eric ravilious wedgwood travel

License this image

• Image reference number: XXX
• Title and author (if applicable)
• Publisher/Producer/Broadcaster
• Planned release date
• Print run or number of units
• Image size and position, example 1/4 page, full screen, front cover, inside
• Languages/territorial distribution
• Digital rights - format details and license period

Download image

You can use the image for:

• Non-commercial research and private study
• Teaching and instruction
• Non-commercial publishing (up to A5-size, and in print runs of up to 4000 copies)
• Non-commercial online use, up to 768 pixels, and for up to 5 years

Object details

About this object record, you may also like.

World Collectors Net

Eric ravilious and wedgwood pioneering british design in the 20th century.

Eric Ravilious (1903–1942) was a British painter, illustrator, and designer, noted for his distinctive watercolors and for his significant contributions to applied art. He is often remembered for the brief yet impactful period he spent working for the renowned pottery and porcelain company, Wedgwood, from 1936 to 1940. In this feature we take a brief look at the creative genius Eric Ravilious with particular reference to his time and work at Wedgwood.

Eric William Ravilious was born in Eastbourne, Sussex. From an early age, Ravilious displayed an aptitude for drawing, and by 1919, he was attending Eastbourne School of Art. His education journey led him to the prestigious Royal College of Art (RCA) in London, where he studied painting and was mentored by established artists like Paul Nash.

In the early 1930s, Ravilious’s work gained recognition. His style, characterized by subtle watercolors and wood engravings, often portrayed English landscapes, domestic scenes, and maritime subjects in a manner that was both whimsical and deeply rooted in the English tradition.

Ravilious’s design talent caught the attention of Wedgwood, one of England’s oldest and most esteemed ceramic manufacturers. Beginning in 1936, he worked as a designer for the company, creating a range of ceramic pieces that were both decorative and functional. His work during this period is noted for its marriage of tradition with a fresh, modern sensibility.

For Wedgwood, Ravilious designed several iconic pieces, including the “Travel” and “Garden” series of china. His designs often featured playful motifs, geometrical patterns, and scenes that evoked a quintessentially English feel. One of his most renowned works for Wedgwood is the commemorative mug for the coronation of King Edward VIII in 1937. Though the coronation never took place, the mug has become a sought-after collector’s item. (click to learn more – The Eric Ravilious 1937 Coronation Mug A Unique Testament to a Historic Event )

Eric Ravilious’s “Alphabet” design stands as a testament to his unique style and ability to elevate everyday concepts into art. Originally created for Wedgwood in the 1930s, this design transformed the simple idea of the alphabet into an enchanting display of artistry. Each letter was intricately illustrated with playful, often pastoral or nautical scenes, reflecting Ravilious’s penchant for blending the mundane with the whimsical. The design, rendered in Ravilious’s signature muted colors and intricate line work, exemplifies his keen observation of the world around him and his ability to translate it into delicate, yet dynamic imagery. Beyond its aesthetic appeal, the “Alphabet” design underscores Ravilious’s role as a pioneer in bringing graphic design principles into the realm of ceramics and commercial art.

Another classic design is Boat Race Day which was crafted in 1938. It was inspired by the Oxford and Cambridge boat race and has actually been re-released by Wedgwood twice since.

In 1939, with the onset of World War II, Ravilious became one of the first official war artists. His role required him to document the war, and he produced a range of works capturing both the mundane and dramatic aspects of life during wartime. Tragically, in 1942, while on a search mission in Iceland, the aircraft carrying Ravilious went missing. He was declared lost at the age of 39.

Eric Ravilious’s legacy is multifaceted. As a painter, his landscapes and wartime depictions stand as a testament to his unique perspective on the world around him. As a designer, his work for Wedgwood has become emblematic of a period in British ceramics when tradition met modernity. His influence can be seen in the works of many subsequent British artists and designers, and he remains a beloved figure in the annals of 20th-century British art.

Related The Eric Ravilious 1937 Coronation Mug A Unique Testament to a Historic Event Eric Ravilious Alphabet Mug and Alphabet Seriesware

 Eric Ravilious and Wedgwood

Recent posts.

