Bateman's prolific career spanned both the Edwardian era and the Roaring 'Twenties, a fact reflected in the themes for the two evenings.
Tonight (Friday) is an Edwardian Evening with talks on Bateman's extraordinary cartoons by curator, Anita O'Brien, Bernard Crossley on the world of the Edwardian postcard and historian Lesley Hall on Edwardian Women.
The theme for tomorrow (Saturday) is Going Modern, Being British: Britain in the 'Twenties and 'Thirties with, in addition to Anita O'Brien on Bateman, motoring journalist, Martin Gurdon celebrating the advent of the motor car so beloved by a host of cartoonists and Yours-Truly (i.e. Me!) blowing the dust of some of vintage comics and children's annuals that emerged in the '20s and '30s.
Here's a few of the treats I'll have in store for visitors...
The Cartoon Museum
35 Little Russell Street
London WC1A 2HH.
Telephone 0207 580 815
A few days ago I mentioned The Illustrators 1837-2011 exhibition at Chris Beetles' Art Gallery and showed some of the pen-and-ink pictures that are on sale.
There are many items for sale after which I lust, but none more so than a series of watercolour paintings created by Alfred Bestall for the covers and end-papers of those best-selling, dearly-loved Christmas stocking-fillers, the Rupert Annuals.
Bestall's evocative depiction of Rupert's adventurous realm of magical characters, creatures and happenings are unequaled for their innocent charm, their captured energy and their haunting atmosphere of dreamy other-worldliness.
They possess – or, at least, evoke within me – a sense of yearning, a deep-seated longing for the safe, secure happiness of the days of my youth: when the future still stretched limitlessly before me filled with unquestioned hopefulness...
Should it happen, by some generous quirk of fate, that I were to find myself trousering the Lotto rollover this week, I will be purchasing at least one and possibly several of these gems – if, of course, they haven't all been snapped up!
One of the joys of the British Film Institute (and thank you, Ian for getting me back into the National Film Theatre-going habit) is the NFT's frequent retrospectives that embrace not just film but also television.
Last month I was enjoying two nostalgic hours in the company of Flanders and Swann; a few nights ago I was transported to the sleepy little village of Nutwood, the starting point of a series of incredible exploits and adventures featuring the one and only Rupert Bear.
Ceaselessly cheerful, tirelessly plucky and endlessly resourceful Rupert Bear is eighty-eight years old and yet as youthful as ever.
The NFT's 'Rupert Night' programme included a sketch from The Two Ronnies in which Ronnie Corbett appeared as Rupert Baird (a little fellow in red jersey, checked trousers and scarf who could only speak in rhyme!) and a clip from The Likely Lads with Terry and Bob arguing about whether one of Rupert’s friends was called 'Edward the Elephant' or 'Edward Trunk'.
Also shown were a couple of episodes from Mary Turner's 'seventies TV puppet series (right) and the classic documentary about Rupert’s longest serving artist, Alfred Bestall, made by Terry (Monty Python) Jones a quarter of a century ago.
Rupert first appeared in November 1920 in a comic strip created by Mary Tourtel for the Daily Express newspaper as part of its bid to win readers from their rivals the Daily Mail which featured a popular strip about Teddy Tail.
In 1935, when Mary Tourtel retired, the task of drawing Rupert - and writing his adventures - fell to illustrator and Punch artist, Alfred Bestall, and the following year he produced the evocative art for The New Adventures of Rupert - the very first Rupert Annual…
Out of respect to the Rupert’s creator, Bestall - a modest, self-effacing man - didn’t sign his artwork until after Mary Tourtel’s death in 1948.
Alfred Bestall wrote and illustrated a staggering 273 Rupert stories (mostly for the daily newspaper publication but with others produced specially for the annuals) until his own retirement in 1965.
I only ever saw the newspaper strip when I visited my paternal grandparents, but I was given several Rupert annuals over the years, this being the first...
Heaven only knows where it is now!
What I really loved about Rupert was the format of the albums: the running headings that were a synopsis of each story with little figures in the top corner of each page; the four-frame picture-story, the rhyming couplets that told the story under each picture in not-very-sophisticated doggerel and then the prose telling of the tale that appeared at the bottom of the page just as it did under the panels in the newspaper.
Then there were the activities-pages with puzzles, origami models (which I never successfully made) and, in later numbers, magic painting pages.
And, for me, the highlight of ever annual: Bestall’s wonderful full-colour wrap-around cover plus those enchanting endpapers showing the coutryside around Nutwood and other wonderful landscapes - sometimes seascapes - that combined the real and fanciful into a dreamworld that still haunt the memory…
Then, of course there were the stories - packed with wild escapades, amazing expeditions curious inventions and extraordinary characters that secure these little narratives a place among the most inventive writing for children in the twentieth century.
There were mysteries, too, such as why it was that inside the books Rupert had a white face, hands and boots but on the cover was a brown bear in brown boots!
The one exception (right) was the 1973 annual where someone at the Daily Express impudently altered Alfred Bestall’s artwork for the cover in order to match the interior!
The dozen or so proof copies with a brown-faced Rupert (below) are greatly sought-after and hysterically valuable! In fact, it might just be worth checking your attics!
Another mystery, of course, was the way in which clothed animals and human beings - not to mentions giants, wizards, dragons, unicorns, mermaids, goblins, pixies and living toys - co-habited in a fantastical universe.
Indeed, Terry Jones, during a Q&A session following the screenings, recalled how, in one story Rupert encounters a talking cat and is utterly astonished by the fact as though he were not, himself a talking bear!
But then, in a way, Rupert isn’t really a bear he is a boy - a young child - you and I, the reader - wearing a bear-faced mask!
Equally curious was the fact that the human characters wear a wide range of costuming: medieval doublets and hose, Georgian knee-breeches and buckle shoes, Victorian skirts and bonnets, ‘twenties plus-fours and brogues and forties three-piece suits.
‘Rupert Night’ also featured the music video of Paul McCartney’s 1984 hit, 'Rupert and the Frog Song', so there was even more nostalgia as we all remembered those lyrics about standing together…
The last Rupert annual cover Alfred Bestall ever painted was that one on which Rupert turned white, but other artists carried on the work including Alex Cubie, John Harrold and Stuart Trotter (right) who has recently taken over the care of the bear and who is a worthy inheritor of the Rupert legacy. Thanks to everyone who keeps Rupert on the track of new adventures.
And thanks to the NFT: meeting up with Rupert and his chums - Bill Badger, Algy Pug, Podgy Pig, Willy Mouse, Pong Ping the Pekingese and Edward Trunk (yes, that was his name!) - was an opportunity to be reunited with old and much-loved friends!
"Goodness," said Rupert, "it's been such fun, Eighty-eight years and I've just begun!"
To learn more about Rupert's world, his creators and the annuals, visit The Followers of Rupert
