John montgomery 🇪🇺 💙🇪🇺

Illustrator… Currently illustrating the ‘Man /Woman About Town’ section of The Critic Magazine /

[John montgomery 🇪🇺 💙🇪🇺 @johnjmontgomery]

@TheCinesthetic One of the best shows I’ve watched…Loved it

[Ian Archie Beck @ianarchiebeck]

Snails For All by Edward Bawden. Published by No Pattern with an introduction by Alan Powers on the complex history of the eighty year snail trail to publication. Copies are available at 12.50 plus postage from [email protected] and from The Higgins, Bedford.

[@julieandersonwriter @jjulieanderson]

Brilliant!

[Eddie Gibbs @eddiegibbs]

https://t.co/WPDx8I6JBA

[Alastair Wright @Pott_Shrigley_]

The strange world of Meredith Frampton (1894-1984)
There's always some detail in red.

[Modernism in Metroland @mod_in_metro]

The Festival of Britain was officially opened 75 years ago. Intended as a tonic to the nation after the war years, the festival centred around the South Bank, with pavilions and structures such as the futuristic Skylon, which we have written about here https://t.co/VBW56uK3Cp

[20th Century Posters @C20thPosters]

Before Len Deighton (1929-1926) became a best-selling author of gritty spy novels (The IPCRESS File (1962), Funeral in Berlin (1964), SS-GB (1978) etc) he was a successful book illustrator and commercial artist. He also designed a poster, or more accurately a pair of posters, for London Transport, in 1957.

You can read about how this commission came about in our new blog: https://t.co/sqdCRAAEQd

Twentieth Century Posters
10th Anniversary Year
2016-2026

[oui cinéma @ouicinema]

Françoise Dorléac and Catherine Deneuve rehearsing for the film The Young Girls of Rochefort

[cinesthetic. @TheCinesthetic]

The incredible opening shot from Dead End (1937) blends miniature effects, forced perspective and clever editing — and nearly 90 years later, it still looks fantastic.

[Rémi Fauconnier @RemiFauconnier]

Scène mythique du cinéma, au son des notes mélancoliques d’Erik Satie, où 𝗠𝗮𝘂𝗿𝗶𝗰𝗲 𝗥𝗼𝗻𝗲𝘁 (🎂) à la terrasse du Café Flore, voit défiler toute l’insouciance du Paris des 60’s sous ses yeux d’homme en sursis.
Le Feu follet (Louis Malle, 1963).

[R. J. Crowther Jr. @RJCrowtherJr]

🦇💀 The master of macabre humor, Edward Gorey, on the set he designed for the 1977 Broadway revival of Dracula which turned his illustrations into 3D props and backdrops.

[John montgomery 🇪🇺 💙🇪🇺 @johnjmontgomery]

The Suit That Keeps Giving....
From a photograph I took in my apartment Camden Town London 1990

[John montgomery 🇪🇺 💙🇪🇺 @johnjmontgomery]

Lisa Hilton in Greece, London and Venice Woman About Town' The Critic magazine April issue @TheCriticMag

[Richard Morris @ahistoryinart]

In 1938, Evelyn Dunbar was commissioned by Country Life magazine to produce drawings (and later oils) for its Gardener’s Diary and made witty personifications of each month. The month of April sees a figure wearing a striped smock, holding a coldframe with a cuckoo in her hat.

[John montgomery 🇪🇺 💙🇪🇺 @johnjmontgomery]

@apple updated my phone suddenly I need to verify my age. I don’t have a credit card, and no driver's licence. Literally no other options for me to vitrify my age I’ve had an Apple ID and account with a debit card affiliated for 25 yrs But this is deemed insufficient…ridiculous

[John montgomery 🇪🇺 💙🇪🇺 @johnjmontgomery]

Sarah Ditum and her partner visit Paris
for a holiday of Cinema & Art
'Woman About Town' March issue @TheCriticMag @sarahditum

[Stephen Keeler @stephenkeeler]

ARTS WEEK
Day 3

The loveliest exhibition of delightful paintings by @ianarchiebeck at Mason’s Yard, Mayfair.
Great catalogue, too.
Got my eye on one in particular (top right).
Great gallery. WELL worth a visit.
⭐️⭐️⭐️⭐️⭐️

[John montgomery 🇪🇺 💙🇪🇺 @johnjmontgomery]

Four of my illustrations for ‘Woman About Town’ / February’s issue of The Critic magazine @TheCriticMag

[Richard Morris @ahistoryinart]

'Houses at Ironbridge,' was one of the final paintings Edward Bawden made on a trip to the town in 1956. He had been joined for around six weeks by John Aldridge, John Nash and Carel Weight. Each of them taking it in turns to paint a view of the bridge.