and animals. He said, “More than anything else, I love to depict young animals, touching in their helplessness and interesting, because within them one can already see signs of the full-grown beast.” This book shows a series of animals found in Russia. It was published in Leningrad (Saint Petersburg) at a time when children’s books became a mass media phenomenon. Over a ten-year period, almost 10,000 titles were published in several editions of up to 200,000. Many of these books took experimental approaches to storytelling, design and layout.
Jo Brocklehurst, Untitled (portrait of Josephine Leask), 2000
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 2000, Brocklehurst created a series of drawings in sessions with dancer Josephine Leask. Leask’s 1999 article Welcome to the Club, published in ballettanz magazine, described the ways that nightclubs were acting as alternative theatres for cutting-edge contemporary dance. These drawings were shown as part of Leask’s lecture-performance on the same theme at the 2000 Salzburg Festival.
Day of Solidarity with the people of Guinea-Bissau and Cape Verde - august 3, 1968
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This poster was designed to mark a day of solidarity with liberation movements in Cape Verde and Guinea-Bissau seeking independence from Portuguese colonial rule, on the date of the Pidjiguiti massacre. Many OSPAAAL designers combined images of Indigenous art and craft with contemporary weaponry. Their aim was to argue for the right to self-determination and support liberation movements opposing colonial and imperial powers. However, the designers did not always know the meaning or origin of the iconography they used.
Content warning: weaponry
Untitled (rough cover illustration for "The Numbers of Our Days"), c. 1959
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s.
INTERNATIONAL WEEK OF SOLIDARITY WITH LATIN AMERICA - APRIL 19 TO 25, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. Many OSPAAAL designers combined images of Indigenous art and craft with contemporary weaponry. Their aim was to argue for the right to self-determination and support liberation movements opposing colonial and imperial powers. However, the designers did not always know the meaning or origin of the iconography they used.
Content warning: weaponry
World Solidarity With PUERTO RICO, 1981
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. They also criticised the foreign policy of the U.S.A., often using US icons as part of visual metaphors. This poster advocates for Puerto Rican independence from the U.S.A. The Statue of Liberty represents the U.S.A. Its crumbling hand releases the Puerto Rican flag.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Jo Brocklehurst, Poster for Brocklehurst exhibition at 112 Greene Street, 1983
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This poster was produced for Brocklehurst, her first exhibition in New York presented by Francis Kyle Gallery.
Content warning: nudity
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1428, 'Mary Plain Goes to America: Part 3 - Mary the Hero'. It aired on 15 November 1972.
Jo Brocklehurst, Untitled (Red Queen from Brocklehurst Through the Looking-Glass) , 2002
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Brocklehurst’s regular collaborator Isabelle Bricknall was the model for this work. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1427, 'Mary Plain Goes to America: Part 2 - The Most Popular Person on Board'. It aired on 14 November 1972.
FOR A VIETNAM TEN TIMES MORE BEAUTIFUL, 1980
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. President Hồ Chí Minh promised that a country “ten times more beautiful” would be rebuilt after the destruction caused by the war between North Vietnam and South Vietnam, allied with the U.S.A. (known as the ‘Vietnam War’ and ‘War Against the Americans to Save the Nation’).. This posthumous portrait of the leader pictures Vietnamese citizens in the socialist realist style used in propaganda posters from the Soviet Union and People’s Republic of China.
Content warning: weaponry
Jo Brocklehurst, Untitled (portrait of Eve Ferret), 1978
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This portrait of performer Eve Ferret was made around the time Ferret was performing cabaret at London’s Blitz Club with James ‘Biddie’ Biddlecombe.
Untitled illustration for Jackanory (Just So Stories: The Cat who Walked by Himself), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1452, 'Just So Stories - The Cat that Walked by Himself'. It aired on 3 January 1973.
![Snezhnaia kniga [The Snow Book]](https://cdn.sanity.io/images/n83t80i6/production/ac7aa5362234ac30d32360d4ee86c8ab5be0d685-2000x2732.jpg?auto=format&fit=max&q=75&w=2000)
Nikolai Tyrsa, Snezhnaia kniga [The Snow Book], 1926
Nikolai Tyrsa (1887-1942) was an illustrator and designer. This book follows a hare evading a fox, only to be caught by an owl. It was published in Leningrad (Saint Petersburg), Russia at a time when children’s books became a mass media phenomenon. Over a ten-year period, almost 10,000 titles were published in several editions of up to 200,000. Many of these books took experimental approaches to storytelling, design and layout.
