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Car and lorries, 1951. Creator: Shirley Markham
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Car and lorries, 1951. Creator: Shirley Markham
Car and lorries, 1951. Shirley Markham (1931-1999) studied Graphic Design and Illustration at Central School of Art in London from 1950-1952. The writer, artist, poet, and illustrator Mervyn Peake (1911-1968) was one of her tutors, and her style of drawing was also influenced by other British illustrators such as Edward Ardizzone, Quentin Blake and Edward Bawden. Markham spent time in the Dolomite Mountains in Italy, and also visited Rome, sketching classical buildings. After graduating from Central, she worked as a graphic designer, producing book illustrations, cartoons for comics, menus and programmes. She gave up her promising career however when she got married in 1957. Middle-class women at that time were expected to devote their energies to bringing up children and running the home, and despite her obvious talent, she lacked the confidence to return to illustration. Her portfolio remained in the family attic for many years, but now her work is published here for the first time
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Media ID 18265911
© Shirley Markham Collection / Heritage-Images
1950s Fifties Lorry Markham Retro Shirley Shirley Jane Shirley Jane Markham Shirley Markham Shirley Waite Truck Trucks Waite Wash
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This print titled "Car and lorries, 1951" captures a snapshot of mid-century transportation. Created by the talented Shirley Markham, this piece showcases her unique style influenced by renowned British illustrators such as Edward Ardizzone, Quentin Blake, and Edward Bawden. Markham's artistic journey began at the Central School of Art in London where she studied Graphic Design and Illustration from 1950 to 1952 under the guidance of Mervyn Peake. Her passion for drawing led her to explore classical architecture during her visits to Italy's Dolomite Mountains and Rome. After graduating, Markham embarked on a successful career as a graphic designer, lending her creative touch to book illustrations, comics' cartoons, menus, and programs. However, societal expectations prevailed during that era when middle-class women were encouraged to prioritize their roles as homemakers and mothers. Unfortunately, despite her undeniable talent, Markham chose to put aside her promising career after marrying in 1957. For years thereafter, Markham's remarkable portfolio remained hidden away in the family attic until now. This publication marks the first time these previously unseen works are being shared with the world—a testament to Markham's exceptional skill and an opportunity for art enthusiasts everywhere to appreciate her contributions.
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