Friday, 14 August 2026

Abram Games - part 1

Abram Games was one of the twentieth century’s great graphic designers. His work is now a fascinating record of social history. For over 60 years he produced some of Britain’s most memorable images including the ‘Blonde Bombshell’ ATS poster of 1941. 

 His clients included the United Nations, London Transport, British Airways, Shell, the Financial Times and Guinness. He designed stamps for Britain, Jersey and Israel, book jackets for Penguin books and emblems for the Festival of Britain and the Queen’s Award for Industry. His influence even reached the infant television service in 1953 when he created the first animated BBC on-screen ident.
 In the Second World War he was appointed 'Official War Poster Artist' and designed 100 posters. His Cona Coffee makers are design classics and his inventions include a portable hand-held duplicating machine and a hand held copying device.

All images © Estate of Abram Games


This is part 1 of a 3-part post on the works of Abram Games:


Abram's working life began in the east end of London. He initially started working in his father's photographic studio. Here, he honed his skills with the aerograph, a tool that would define his early work. Aged 16, he enrolled at St Martin's School of Art but left disillusioned after only two terms. However, he continued to study life drawing at evening classes.

 He had a four-year stint in a commercial art studio but was sacked for being too rebellious. His first freelance commission came from Frank Pick at London Transport. By the time he was called up for army service in 1940, 24 of his posters had been published.


1935 Air Mail

1935-36 Friary Ales And Stouts

1936 LCC Classes (London County Council)
47 x 30 cm

1936-37 Galleries Exhibitions Museums
 (unpublished)

1937 A Train Every 90 Seconds
London Transport 101.6 x 63.5 cm

1938 Invest
Co-operative Permanent Building Society

1939 Illustrated
 Twopence Every Wednesday

1939 Spanish Youthship Appeal
Poster for the National Joint Committee for Spanish Relief

1939-45 Night & Day
Brush The Cobwebs Away 74.7 x 49.2 cm

1939-45 I'm Looking For You
Fever Malaria

1940s Visit Israel - Land of the Bible 
75 x 49.8 cm

1941 Join the ATS
Auxiliary Territorial Service
 

1941 Join the Royal Guard Armoured Corps
76 x 50.3 cm

1941 Keep a Guard on What You Say
74.4 x 49.5 cm

1941 one of our fighters is missing..
If You Are OFF Work With An Accident

1941 radio location
Train with the Army or with the A.T.S.

1941-42 Blood Donors are needed urgently to save these lives
66.3 x 49 cm

1941-45 Use Spades Not Ships
Grow Your Own Food And Supply Your Own Cookhouse
74.5 x 49.1 cm

c1941-45c Blood Donors Now
30 Minutes Of Your Time A Lifetime To Somebody Else
74.5 x 48.7 cm

1942 Your Britain
Fight for it Now
51 x 75 cm

1942 A Postmark Betrayed This H.Q...
Use The Army Post Office

1942 A.T.S.
encouraging recruitment for the Auxilliary Territorial Service during the Second World War
 72.4 x 48.6 cm

1942 Grow Your Own Food
supply your own cookhouse
76 x 49.1 cm

1942 His Rifle Will Fire, Will Mine?
Care Of Arms Is Care Of Life

1942 Horse-Play With Weapons
May End Like This...

1942 Take a Pride in Being Fighting Fit

1942 Talk Kills
50.2 x 37.7 cm

1942 Talk Kills
50.2 x 37.7 cm

1942 Your Britain - Fight For It Now
52 x 74.8 cm

1942 Your Britain - Fight For It Now
50.5 x 74.5 cm

1942 Your Talk May Kill Your Comrades
74.7 x 48.2 cm

c1942 Our Jungle Fighters Want Socks
Please Knit Now 
76.2 x 50.8 cm

1943 ATS
(Auxiliary Territorial Service)
76.3 x 50.7 cm

1943 Blood Donors.
If He Should Fall Is Your Blood There To Save Him?
37.1 x 24.1 cm 

1943 education
new knowledge new worlds new pleasures

1943 He Talked. They Died.
World War II propaganda against careless talk

1943-44 Target for Tomorrow No.9
The Rehousing Of Britain


Wednesday, 12 August 2026

William Roberts - part 20

William Roberts
Photo by Neil Libbert 1970
© Neil Libbert / National Portrait Gallery, London