Cover jacket for "The Patchwork Pack", 1968
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1960s, Ede began working on children’s books. The Patchwork Pack (1968) by Freda Collins is about a group of ‘Brownies’ – the name given to members of the worldwide girl-guiding movement.
Untitled illustration for Jackanory (Just So Stories: The Elephant's Child), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1450, 'Just So Stories - The Elephant's Child'. It aired on 1 January 1973.
Jacqueline Ayer, Design Thai tunic, c. 1965
In the early 1960s, Jacqueline Ayer founded textile and garment company Design Thai, funded by IBEC (International Basic Economy Corporation) under Norman Rockefeller. The first printed fabrics were inspired by ancient Thai designs from carvings, temples, porcelains, and printed cloths in the vaults of the National Museum Bangkok. Design Thai opened a shop in Bangkok in 1962, and expanded to offer a line of ready-to-wear clothing. In the years that followed, Design Thai went from strength to strength, opening branches in New York and Hong Kong.
Jo Brocklehurst, Untitled (Red Queen from Brocklehurst Through the Looking-Glass), 2002
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Brocklehurst’s regular collaborator Isabelle Bricknall was the model for this work. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Jo Brocklehurst, Untitled (portrait of Josephine Leask), 2000
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 2000, Brocklehurst created a series of drawings in sessions with dancer Josephine Leask. Leask’s 1999 article Welcome to the Club, published in ballettanz magazine, described the ways that nightclubs were acting as alternative theatres for cutting-edge contemporary dance. These drawings were shown as part of Leask’s lecture-performance on the same theme at the 2000 Salzburg Festival.
DAY OF SOLIDARITY WITH THE PEOPLE OF LAOS (OCTOBER 12), 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This design encouraged solidarity with Laotian people on the same date as the founding of the nationalist movement Lao Issara (‘Free Laos’) on 12 October 1945.
Content warning: weaponry and religious iconography
Jo Brocklehurst, Untitled (Red Queen from Brocklehurst Through the Looking-Glass), 2002
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Brocklehurst’s regular collaborator Isabelle Bricknall was the model for this work. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Day of Solidarity with the People of GUATEMALA, 1977
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. For this poster, Alberto Blanco González used a photograph of Luis Augusto Turcios Lima taken at the 1966 Tricontinental conference. The 24-year-old was killed in a car accident later that year, but was remembered as a leader of the guerrilla group, the Rebel Armed Forces during the Guatemalan Civil War. Rather than creating formal portraits, many of OSPAAAL’s designers took inspiration from pop art and commercial advertising in their representations of political figures.
Untitled, 1971
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. Olivio Martínez Viera’s design represents the U.S.A. as a monstrous organism extracting resources from Africa for financial gain.
Jo Brocklehurst, Untitled (known as Three Graces), 1988
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In the 1990s Brocklehurst returned to Central Saint Martins as a visiting tutor. She led life drawing classes for fashion and textile students, often employing flamboyant performers as models. Brocklehurst encouraged bold use of scale and colour, as demonstrated by this portrait of a drag performer.
Jo Brocklehurst, Untitled (portrait of Josephine Leask), 2000
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 2000, Brocklehurst created a series of drawings in sessions with dancer Josephine Leask. Leask’s 1999 article Welcome to the Club, published in ballettanz magazine, described the ways that nightclubs were acting as alternative theatres for cutting-edge contemporary dance. These drawings were shown as part of Leask’s lecture-performance on the same theme at the 2000 Salzburg Festival.
Village and Town, 1942
The Puffin Picture Books series was established by designer and editor Noel Carrington (1895-1989). In 1933, artist Pearl Binder (1904-1990) sent Carrington a package of Soviet children’s books. “They were produced by the million on very cheap paper, but the drawings were vigorous and the colour delightful” he later remembered. These books inspired Carrington to edit a series of affordable books that would encourage “the child’s awakening interest in its surroundings... I felt that colour was essential, and that artists could... be more successful in books of this nature than the camera”. Many artists and illustrators worked on the series, adapting their ways of working to lithographic printing and the Puffin Picture Book format. Most of the 120 books in the series were printed on one large sheet of paper: one side in colour and one in black-and-white. Each sheet was cut, folded and stapled to create a softcover book.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1428, 'Mary Plain Goes to America: Part 3 - Mary the Hero'. It aired on 15 November 1972.
