Description: DATE OF ** ORIGINAL ** INSERT PHOTO / COVER / PRINT: 1927CITY / TOWN-STATE: ARTIST: William Heath Robinson (31 May 1872 – 13 September 1944) was an English cartoonist, illustrator and artist, best known for drawings of whimsically elaborate machines to achieve simple objectives.[1] In the UK, the term "Heath Robinson contraption" gained dictionary recognition around 1912.[2] It became part of popular language during the 1914–1918 First World War as a description of any unnecessarily complex and implausible contrivance. Other cartoonists drew on similar themes; by 1928 the American Rube Goldberg was known for "Rube Goldberg machines" in the United States. A "Heath Robinson contraption" is perhaps most commonly used in relation to temporary fixes using ingenuity and whatever is to hand, often string and tape, or unlikely cannibalisations. Its continuing popularity was undoubtedly linked to Britain's shortages and the need to "make do and mend" during the Second World War. Early life[edit] William Heath Robinson was born in Hornsey Rise, London, on 31 May 1872[3] into a family of artists in Stroud Green, Finsbury Park, North London. His father Thomas Robinson (1838–1902) and brothers Thomas Heath Robinson (1869–1954) and Charles Robinson (1870–1937) all worked as illustrators. Career[edit] His early career involved illustrating books – among others: Hans Christian Andersen's Danish Fairy Tales and Legends (1897), The Arabian Nights (1899), Tales from Shakespeare (1902), Gargantua and Pantagruel (1904),[4] Twelfth Night (1908), Andersen's Fairy Tales (1913), A Midsummer Night's Dream (1914), Charles Kingsley's The Water-Babies (1915) and Walter de la Mare's Peacock Pie (1916). Robinson was one of the leading illustrators selected by Percy Bradshaw for inclusion in his The Art of the Illustrator (1917-1918) which presented a separate portfolio for each of twenty illustrators.[note 1] Robinson also served as a consultant at the Percy Bradshaw's The Press Art School, a school teaching painting, drawing, and illustration by correspondence. The consultants commented on the work submitted by the students.[7]:?32? In the course of his work, Robinson also wrote and illustrated three children's books, The Adventures of Uncle Lubin (1902), Bill the Minder (1912) and Peter Quip in Search of a Friend (1922). Uncle Lubin is regarded as the start of his career in the depiction of unlikely machines. During the First World War, he drew large numbers of cartoons, depicting ever-more-unlikely secret weapons being used by the combatants. He also depicted the American Expeditionary Force in France.[8] His work was also part of the painting event in the art competition at the 1932 Summer Olympics.[9] He also produced a steady stream of humorous drawings for magazines and advertisements. In 1934 he published a collection of his favourites as Absurdities, such as: "The Wart Chair. A simple apparatus for removing a wart from the top of the head" "Resuscitating stale railway scones for redistribution at the station buffets" "The multimovement tabby silencer", which automatically threw water at serenading cats Most of his cartoons have since been reprinted many times in multiple collections. In 1935 the Great Western Railway commissioned him to create a set of cartoons on the theme of the GWR itself, which they then published as Railway Ribaldry. The Foreword (by 'G.W.R') notes that the cartoonist was given a free hand to re-imagine the history of the line for the amusement of its customers. The result is a 96-page softback book with alternating full-page cartoons and smaller vignettes, all on pertinent subjects. The machines he drew were frequently powered by steam boilers or kettles, heated by candles or a spirit lamp and usually kept running by balding, bespectacled men in overalls. There would be complex pulley arrangements, threaded by lengths of knotted string. Robinson's cartoons were so popular that in Britain the term "Heath Robinson" is used to refer to an improbable, rickety machine barely kept going by incessant tinkering. (The corresponding term in the U.S. is Rube Goldberg, after the American cartoonist born just over a decade later, with an equal devotion to odd machinery. Similar "inventions" have been drawn by cartoonists in many countries, with the Danish Storm Petersen being on par with Robinson and Goldberg.) One of his most famous series of illustrations was that which accompanied the first Professor Branestawm book written by Norman Hunter. The stories told of the eponymous professor who was brilliant, eccentric and forgetful and provided a perfect backdrop for Robinson's drawings. In around 1928[10] Robinson was commissioned to design a range of nursery ware for W.R. Midwinter, a Staffordshire pottery firm. Scenes from sixteen nursery rhymes (some illustrated with more than one vignette) were printed on ware ranging from eggcups to biscuit barrels, each with a decorative border of characterful children's faces. Titled "Fairyland on China", the range was favourably reviewed in the trade press.