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This article was written on 23 Jul 2014, and is filled under Leisure Sinks History, Rangemaster History.

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Hanslip Fletcher for Flavel

Going through a Flavel brochure from our AGA Rangemaster Group archive I came across some intriguing ‘photographic’ style illustrations by Hanslip Fletcher (1874-1955). He was one of the most renowned commercial artists of his time and worked on various business accounts. In the ‘Journal of the Royal Society of Arts‘, Sept 1945, we read:

Few readers of this Journal will, I fancy, open this page without recognising with pleasure the work of one of the most distinguished graphic artists of our time, whose London drawings – the treasury of half a century – distill so exquisitely the spirit of London’s haunts.
On Varnishing Day this year two veteran artists, whose sketches have graced Burlington House summer after summer, might have been observed in conversation; and Art critics would probably agree that to these two legendary figures,, Sir Muirhead Bone and Mr.Hanslip Fletcher, the prestige of topographical art in this country is chiefly due.
Hanslip Fletcher was born 71 years ago -  in Islington… It was at Charterhouse in 1888 that he made his first London drawing, of the fine staircase there. He studied in Paris – where, years later, he was to travel with Frank Rutter and illustrate that charming neglected book ‘The Path to Paris’- and at the Slade School. In the closing years of the century he began to draw for the ‘Pall Mall Magazine’, where his drawings excited the interest of Frank Harris, who characteristically summoned the artist to his hotel, threw out a few vague promises, gave him 200 francs to make some sketches in Normandy – and then disappeared never to be seen by the young aspirant again.
Some of these youthful productions for the ‘Pall Mall Magazine’, executed in line and wash, for a young man in his early twenties, are extraordinary promising and clearly indicate his later amnner. And indeed, as one follows his development from the Seine Valley illustrations(1908), the Oxford and Cambridge studies a year later, and through innumerable drawings scattered throughout the files of the old ‘Graphic’ and ‘Sphere’ to the magnificent sets of studies of Rome, Paris and Edinburgh that belong to the twenties, one becomes increasingly aware of the sureness of line, the delicacy of detail, the characteristic foreground flourishes, and the spaciousness of the whole design that distinguish Hanslip Fletcher’s drawings from all other work in the same genre.

Below you can see some of the images illustrating the Eagle Foundry:

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