Jacqueline Ayer, Untitled (Handmade book for Margot), 1960
Jacqueline Ayer (1930–2012) had a career that spanned many creative fields. She began as a fashion illustrator, and later turned her hand to children’s books, textiles and garments, as she worked in New York, Paris, London, Bangkok, Hong Kong and across India. Jacqueline Ayer could not find children's books for her daughters when she first moved to Bangkok, Thailand, and so she made this nursery rhyme book out of magazines.
SOLIDARITY WITH THE AFRICAN AMERICAN PEOPLE - AUGUST 18, 1968, 1968
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. They were also connected to the Black Panther Party, a political organisation based in Oakland, California. Designer Emory Douglas was “glad to see” his illustrations for the Black Panther Party’s newspaper repurposed by OSPAAAL. Douglas’ image reflects the party’s line on carrying arms: “we believe we can end police brutality... by organising black self-defence groups that are dedicated to defending our black community from racist police oppression and brutality.”
Content warning: weaponry
Jo Brocklehurst, Girl, 1976
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Jo Brocklehurst, Untitled, 1979
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Jo Brocklehurst, Untitled, Date unknown
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Jo Brocklehurst, Untitled (from Brocklehurst Through the Looking-Glass), 2002
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Brocklehurst’s regular collaborator Isabelle Bricknall was the model for this work. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Collette's "Gigi and the Cat", 1958
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
FOR THE PEACEFUL AND INDEPENDENT REUNIFICATION OF KOREA, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This poster advocates for the reunification of the Republic of Korea (known as South Korea), represented by the child on the left, and the Democratic People’s Republic of Korea (known as North Korea) represented by the child on the right. During the 1960s, the governments of Cuba and the Democratic People’s Republic of Korea formed close ties based on a shared opposition to the U.S.A. OSPAAAL’s designers regularly used adapted photographs from the organisation’s news desk. Photographs were sometimes used out of context, with the same photographs appearing in posters and magazine illustrations to represent different themes. The identity of the children in this photograph is not known.
Jo Brocklehurst, Untitled, 1986
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. Brocklehurst began working in New York following an exhibition of her work there in 1983. She took paper and materials to the gay nightclubs of the Meatpacking District, drawing clubgoers like this one. Brocklehurst used neon inks that she could see under the ultraviolet lights.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1428, 'Mary Plain Goes to America: Part 3 - Mary the Hero'. It aired on 15 November 1972.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1426, 'Mary Plain Goes to America: Part 1 - An invitation'. It aired on 13 November 1972.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1428, 'Mary Plain Goes to America: Part 3 - Mary the Hero'. It aired on 15 November 1972.
NELSON MANDELA - symbol of the anti-apartheid struggle, 1989
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This poster was issued to show support for anti-apartheid activist Nelson Mandela while he was imprisoned in South Africa. Through his prison window is the flag of the African National Congress; its three colours represent the people, land and resources of South Africa.
Jo Brocklehurst, Untitled (portrait of Josephine Leask), 2000
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 2000, Brocklehurst created a series of drawings in sessions with dancer Josephine Leask. Leask’s 1999 article Welcome to the Club, published in ballettanz magazine, described the ways that nightclubs were acting as alternative theatres for cutting-edge contemporary dance. These drawings were shown as part of Leask’s lecture-performance on the same theme at the 2000 Salzburg Festival.
Jo Brocklehurst, Untitled, 1984
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Content warning: nudity
Jo Brocklehurst, Untitled, 1980
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1428, 'Mary Plain Goes to America: Part 3 - Mary the Hero'. It aired on 15 November 1972.
GUINEA - Day of World Solidarity with the Struggle of the People of so-called Portuguese Guinea and Cape Verde (August 3), 1970
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. This poster was designed to mark a day of solidarity with liberation movements in Cape Verde and Guinea-Bissau seeking independence from Portuguese colonial rule, on the date of the Pidjiguiti massacre.
Content warning: weaponry
Jo Brocklehurst, Untitled, Unknown
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Jo Brocklehurst, Untitled (drawing of Die Eingeborene), 1999
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 1999, Brocklehurst was artist in residence at newspaper Berliner Zeitung during Berliner Theatertreffen, a festival of new German theatre. The paper wanted to revive the Weimar tradition of theatre reviews being accompanied by illustrations, rather than using photographs. Brocklehurst drew behind the scenes and from her seat during performances. This drawing is from a performance of Die Eingeborene.