[11] The last project Robinson worked on shortly before he died was illustrations for Lilian M. Clopet's short story collection Once Upon a Time, which was published in 1944.[12] One of the automatic analysis machines built for Bletchley Park during the Second World War to assist in the decryption of German message traffic was named "Heath Robinson" in his honour. It was a direct predecessor to the Colossus, the world's first programmable digital electronic computer. Personal life[edit] In 1903 he married Josephine Latey, the daughter of newspaper editor John Latey.[13] Heath Robinson moved to Pinner, Middlesex, in 1908. They had two children, Joan and Oliver. His house in Moss Lane is commemorated by a blue plaque.[14] In 1918 the Heath Robinsons moved to Cranleigh, Surrey where their daughter attended St Catherine's School, Bramley and their son attended Cranleigh School. Heath Robinson drew designs and illustrations for local institutions and schools. Heath Robinson was too old to enlist for WW1, but took on two German POWs to garden, post the Armistice. In 1929 the Heath Robinsons returned to London where his two children were now working.[15][16] Death and legacy[edit] He died in September 1944, during the Second World War, and is buried in East Finchley Cemetery. The Heath Robinson Museum opened in October 2016 to house a collection of nearly 1,000 original artworks owned by The William Heath Robinson Trust. The museum is in Memorial Park, Pinner, close to where the artist lived and worked. In popular culture[edit] The name "Heath Robinson" became part of common parlance in the UK for complex inventions that achieved absurdly simple results following its use as services slang during the 1914–1918 First World War.[17] In the Wallace and Gromit films, Wallace often invents Heath Robinson-like machines, with some inventions being direct references.[18] During the Falklands War (1982), British Harrier aircraft lacked their conventional "chaff"-dispensing mechanism.[19] Therefore, Royal Navy engineers designed an impromptu delivery system of welding rods, split pins and string which allowed six packets of chaff to be stored in the speedbrake well and deployed in flight. Due to its improvised and ramshackle nature it was often referred to as the "Heath Robinson chaff modification".[20] William Heath Robinson (1872-1944)Heath Robinson is a household name, and a byword for a design or construction that is ‘ingeniously or ridiculously over-complicated’ (as defined by The New Oxford Dictionary of English, 1998, page 848). Yet, he was also a highly distinctive and versatile illustrator, whose work could touch at one extreme the romantic watercolours of a Dulac or Rackham, at another the sinister grotesqueries of a Peake, and at yet another the eccentricities of an Emett.William Heath Robinson was born in Islington, North London, on 31 May 1872, the third of seven children of Thomas Robinson, chief staff artist of the Penny Illustrated Paper, and his wife, Eliza (ne´e Heath), the daughter of an innkeeper. In the hope of becoming a landscape painter, he studied at Islington School of Art and the Royal Academy Schools, but soon followed his brothers, Charles and Tom, into the more secure profession of illustration. He contributed to periodicals from 1896 and, in the following year, began to illustrate books. In 1903, he married Josephine Latey, the daughter of John Latey, the art and literary editor of the Penny Illustrated Paper, who had died the year before. Settling initially in the Holloway Road, they would have four sons and one daughter.Robinson established his position in 1902, marking his individuality with illustrations to his own book, The Adventures of Uncle Lubin, and ensuring his financial stability by making his first drawings for advertising. In this first phase, he worked almost exclusively in black and white, fully demonstrating his mastery of monochrome in The Works of Francis Rabelais. This appeared in 1904, just as Grant Richards, his main patron and the book’s publisher, became bankrupt. However, he was able to work with other publishers, developing his use of colour in order to produce true gift books; these began with Twelfth Night (Hodder, 1908), and included his own story, Bill the Minder (Constable, 1912), and A Midsummer Night’s Dream (Constable, 1914). He and his family lived in Pinner, Middlessex, for the decade from 1908 to 1918, then in Cranleigh, Surrey, before returning to North London in 1929.Though Robinson competed with others in the field