News

Renaissance man comes out of the shadows

Published 22 March 2011
Event 22 July–29 August 2011

A treasure trove of historical artwork hidden in a cottage for 60 years is to go on public display for the first time.

This summer the University of Brighton is mounting a retrospective exhibition of the work of MacDonald (Max) Gill, younger brother of the sculptor and type designer Eric Gill.

Max Gill was best known for pictorial maps and in 1914, his "Wonderground" map of the London Underground system sold in its thousands and inspired a resurgence of pictorial and decorative map-making in Britain, the United States, Latin America and Australia.

In 1917 he joined the Imperial War Graves Commission committee responsible for designing headstones. He also designed the lettering and regimental badges for the war graves that can be found in churchyards and cemeteries across Britain and around the world. He created hundreds of other works, including a huge map of the North Atlantic which is still to be seen on the preserved liner Queen Mary in California.

Both Eric and Max initially chose to pursue careers in architecture and both branched out into lettering. However, their paths soon diverged – Eric into sculpture and engraving, and Max into decorative maps and graphics. Although Max was overtaken by Eric in fame (and notoriety), in his time he was hugely popular and his admirers and relatives today are hoping the exhibition will reignite interest in a man they describe as a "remarkable, influential and multi-talented artist, designer and architect".

Tea Revives the World – the International Tea Market Expansion Board

The catalyst for the exhibition was Max's great-niece, Caroline Walker, who is currently engaged in writing his biography. She said: "As a child I was fascinated by Max's wonderful maps with their strange and exotic creatures and quirky characters, and four years ago I decided to find out more about the man who'd made them."

The trail led her to Ditchling Museum, whose collections include works by Eric Gill and his mentor, Edward Johnston, the calligrapher and designer of the London Underground logo and typeface. It was Priscilla Johnston, Edward's youngest daughter, who became Max's second wife in 1946.

The Sussex cottage where the work was discovered was bought by Priscilla in 1939 as a retreat for her and Max. Her nephew Andrew, who inherited the cottage on her death in 1984, remembers that one room was always known as 'Max's studio' and had a fading copy of his Atlantic Charter map of 1942 pinned to the wall. Caroline was put in touch with Andrew and his wife Angela and was invited down to their cottage.

Caroline said: "I couldn't believe my eyes – the treasure trove of material I was shown was a researcher's dream come true. And it turned out to be the first of many visits, and each time there were discoveries of things which had not seen the light of day since Max's death. I was overwhelmed."

The maps and artwork had lain for more than half a century undisturbed – except by the occasional mouse – in chests, cupboards and drawers. The longer maps, carefully rolled and labelled, were tucked away in a space under the eaves. Because they have been protected from light, many of the poster maps are in mint condition, their colours as bright as the day they were printed. There were drawers full of letters and photographs too, and Priscilla's detailed diaries which have provided a valuable record of her life with Max.

Max Gill in the last years of his life with second wife Priscilla

Priscilla was Max's goddaughter, and 26 years his junior. She spent most of her childhood in Ditchling and by the time they met again in London in 1933, she had grown into a beautiful young woman. She was confident and talented, and the author of two successful novels. Soon she became his constant companion, sharing his interests and working alongside him. By 1939 Max had separated from his first wife and set up home with Priscilla, much to the outrage of most of the Gill family, particularly Eric. They were unable to marry until May 1946, but their happiness was to be shortlived – Max died less than a year later.

Shortly after Caroline's discovery, a conversation between Professor Bruce Brown, one of the University of Brighton's pro-vice-chancellors, and Andrew Johnston (a fellow trustee of Ditchling Museum) brought Max's artwork to the attention of the university, and the idea of an exhibition was born.

Professor Brown said: "It is quite an amazing story and I am delighted the university is hosting the exhibition and bringing Max Gill's exceptional work once more to the public's attention. The university has one of the best design archives in the world and it is a great honour for us to be showing the work of someone whose work is so exceptional. His skills have been recognised in recent years by map lovers and lettering enthusiasts, but he has been comparatively and, in my view, undeservedly, forgotten."

Anne Boddington, dean of the Faculty of Arts, said: "This is a landmark opportunity for the faculty. We hope not only to encourage his work to be enjoyed and reappraised during this summer's exhibition but also, through the symposium, to reignite research and scholarly investigations into the importance of Max Gill's work in a way that will continue long into the future."

A one-day symposium, drawing on a range of personal, professional and historical expertise in the field, will be held at the university to coincide with the opening of the exhibition to share, promote and encourage research relating to Max Gill and his work.

Dr Philippa Lyon, research fellow with the university's Faculty of Arts, is coordinating the Max Gill exhibition and symposium projects. She said: "This exhibition will be a rich and absorbing visual panorama that will provide a long-overdue opportunity to rediscover the work of one of the most talented graphic artists of the first half of the 20th century."

The university is seeking a sponsor for the exhibition which runs 22 July–29 August 2011. Find out more on the Faculty of Arts website.

Read about the 'Lost' guildhall tapestries found 30 years on on the BBC website.