Jacqueline Ayer, Untitled (Himalayan lama in procession), 1974
Jacqueline Ayer (1930–2012) had a career that spanned many creative fields. She began as a fashion illustrator, and later turned her hand to children’s books, textiles and garments, as she worked in New York, Paris, London, Bangkok, Hong Kong and across India. This drawing was used as one of the final illustrations printed in Ayer's publication Oriental* Costume (1974). *The term ‘oriental’ has colonial and racist origins. It was established during a period when European powers took political control of other countries and defined non-European cultures as ‘inferior’ to their own. ‘Oriental’ was commonly used in English-speaking countries until the late 20th century to group together people, culture and places in Northern Africa, East Asia and Southeast Asia, as well as objects thought to have originated in these areas. The term has been widely rejected today as it exoticizes and ‘others’ these diverse cultures. Ayer used the term here to collectively refer to modes of dress from Cambodia, China, Japan, Mongolia, Nepal, Thailand and Tibet.
Untitled illustration for Jackanory (Just So Stories: The Cat who Walked by Himself), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1452, 'Just So Stories - The Cat that Walked by Himself'. It aired on 3 January 1973.
Jacqueline Ayer, Untitled, c. 1959
Jacqueline Ayer (1930–2012) had a career that spanned many creative fields. She began as a fashion illustrator, and later turned her hand to children’s books, textiles and garments, as she worked in New York, Paris, London, Bangkok, Hong Kong and across India.
TRICONTINENTAL CONFERENCE - 3rd ANNIVERSARY, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. OSPAAAL was established after the Tricontinental conference held in Havana in 1966. Representatives from 82 governments and national liberation movements discussed their positions on politics, economics, development and culture. Fidel Castro summarised their unifying aim as “the struggle against colonialism, racism and imperialism.” This commemorative poster uses three characters to represent Africa, Asia and Latin America as united by a common purpose.
Content warning: weaponry
Jo Brocklehurst, Untitled (Duchess from Brocklehurst Through the Looking-Glass), 2002
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Untitled, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. Alfredo Rostgaard was OSPAAAL’s creative director from 1966 to 1976. His began his career as a caricaturist for socialist children’s comic Mella. Rostgaard’s vampire-like US Air Force soldier is being driven like a machine. His design was used by OSPAAAL to criticise US military action.
Content warning: weaponry
Jo Brocklehurst, Untitled, 1986
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. Brocklehurst began working in New York following an exhibition of her work there in 1983. She took paper and materials to the gay nightclubs of the Meatpacking District, drawing clubgoers like this one. Brocklehurst used neon inks that she could see under the ultraviolet lights.
Untitled illustration for Jackanory (Mary Plain Goes to America) , 1972
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. In the 1970s, she made illustrations for Jackanory, a BBC television programme. During each episode, an actor read a story, while specially-commissioned illustrations were shown on screen. For the televised version of Mary Plain Goes to America, Ede created paintings on large boards. These allowed the camera to pan across her image, showing a little at a time. BBC1 had only been in colour for three years, and so Ede used bold colours painted in gouache and reflective collaged foil to make the most of the new technology. This storyboard illustration was produced by Janina Ede for Jackanory episode #1428, 'Mary Plain Goes to America: Part 3 - Mary the Hero'. It aired on 15 November 1972.
DAY OF SOLIDARITY WITH THE JAPANESE PEOPLE (AUGUST 6), 1968
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. OSPAAAL marked the date of the atomic bombing of the city of Hiroshima by the U.S.A. as a day of solidarity with Japanese citizens. The design appears to incorporate a photograph of Raijin, a Japanese god of thunder, lightning and storms.
Jo Brocklehurst, Untitled (from Brocklehurst Through the Looking-Glass), 2002
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Brocklehurst’s regular collaborator Isabelle Bricknall was the model for this work. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.
Untitled, 1969
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL. Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. They also criticised the foreign policy of the U.S.A. Alfredo Rostgaard was OSPAAAL’s creative director from 1966 to 1976. His folded poster of US president Richard Nixon unfolds to gradually transform him into a demonic figure.