The History of Knickerbocker Toy Company A Journey Through Iconic Toys

Collecting Little Orphan Annie Dolls – The Sun Will Come Out Tomorrow

The Lair of the White Worm Collectibles From Bram Stoker’s Pages to Ken Russell’s Film

Clarice Cliff and The Age of Jazz Figures

Stan Woodpecker Dodds and the Art of Critter Carvings

Patterns for Production | Eric Ravilious

Ravilious’ ceramics for Wedgwood – not as well known, perhaps, as his fine and graphic art – have become a sort of holy grail for design collectors. They are applied design at its very best; quite rare and certainly rarefied.

Eric Ravilious (1903 – 1942) was both a fine artist and a commercial designer. The term ‘commercial designer’ was of his time, particularly the 1930s, when a few individuals were commissioned to design ‘commercial art’, everything from posters to pottery, paper to wallpaper, fabric to ephemeral furbelows. They often knew each other, this bunch. They worked for the same clients, sold their wares in the same shops. Some cohabitation and bedroom meanderings seem to have happened, too, but they lay (forgive the pun) outside the scope of this article. If Ravilious’ life was short (he was listed as missing in action (presumed dead) in Reykjavík, Iceland in 1942) his work was certainly sweet. Part of a group of artists and friends based in Essex, painting a soon to be lost England during the 1930s, his work (along with his friend Edward Bawden’s) has become collectable and much published. Ravilious’ ceramics for Wedgwood – not as well known, perhaps, as his fine and graphic art – have become a sort of holy grail for design collectors. They are applied design at its very best; quite rare and certainly rarefied.

When Ravilious began designing for Wedgwood in 1936 he was 33 years of age and already established as an artist and commercial designer. It is not clear exactly who introduced the artist to the pottery. In her book Eric Ravilious: Memoirs of an Artist , Helen Binyon (she was his lover; he was married to Tirzah Garwood), mentions that a first meeting with Josiah Wedgwood happened in 1935. And was followed by ceramic trials at the Wedgwood factory in Etruria, Stoke on Trent. Presaging this, Viktor Skellern, who worked at Wedgwood, had won a scholarship to study at the Royal College of Art in 1930, where he met Ravilious. Skellern returned to Wedgwood in 1935 to slip on the shoes of art director. By February 1936 Ravilious had his second solo exhibition at the Zwemmer Gallery on Litchfield Street, London – a sister space to Zwemmer’s art bookshop on Charing Cross Road. Ravilious was designing officially for Wedgwood by May that year. We can probably assume that coffee and gentlemanly discussions were continued between Messrs Skellern and Ravilious somewhere along Charing Cross Road around this time.

Ravilious’ first solid commission for Wedgwood was a Coronation mug for Edward VIII. It was never mass produced due to his abdication, but apparently Mrs Simpson managed to buy one. In one of his many letters (now handsomely published by the Fleece Press) Ravilious wrote to Binyon that Wedgwood paid him for six weeks ‘in the year’ of his time. He added that he had no idea of his fee but that he thought it likely to be ‘beautifully disproportionate to the time and effort.’ Ravilious was fully ensconced at Wedgwood by August 1936, and found himself coming up against the age-old argument of taste versus sales in their discussions. Of a visit to the factory that year, he wrote to Binyon: ‘You will be sorry that the [Wedgwood] family think my beautiful designs above the heads of their public and that to begin with, something should be done safer and more understandable.’ There follows a delightfully catty description of Laura Knight’s contemporaneous design for a commemorative mug, an ‘everything but the kitchen sink’ sort of design for Burleigh Ware. At the time, as Woolworths were to Harrods, so Burleigh Ware was to Wedgwood. The consensus was that although Knight’s design was bad (or ‘bloody’ as Ravilious described it) the sales would most probably be good. It seems the relationship between Ravilious and Wedgwood was never entirely smooth sailing and he executed many more designs than were ever issued.

Most of Ravilious’ Wedgwood designs played to his recurring artistic muses: bucolic and domestic scenes, gardening implements, ethnographic objects and bits and pieces from light industry. He seems to have re-used ideas, sketches and drawings from other projects in his work for Wedgwood. His first dinner set for them, Persephone , came out in 1936, originally named as Harvest Festival . It was re-named Persephone in 1938, but by 1953 the backs had Harvest Festival stamped on them again. This design was inspired by Ravilious’ drawing of 1936: Harvest Festival and Loaves , sketched at his local church in Castle Hedingham, Essex. He also produced devices for the Cornhill magazine that same year, several of which illustrate the fish, vegetables and horns of plenty that form the cornucopia on each piece of Persephone . The design also has a rolling firework-like patterned border, utilised in a variety of ways across the range. Persephone came in blue, green, pink and yellow colourways, along with a special Coronation Golden Persephone , issued in 1952 (though it should be said that Ravilious did not have the right of veto for colourways).