Roberts was a pioneer, among English artists, in his use of abstract images. In later years he described his approach as that of an "English Cubist". In the First World War he served as a gunner on the Western Front, and in 1918 became an official war artist. Roberts's first one-man show was at the Chenil Gallery in London in 1923, and a number of his paintings from the twenties were purchased by the Contemporary Art Society for provincial galleries in the UK. In the 1930s it could be argued that Roberts was artistically at the top of his game; but, although his work was exhibited regularly in London and, increasingly, internationally, he always struggled financially. This situation became worse during the Second World War – although Roberts did carry out some commissions as a war artist.

Roberts is probably best remembered for the large, complex and colourful compositions that he exhibited annually at the Royal Academy summer exhibition from the 1950s until his death. He had a major retrospective at the Tate Gallery in 1965, and was elected a full member of the Royal Academy in 1966. There has recently been a revival of interest in the work of this artist who always worked outside the mainstream.


Note: All images © reserved (Bona Vacantia)


This is part 20 of a 20-part series on the works of William Roberts:

1976 The Wrestling Match study
pencil, squared 15.2 x 20.3 cm

1976 The Wrestling Match
pencil and watercolour 30 x 40 cm

1976 Washing Day study
pencil and watercolour, squared 20 x 15 cm

1976 Washing Day
oil on canvas 61 x 51 cm

1977  The Zoo
oil on canvas 75 x 60 cm

1977 "Don’t 'e know Jarge, tha be no Resurrection" study
 pencil and watercolour on paper 22.2 x 15.9 cm
Tate Gallery, London

1977 "Don’t 'e know Jarge, tha be no Resurrection"
 oil on canvas 61 x 50.5 cm

1977 Gypsies study
pencil and watercolour, squared 15.5 x 19 cm

1977 Gypsies
oil on canvas 63.5 x 76 cm

1977 The Grandmother study
pencil, squared 20.3 x 12 cm

1977 The Grandmother study
watercolour, squared 41 x 25 cm

1977 The Pipers study
pencil and watercolour, squared 18.5 x 15 cm

1977 The Pipers
oil on canvas 76.2 x 63.5 cm

1977 The Rape of the Sabine Women study
pencil, squared 15.2 x 19.7 cm

1977 The Rape of the Sabine Women study
pencil, watercolour and bodycolour, squared 29.5 x 37 cm
 

1977 The Swan study
pencil and watercolour, squared 19 x 15.3 cm

1977 The Swan
oil on canvas 75 x 60 cm

1978 Day Out on the River
oil on canvas 63 x 76 cm

1978 Discs study
 pencil and watercolour on paper 17.2 x 12.7 cm
Tate Gallery. London

1978 Discs
oil on canvas 50.8 x 40.6 cm

1978 Self Service study
pencil and watercolour, squared 19 x 15 cm

1978 Self Service
oil on canvas 55.9 x 45.7 cm

1978 Guarding the Masterpiece study
pencil and watercolour on paper 13.3 x 17.8 cm
Tate Gallery, London

1978 The Broken Branch
oil on canvas 63.5 x 76.2 cm

1978 The Swimmers
oil on canvas 55.9 x 40.6 cm

1978 The Truth and Nothing But the Truth
oil on canvas 50 x 40.5 cm

1978 Women Listening to a Recorder Player study
  pencil, squared 11.3 x 15.2 cm

1978 Women Listening to a Recorder Player study
pencil and watercolour, squared 35.0 x 46.6 cm

1979 Miming study
pencil and watercolour, squared 15 x 29 cm 15 cm x 20 cm

1979 Miming
oil on canvas 50.8 x 61.0 cm

1979 Speakers' Corner study
pencil and watercolour, squared 20.3 x 15.2 cm

1979 Speakers' Corner
oil on canvas 61 x 45.7 cm

1979 The Vengeance of Odysseus study
pencil and watercolour, squared 19 x 13.5 cm

1979 The Vengeance of Odysseus
oil on canvas 61 x 50.8 cm

1979 The Wrestlers study
pencil and watercolour, squared, 17 x 14 cm

1979 The Wrestlers
oil on canvas 75 x 60 cm