Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 1' Figure 1. Industrial art celebrating artisanal craft. A sample advertisement for Maple & Co. from Alf Cooke s Album of Colour Printing (New Crown Point Printing Works, Leeds, c. 1897, half-page detail from page measuring 28 x 39.4 cm, chromolithographed by the firm from seventeen stipple-drawn stones). Yale Centre for British Art.
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 2' Figure 2. Hand-sewn sequins in Making Fashion (dir. Humphrey Jennings, an Adrian Klein production in collaboration with Norman Hartnell, 1938, UK, Dufaycolor) Figure 3. A worker loads cotton into machinery in Queen Cotton (dir. Cecil Musk, Merton Park Studios for the British Council, 1941, UK, Technicolor)
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 3' Figure 4. Arthur Hughes, April Love, 1855-1856, oil on canvas, (88.9 cm x 49.5 cm), Tate Britain.
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 4' Figure 5. Frederick Leighton, Flaming June, 1895, oil on canvas, (120 x 120cm), Museo de Arte de Ponce, Puerto Rico. Figure 6. Serpentine Dance Annabelle (dir. W. K. L. Dickson and William Heise, Edison Manufacturing Company, 1895, USA, Library of Congress Collection).
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 5' Figure 7. Owen Jones, The Grammar of Ornament (London: Day & Son, 1856) Byzantine No. 3. 54.5 x 36.5cm, lithographed by Francis Bedford and printed in ten colours.
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 6' Figure 8. (Detail from Figure 9, overleaf, rotated to fit page) The New Crown Point Printing Works, back page from Alf Cooke s Album of Colour Printing (New Crown Point Printing Works, Leeds, c. 1897, 28 x 39.4 cm, chromolithographed by the firm from twelve stipple-drawn stones). Yale Centre for British Art. Inscription at bottom reads: This view faithfully represents the interior of the New Crown Printing Works, covering an entire area of eight thousand square yards (8,000) of ground floor, added to which are four tiers of galleries, 800 yards in length. The largest, cleanest, healthiest and most completely fitted printing works in the world. Brilliantly illuminated by arc and incandescent electric lamps. 300 Chromo-Litho and other machines. 750 workpeople in full and continuous work.
Figure 9. Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 7'
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 8' Figure 10. Using the products of industrial production to mask the disagreeable views of industrial production. Advertisement for McCaw, Stevenson & Orr Ltd, Belfast, late nineteenth century, 25.3 x 15.8cm.
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 9' Figure 11. Byam Shaw The Romance of Commerce advertisement for Selfridges, backcover of Colour, volume 1. No. 1 August 1914, 25 x 31 cm. Inscription reads 1000 years B.C. the Phoenicians traded with the Ancient Britons. This House by always endeavouring to lead the way in the science of modern merchandising, typifies the latest chapter in the history of commerce.
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 10 Figure 12. Etheldreda Janet Laing, Two Girls in a Garden, 1908, autochrome, 12 x 16.5 cm, National Media Museum Bradford.
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 11 Figure 13. A Colour Box, (dir. Len Lye, GPO Film Unit, 1935, Dufaycolor)
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 12 Figure 14. One of the scenes the BBFC rejected when viewed in color but not in black and white. The Curse of Frankenstein (dir. Terence Fisher, Hammer, 1957, UK Eastmancolour [sic] by Humphries Laboratories Ltd.,)
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 13 Figure 15. David Hockney, Peter Getting out of Nick s Swimming Pool, 1967, acrylic on canvas, (152 cm x 152 cm), Walker Art Gallery, Liverpool.
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 14 Figure 16. Martin Sharp s cover for Oz, no. 3 May 67, dimensions unknown.
Kirsty'Sinclair'Dootson' 'Industrial'Color' 'Figures'''p.' 15 Figure 17. Richard Hamilton, Hers is a Lush Situation, 1958, oil, cellulose, metal foil and collage on panel (81 x 122 cm), Pallant House Gallery, Chichester. Figure 18. Whoever heard of a man driving a painting? Still from British Pathé newsreel, Art on Wheels (1966) showing BEV s bespoke enamel car designs.