In 1937 Ravilious produced his Alphabet set for Wedgwood. The design was a delight; an alphabet as only Ravilious could imagine and illustrate it. And it was the only set Ravilious designed that was aimed at younger clientele but bought, of course, by the grown-ups. The set consisted of a large and small mug, a porringer, a plate, a double egg cup, a jug and lamp base – quite a lot for baby. The design for Alphabet is rather sophisticated for a children’s set. Among the subjects chosen to illustrate letters were a bentwood rocker, a bird’s nest, an Indian headdress and a box of matches; one might struggle to connect most of the illustrations to any children’s book of the time. Nevertheless, Ravilious’ Alphabet is not half as sentimental (not to say mawkish) as Mabel Lucie Atwell ceramic offerings designed for Shelly – an example, perhaps, of how far Wedgwood were willing to go to challenge the status quo.

Today one of Ravilious’ most coveted ceramic designs is Garden from 1938. Decorated with exquisitely detailed vignettes of outdoor play, it is perhaps the most ‘Ravilious-y’ of all his Wedgwood designs. Swimming, reading in a stripy deckchair, and tree felling all feature. The accompanying Garden Implements lemonade set, issued a year later in 1939, showcased gardening tools – with a swish of a twig broom on the handle and an old oak barrel (that also appeared on one of the Garden plates) full of interesting paraphernalia on the side. Both Garden sets seem quite suited to imagined refreshments under the sun; drinking to a soundtrack of birds, squeaky crickets and croquet taps. Ravilious’ life-long love of gardening showed itself in his watercolours and in the Wedgwood set. Great Bardfield, where Ravilious lived, was (and is) a sleepy, beautiful moment in time. Rows of historic houses line the main street in a picture-perfect English village and living there must have provided Ravilious with a great deal of intimate inspirations. The same year Garden came out, Ravilious produced designs for his Travel set, a slightly more future-themed offering, though nothing incongruous as far as he was concerned, as he loved trains and vehicles. Travel was not put into production until 1952, when a darker colour palette of grey with blue transfers was chosen. Whether the delay was because of the war or because Wedgwood wasn’t ready for it, is unclear.

In terms of the shapes Ravilious was asked to design for, many were stock Wedgwood – rather old fashioned when compared to the triangles and angles of art deco style ceramics. The technique Wedgwood used to realise Ravilious’ designs was transfer printing, a technique popular since the mid-18th century. It was a skilled technique, and one Wedgwood engravers were very well placed to do. though at first Ravilious, worried about quality, had wanted only one man to work engraving his designs. Skellern set all his men working on them in secret, only revealing the fact to Ravilious after he’d seen the results. Ravilious remarked: ‘I will never argue about the Wedgwood engraving any more, these chaps are without doubt the finest engravers I have ever met.’ Wedgwood’s craftsmen were aided by the sheer sepcificity of Ravilious’ designs, many of which have survived and are reproduced in a Richard Dennis’ fascinating Ravilious and Wedgwood: The Complete Wedgwood Designs of Eric Ravilious .

Ravilious’ ceramics were really more about applied design than designed form, at a time when the term ‘applied design’ was still a profanity in some circles – including those Ravilious relied on for work. Magazines of the period, like Art and Industry , were filled with ‘he says, she says’ arguments on the question of taste in design. And for Ravilious there was a fine design line to be tiptoed between influential industry thinkers and clients who wanted sales at any cost. Ravilious’ letters show he was clever at being patient with clients, before having his rant when writing to friends, most of them understanding artists themselves. His letters also show he was living the typical (then and now) peripatetic life of a freelance commercial designer, skipping from pay check to pay check. In September 1938, as the country slumped deeper into political unrest, Wedgwood ‘let go’ of Ravilious’ services, after he’d offered to resign. With his final cheque came a reckoning showing that Persephone had been his best-selling design. His ceramics continued to be produced: in the postwar period some designs were re-issued posthumously, and some (like Travel ) were issued for the first time.

