EXTRACTS: illustrators issue 3 © 2013 The Book Palace (96 PAGES in Full edition)

36 the arrival of the tank, all a far off cry from the earlier artworks depicting mounted cavalry galloping through still relatively unsullied landscapes. It was Matania’s ability to build upon his researches with imagery kindled in his rich and fertile imagination which, when wedded to his awe-inspiring draughtsmanship, allowed him to create whatever he could envisage. By the time the armistice had been declared, his reputation as a peerless illustrator of events beyond the purview of a camera lens was beyond challenge. He was simply the best. While Europe settled into its uneasy peace, Matania’s work continued, andmatching the post war desire to live for themoment, hewas called upon to work on a series of advertisements for English coastal holiday resorts. He was by this stage working with the UK illustration agents Rogers andCo (see A BrushWith Fitzrovia – The Elegant Art of DavidWright , illustrators issue 2). The ability of the Rogers team to market what the agency regarded as their prize asset (and according to legend, Matania was their most important asset) was matched by the artist’s abilities to turn even the most prosaic of briefs into a work of beauty. So a series of railway posters extolling the delights of Southport was added to his continuing coverage of newsworthy events, and glimpses of the upper echelons of society at play. However, there were only so many illustrations of bobbed and shingled dowagers and their dinner-jacketed escorts that could be served up before a certain degree of ennui descended. It was time for something a little more exotic and, as if in answer to a prayer, in the early spring of 1929 a new avenue for Fortunino Matania to indulge his love of antiquity was opened up with the debut of Brittania and Eve . The new weekly, with its remit to inform and entertain the modern woman about fashion and home making, had a positive and upbeat style and an impressive roster of TOP: A view of Blackpool from one of Matania’s original oils for the London Scottish and Midland railway. ABOVE: A painting from a booklet promoting the Blackpool Tower. Such was the popularity of the booklet that it remained in print for many years. FACING PAGE: Two of Matania’s posters extolling the virtues of Southport which were among a total of six paintings he completed for Southport Corporation and the London Midland and Scottish Railway in 1936. Courtesy of the National Railway Museum / Science & Society Picture Library Courtesy of the National Railway Museum / Science & Society Picture Library