of the gift book, he remained the unparalleled practitioner of the comic image. He produced an increasing number of humorous drawings for magazines and, from the First World War, was acknowledged the most original illustrator of his time. To the general public, as represented by the popular press, he was known as the ‘Gadget King’, that is as the inventor of perversely logical contraptions that gently mocked the products of the industrial age and so endeared society to its own rapid rate of change. He exploited this persona, by appearing on radio and television, designing a house for the Daily Mail Ideal Home Exhibition (1934), and parodying the self-help manual in a series of books which began with How to Live in a Flat (written with K R G Browne, 1936). His major set of literary illustrations in this later period further blurred the distinction between fiction and reality: Norman Hunter’s The Incredible Adventures of Professor Branestawm (1933) concerned an amiable, eccentric inventor. The events of the Second World War, as experienced on both sides of the English Channel, enabled him to sustain his powers of invention even into his final work.He died in Highgate, North London, on 13 September 1944. THEME: EXTRA INFO (TEXT & IMAGE): BLACK AND WHITE INSERT PHOTOGRAPHY CAN EVOKE MANY MOODS / EMOTIONS.... WHEN FRAMED FOR DECOR USE. THESE INSERT PHOTO'S COME FROM VINTAGE PERIODICALS AND MOST OFTEN ARE THE *ONLY* GIVEN SOURCE OF THAT PHOTO. HAVING NEVER BEEN AVAILABLE FOR PURCHASE IN OTHER FORMATS THESE INSERT PHOTO'S ARE UNIQUE IN THIS FORM. THEY MAT AND FRAME UP WONDERFULLY WELL FOR THE WALL DECOR OF ANY HOME OR OFFICE. BLACK AND WHITE PHOTOGRAPHY HAS THAT DISTINCTIVE TOUCH OF ROMANTICISM AND NOSTALGIA THAT, THEREFORE, MAKES THEM BASICALLY TIMELESS IN STYLE. The European polecat (Mustela putorius), also known as the common polecat, black polecat, or forest polecat, is a species of mustelid native to western Eurasia and North Africa. It is of a generally dark brown colour, with a pale underbelly and a dark mask across the face. Occasionally, colour mutations including albinos, leucists, isabellinists, xanthochromists, amelanists and erythrists occur.[2] It has a shorter, more compact body than other Mustela species,[3] a more powerfully built skull and dentition,[4] is less agile,[5] and is well known for having the characteristic ability to secrete a particularly foul-smelling liquid to mark its territory. It is much less territorial than other mustelids, with animals of the same sex frequently sharing home ranges.[6] Like other mustelids, the European polecat is polygamous, with pregnancy occurring after mating, with no induced ovulation.[7] It usually gives birth in early summer to litters consisting of five to 10 kits, which become independent at the age of two to three months. The European polecat feeds on small rodents, birds, amphibians and reptiles.[8] It occasionally cripples its prey by piercing its brain with its teeth and stores it, still living, in its burrow for future consumption.[7][9] The European polecat originated in Western Europe during the Middle Pleistocene, with its closest living relatives being the steppe polecat, the black-footed ferret and the European mink. With the two former species, it can produce fertile offspring,[10] though hybrids between it and the latter species tend to be sterile, and are distinguished from their parent species by their larger size and more valuable pelts.[11] The European polecat is the sole ancestor of the ferret, which was domesticated more than 2,000 years ago for the purpose of hunting vermin.[12] The species has otherwise been historically viewed negatively by humans. In Britain especially, the polecat was persecuted by gamekeepers, and became synonymous with promiscuity in early English literature. During modern times, the polecat is still scantly represented in popular culture when compared to other rare British mammals, and misunderstandings of its behaviour still persist in some rural areas.[13] Since 2008, it has been classified as Least Concern on the IUCN Red List due to its wide range and large numbers.[1] Etymology and naming[edit] The word "polecat" first appeared after the Norman Conquest of England, written (in Middle English) as polcat. While the second syllable is largely self-explanatory, the origin of the first is unclear. It is possibly derived from the French poule, meaning "chicken", likely in reference to the species' fondness for poultry, or it may be a variant of the Old English ful, meaning "foul". In Middle English, the species was referred to as foumart, meaning "foul marten", in reference to its strong odour.