Ravilious’ designs for Wedgwood never achieved huge sales. One presumes they were available in Wedgwood’s London showrooms and through their catalogues, and his friend Cecilia Dunbar Kilburn would surely have sold some of his ceramics in her London gallery: Dunbar Hay . But what to our eyes now look like perfectly poised and covetable pieces, may, at the time, have been a bit hard to place. They might have read as a little dull next to splashy Susie Cooper and Clarice Cliff ceramics. On the other hand, they would not have been quite as robustly minimalist enough for the European modernist groupies, who may rather have reached for Wedgwood’s plain, parsimonious (but pretty) Keith Murray range. Luckily for us, we are able, with the gift of hindsight and the emerging research available on Ravilious and Wedgwood, to celebrate his ceramic designs as quintessential examples of his sprightly line – and as fine objects we might still like to own, even today.

Jane Audas is a writer, craft & design curator and digital consultant in museums. She is a design historian by training and by inclination. Jane writes a blog about paper, craft, design and toy things – much of it from the inter-war years – that can be found on her website: www.janeaudas.com.

Masterclass | Anne Mette Hjortshøj | Hollow Dishes | Part 3

Documentary | Koichiro Isezaki: Bizen Born

Related reads.

Ravilious was born in 1903, and studied at the Royal College of Art in London in the 1920s.

He is famous for his woodcuts and his later watercolours. He painted many subjects, but was particularly attracted to views of the English South Downs, close to the town of Eastbourne where he grew up. By the early 20 th Century, the work of the Impressionists in the previous century had made it acceptable to paint “ordinary” scenes. However, there is none of the visual urgency of Impressionism in Ravilious’s work, which is much more considered. It is clearly the result of long, painstaking hours of either woodcutting or watercolour painting.

Magic Realism is a term you more often hear applied to literature than the visual arts, in particular the works of Latin American authors like Gabriel García Márquez and Laura Esquivel. I strongly recommend Esquivel’s Like Water for Chocolate if you’re interested in finding out more. It’s one of my favourites, and includes such notable moments as the one in which a character is inflamed by passion to such a degree that the heat they give off sets fire to a wooden shower stall in which they are attempting to cool off. Hence Magic Realism, stories in which impossible things happen but the world is recognisably ours, not a fantasy world.

Applied to the visual arts, Magic Realism is something slightly different. According to art critic Franz Roh (see the first paragraph via this link ), it’s the depiction of ordinary objects or landscapes in such a way as to hint at something uncanny or strange lurking under the surface. There is a sense in such works that something is slightly off kilter without there being any clear evidence as to what that is.

You can see it very clearly in Ravilious’s woodcuts like the one above, where the dramatic contrast of black and white gives a character to the shadows, a sense of something lurking behind the benign landscapes or domesticity on show.  Perspectives which are slightly off add to the vague unease which permeates many of his woodcuts.

He seems always to have had an interest in depicting transport amongst his other subjects, and painted several wonderful railway pictures. The first is his “Train Going Over a Bridge at Night” of 1935:

However, his interior of a third class Great Western Railway carriage is my favourite of his paintings, with its beautiful detail (you can feel the cushioning of the seats) and sense of mysteriousness in the mundane; the idea that lurking just out of frame must be the passengers. Where are they going, and why?

The chalk figure in the background is the Westbury White Horse, a subject he painted more than once, and in fact “Train Landscape” is the mirror image of an earlier painting, “ The Westbury Horse ” of 1939, which has the horse in the foreground, and the train passing by at the foot of the hill. Chalk hill figures were a perfect foil for Ravilious’s Magic Realism, themselves objects of mystery and speculation, yet at heart nothing more than scratches in the ground. He also painted the Uffington White Horse , the Long Man of Wilmington and the Cerne Abbas Giant .

He wasn’t only interested in railways, though one of his several ship paintings has a close connection. This is the S.S. Brighton, one of the Southern Railway’s cross-channel ferries:

“Wiltshire Landscape” of 1938, meanwhile conveys perfectly the experience of inter-war motoring, but also exemplifies the sense of otherness that can be found in Ravilious’s work.

