Roadboys Travels: Roadboy's Visit / The V&A

Arts & Theater Plus Sublime Industrial Photos

As many of my past posts confirm, the venerable Victoria and Albert Museum is one of my favorite haunts whenever I visit London. My last visit was in 2017.

On this trip I found many exhibits fully refreshed, and happily, many of my favorites remain wonderfully intact.

This free 170 year old museum is huge, like 12.5 acres huge. It is the largest museum in the world devoted to applied arts, decorative arts, and design. Yet despite its size, it has a remarkably curated and ever changing array of fascinating temporary exhibits.

Currently it has an exhibit showcasing the art of men's fashion (Fashioning Masculinities), the art of Beatrix Potter and a photographic exhibition of the stunning industrial photography of Maurice Broomfield.

So here are just a few snaps of things I found interesting in my all too brief visit. PS: I'm returning in September and plan additional time to explore this wonderful museum.

First up the Industrial Photographs of Maurice Broomfield

The entrance features walls of vintage cameras. Seeing them it occurred to me that many (most?) visitors to the exhibit have no clue as to the elaborate technical skill that was needed to capture pre-digital photographs. Photographer's had to measure light, consider the specific characteristics and properties of the film products available, decide on flash units, and then carefully measure chemicals and timing to correctly develop the photos.

The Broomfield photos, many captured in low light or at night, demonstrate a tour de force of photographic expertise. They also immortalize the heroic skills of post WWII industrial workers in Great Britain. At the time these photo's were captured England was a country capable of building incredibly high quality ships, airplanes, automobiles, appliances and textiles.

Whether shoes or televisions, in the 1950's and 1960's, what you bought in England was probably made in England.

Sadly these photos essentially immortalize the demise of UK industrial capacity.

Much of the text to the exhibit includes recollections of family members as to the joy Mr. Broomfield found in his craft (which is clearly reflected in the images he captured). These images are so wonderful I've purposely loaded them extra large.

Bessemer Platform

Corby, Northhamptonshire 1957

The Bessemer Convertor was the breakthrough process that allowed for the economical mass manufacture of quality steel. It was widely used from the mod 1800's until about 1968.

The Fettler

Ford Motor Comapny Ltd. Dagenham, Essex 1953

The fettler smoothed rough edges for crankshafts going into car engines. Fettler's were paid by the piece and Broomfield commented this fettler did not appear happy about the photographic distraction.

Taper Roller Bearing

British Timken Works, Daventry, Horthhamptonshire 1957

This is my favorite image in the exhibit. The photo notes say that Broomfield sometimes asked workers to return at night in order to better control lighting. He'd bring electricians to set up specialized lighting and then underexpose his image. This image showcases his extraordinary skill.

Tapping a Furnace

Ford, Degenham, Essex 1954

Image notes state that broomfield was awed by the skill of the workers he photographed. In this case a single figure in silhouette controls the river of molten metal used for making steel. Tapping was a process for removing impurities from the steel.

Wire Manufacture

Somerset Wire Company, Pengam Moors, Cardiff, Wales 1964

Then came the Theater Arts Exhibits

With limited time this year I made a beeline to the theater arts exhibits. Here props, set models, and costumes are constantly exhibited in rotations. Last time my favorite was Dame Edna's Food Dress. This time I marveled at the tuxedo and dress worn by Fred Astaire and Ginger Rogers.

Astaire's Tux From Shall We Dance

Anderson and Sheppard, Saville Row 1937

Ginger Rogers Costume From Lady in the Dark

Edith Head / Mitchell Leisen 1944

Astaire preferred Anderson and Sheppard as his tailors and always tested the seams in his suits for strength. The notes said his preference was dark blue as it photographed better in black and white.

Ms. Roger's mink overskirt dress was designed by the amazing Edith Head. And, at $35,000 in 1944 ($697,000 adjusted to 2022 dollars), it was the most expensive costume in Hollywood history. They created two versions; one for singing and close ups, plus a lighter version for dance.

Pure Fluid Elegance

Harlequin

Albert Gilbert

I was drawn immediately to this graceful figurine. It is said to be the logo for The Production Club (not sure about that club) in 1942. In reading the text accompanying it I realized that it was created by the same artist of the exquisite Eros Sculpture in Piccadilly Circus.

On my way to the Industrial Design Exhibit I ran through the jewelry vault. Talk about a dazzling collection of gems and precious metals.

The Vault

Jewelry and Gems

As the museum began to announce its upcoming closure I literally ran through the industrial arts exhibit where this magnificent molded plywood chair was prominently displayed.

Plywood Chair

Greta Jalk, Copenhagen, 1963

With the encouragement of the nearby docent I made my way to exit the museum stopping at this photo of three young Mariupol police officers. Taken 2 years ago, they stand in front of Mariupol's, now infamous, steel works in their now largely destroyed city.

Words fail me.