[citation needed] In Old French, the polecat was called fissau, which was derived from the Low German and Scandinavian verb for "to make a disagreeable smell". This was later corrupted in English as fitchew or fitchet, which itself became the word "fitch", which is used for the polecat's pelt.[14] The word fitchet is the root word for the North American fisher, which was named by Dutch colonists in America who noted similarities between the two species.[15] In some countries such as New Zealand, the term "fitch" has taken on a wider use to refer to related creatures such as ferrets, especially when farmed for their fur.[16][17] A 2002 article in The Mammal Society's Mammal Review contested the European polecat's status as an animal indigenous to Britain on account of a scarce fossil record and linguistic evidence. Unlike most native British mammals, the polecat's Welsh name (ffwlbart, derived from the Middle English foulmart) is not of Celtic origin, much as the Welsh names of invasive species such as the European rabbit and fallow deer (cwningen, derived from the Middle English konyng and danas, derived from the Old French dain, respectively) are of Middle English or Old French origin. Polecats are not mentioned in Anglo-Saxon or Welsh literature prior to the Norman conquest of England in 1066, with the first recorded mention of the species in the Welsh language occurring in the 14th century's Llyfr Coch Hergest and in English in Chaucer’s The Pardoner’s Tale (1383). In contrast, attestations of the Welsh word for pine marten (bele), date back at least to the 10th century Welsh Laws and possibly much earlier in northern England.[18] William Heath Robinson (31 May 1872 - 13 September 1944) was an English cartoonist and illustrator best known for drawings of ridiculously complicated machines for achieving simple objectives.His brothers, Thomas Heath Robinson and Charles Robinson were also artists.In the U.K., the term "Heath Robinson" entered the language during the 1914–1918 First World War as a description of any unnecessarily complex and implausible contrivance, much as "Rube Goldberg machines" came to be used in the U.S. from the 1930s onwards as a term for similar efforts. "Heath Robinson contraption" is perhaps more often used in relation to temporary fixes using ingenuity and whatever is to hand, often string and tape, or unlikely cannibalisations. Its continuing popularity was undoubtedly linked to Second World War Britain's shortages and the need to "make do and mend".Though a highly versatile artist, William Heath Robinson (1872-1944) was dubbed the Gadget King in his own lifetime, and has remained synonymous with ridiculously complicated machines and inventions. This comprehensive catalogue, which accompanied a selling exhibition in 2011, explores this aspect of Heath Robinson's achievement with breadth and imagination by placing his ingenious cartoons in the context of his work as an illustrator, with which he even rivalled Arthur Rackham.RUBE GOLDBERG-LIKE INVENTION CARTOONS SCIENCE EXPERIMENTS ThESE CARTOONS ARE SOME OF THE COLLECTION of the comic fantasies of the great English artist William Heath Robinson (1872-1944) whose name passed into the English language during his lifetime. Most people know of and love his elementary mechanical world - ancient wooden cogwheels, intricate pulleys, fragile gantries, ingenious tunnels, magnets, and steam kettles kept on the boil by a lighted candle or two; the whole enterprise held together by knotted string and operated by serious workmen with a sprinkling of soberly top-hatted company directors in charge. Heath Robinson's world is now crystallized for all time, so long as machines remain machines and human beings need reminding that that is all they are.CONDITION: CLEAN, PERFECT FOR FRAMING AND DISPLAYING. ADVERT SIZE: SEE PHOTO - DIMENSIONS AT SIDES ARE SHOWN IN INCHES DESCRIPTION OF ITEM: A GREAT VINTAGE ORIGINAL B/W INSERT PHOTO. INSERT PHOTO'S ARE CAREFULLY REMOVED FROM VINTAGE PERIODICALS AND MAY BE TRIMMED IN PREPARATION FOR DISPLAYING. MARGINS ARE INCLUDED IN ADVERT SIZE.**NOTE** : PAGES MAY SHOW AGE WEAR AND IMPERFECTIONS TO MARGINS, WITH CLOSED NICKS AND CUTS, WHICH DO NOT AFFECT AD IMAGE OR TEXT WHEN MATTED AND FRAMED. THE ADVERT OR ARTICLE YOU RECEIVE WILL BE CRISP AND LEGIBLE, WE HAVE PURPOSEFULLY BLURRED THE IMAGE A LITTLE. At ADVERTISINGSHOP (DIVISION OF BRANCHWATER BOOKS) we look for rare & unusual ADVERTISING, COVERS + PRINTS of commercial graphics from throughout the world. ALL items we sell are ORIGINAL and 100% guaranteed --- (we code all our items to insure authenticity) ---- we stand behind this. As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend to you wonderful historic graphics of the past. PLEASE LOOK AT OUR PHOTO'S CLOSELY AS THEY ARE IMAGES OF THE PRODUCT BEING SOLD..... NOT STOCK PHOTO'S We ship via United States Postal Service. 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