Jacqueline Ayer, Nu Dang and His Kite, 1959
After moving to Bangkok in 1956, Jacqueline learnt Thai as she was punted around the canals (‘klongs’) of the city by her gardener in a canoe. She would take piles of typewriter paper with her to sketch local people at work. Whilst visiting New York she showed these to Margaret McElderry, a children’s book editor at Harcourt Brace, and the response was positive. She was advised to write a story from what she saw around her in Thailand, and the result was her first children’s book, Nu Dang and His Kite. Ayer wrote and illustrated five of her own books, four of which gave insight into 1960s Thailand to US and UK audiences, while the fifth was set in Hong Kong.
Jacqueline Ayer, Untitled, c. 1965
In the early 1960s, Jacqueline Ayer founded textile and garment company Design Thai, funded by IBEC (International Basic Economy Corporation) under Norman Rockefeller. The first printed fabrics were inspired by ancient Thai designs from carvings, temples, porcelains, and printed cloths in the vaults of the National Museum Bangkok. Design Thai opened a shop in Bangkok in 1962, and expanded to offer a line of ready-to-wear clothing. Design Thai's collection of garments showcased Ayer's own pattern designs within the textiles used. This drawing demonstrates her approach to forming a motif towards print production.
Jo Brocklehurst, Untitled, 1981
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Orlando’s Evening Out, 1944
The Puffin Picture Books series was established by designer and editor Noel Carrington (1895-1989). In 1933, artist Pearl Binder (1904-1990) sent Carrington a package of Soviet children’s books. “They were produced by the million on very cheap paper, but the drawings were vigorous and the colour delightful” he later remembered. These books inspired Carrington to edit a series of affordable books that would encourage “the child’s awakening interest in its surroundings... I felt that colour was essential, and that artists could... be more successful in books of this nature than the camera”. Many artists and illustrators worked on the series, adapting their ways of working to lithographic printing and the Puffin Picture Book format. Most of the 120 books in the series were printed on one large sheet of paper: one side in colour and one in black-and-white. Each sheet was cut, folded and stapled to create a softcover book.
Jo Brocklehurst, Broken Dolls, Date unknown
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes.
Jo Brocklehurst, Untitled (portrait of Josephine Leask), 2000
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In 2000, Brocklehurst created a series of drawings in sessions with dancer Josephine Leask. Leask’s 1999 article Welcome to the Club, published in ballettanz magazine, described the ways that nightclubs were acting as alternative theatres for cutting-edge contemporary dance. These drawings were shown as part of Leask’s lecture-performance on the same theme at the 2000 Salzburg Festival.
Jo Brocklehurst, Untitled (portrait of Fia Bergsren), 1995
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. In the 1990s, Brocklehurst began drawing the fashion designers and performers finding space for experimentation in the fetish clubs of Soho and King’s Cross.
Untitled illustration for Jackanory (Just So Stories: The Beginning of the Armadillo), 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1451, 'Just So Stories - The Beginning of the Armadillos'. It aired on 2 January 1973.
A Book of Swimming, 1945
The Puffin Picture Books series was established by designer and editor Noel Carrington (1895-1989). In 1933, artist Pearl Binder (1904-1990) sent Carrington a package of Soviet children’s books. “They were produced by the million on very cheap paper, but the drawings were vigorous and the colour delightful” he later remembered. These books inspired Carrington to edit a series of affordable books that would encourage “the child’s awakening interest in its surroundings... I felt that colour was essential, and that artists could... be more successful in books of this nature than the camera”. Many artists and illustrators worked on the series, adapting their ways of working to lithographic printing and the Puffin Picture Book format. Most of the 120 books in the series were printed on one large sheet of paper: one side in colour and one in black-and-white. Each sheet was cut, folded and stapled to create a softcover book.
Jo Brocklehurst, Cook (from Brocklehurst Through the Looking-Glass), 2003
Jo (Josephine) Brocklehurst (1935 - 2006) studied at Central Saint Martins and began her career as a fashion illustrator. She later focused on portraiture, drawing directly from models at her studio in West Hampstead and in nightclubs and theatres in Berlin, London and New York. Her work documents the alternative subcultures of the 1970s, 80s and 90s that went on to shape mainstream fashion and performance scenes. This work is from Brocklehurst Through the Looking-Glass, Brocklehurst’s final series. With an image of herself as a child as the centrepiece, Brocklehurst made hundreds of drawings that re-imagined characters from Lewis Carroll’s Alice novels. Her models were friends and dedicated club-goers who designed and made their own clothes. Works from the series were framed with bright plastic gemstones and hung on every available space at Brocklehurst’s home studio. She used metallic and neon inks that transformed under ultraviolet lights that she switched on for her guests in the evenings.