Through his work for the Curwen Press, which printed much of the London Underground’s publicity, and a long-standing friendship with artist and established contributor to Underground posters/advertisements Edward Bawden, Ravilious too found himself working for Frank Pick’s London Transport. This was all part of Pick’s ambition to integrate art and design with the operational elements of the public transport network he was in the process of forging. Unusually, however, you won’t recognise Ravilious’s works from London Transport’s poster art. Ravilious produced two poster designs of Greenwich, neither of which were used (you can see them here and here ). It’s not clear today why, but it’s possible that his restrained designs weren’t as immediately eye-catching as some of the bolder designs London Transport was commissioning from artists such as Cyril Power.

However, Ravilious’s woodcut skills were employed to brilliant effect by London Transport in publicity for its Green Line coaches operation. In 1935 Ravilious produced a series of stock illustrations which could be used to illustrate black and white newspaper advertisements for Green Line. These often took the form of some educational text about a potential destination, a Ravilious illustration below,  and then standard text about how to get hold of the Green Line Coach Guide at the bottom. So it was that over a woodcut of a severely dressed woman clipping her hedges and overshadowed by a disconcertingly grasping tree, you might be exhorted to visit Great Bookham in Surrey (“a good starting point for rambles”). Alternatively, over a woodcut of a farmer and three of his sheep, you could be implored to enjoy the “plenty of good places for tea” in Crawley, which unfortunately seems to have lost this bucolic character somewhere along the line during the last 80 years. Ravilious also produced front cover illustrations for three editions of Country Walks , guidebooks publicising the out-of-London destinations Green Line coaches reached.

These woodcuts are absolute gems, but Ravilious’s work for London Transport has been overshadowed by greater interest in the company’s poster art, and he isn’t as well-known for it as those who did produce posters.

He returned to transport as a subject when he produced the patterns for what became a very famous series of dinnerware items from ceramics company Wedgwood, called “Travel”. It illustrated several modes of transport including an aeroplane, a train, a bus and an ocean liner.

It appeared in 1953, yet illustrated transport from the 1930s in an almost picture-book idealised manner. The Travel dinnerware series embodied a sort of near-immediate nostalgia for the comforting security of the pre-war world. The reason the designs featured pre-war travel was that they had been commissioned before the war, but production of the dinner service did not commence until afterwards.

And Ravilious himself wasn’t around to see it. He was killed in the war. He had taken up a role as a war artist, producing many fine paintings of the British military in action. He volunteered to go along on a search and rescue mission near Iceland in 1942, a mission from which never returned.

I think it’s fair to say that Ravilious isn’t one of the most famous artists of the 20 th Century, and Magic Realism isn’t one of its bigger art movements, quickly overshadowed by the more obviously unreal works of the Surrealists. However, he is a favourite of quite a few art enthusiasts in the transport industry, and you’ll find his works referenced from time to time. Rarely, however, has that been done quite so spectacularly as on a special bus in the fleet of south coast-based operator Brighton & Hove. One of three buses specially redecorated to celebrate local highlights as part of a campaign called “Get Bus(y)”, bus 490 publicises the South Downs National Park which surrounds Brighton and which is served by several Brighton & Hove bus routes.

Outside it is covered with beautiful Ravilious woodcut-style illustrations of places and wildlife of the South Downs, repeated inside on seatback vinyls which replicate the Green Line advert concept of illustration, explanatory text, and travel information at the bottom:

The Long Man of Wilmington decorates the stairwell surround on the upper deck:

Compare to one of Ravilious’s original woodcuts:

The Ravilious bus is a lovely piece of on-bus promotion, although the seatback vinyls have been prone to damage through wear and tear. Nevertheless it’s a very welcome tribute to an artist who saw the magic in transport (much as I suspect you do, if you’ve read this far), and who deserves to be more widely known.

Further reading and bibliography

Mainstone, Tim [editor], 2006: Away We Go! Norwich, Mainstone Press ( link here )

Here’s a video all about Brighton & Hove’s Ravilious Bus, and the inspiration behind its redecoration (strongly recommended):

…and anything linked to in the text above

Many thanks to the Wedgwood Museum ( homepage here ) for their help in sourcing an illustration of the Travel dinnerware set.

Many thanks to Carole Richmond, marketing manager at Brighton & Hove Buses for her patience in answering questions about the Ravilious bus, and for helping me find it so I could take some photos (perhaps if they read this, the perplexed other passengers will now understand what I was doing…)

Share this:

7 thoughts on “ eric ravilious: transport magician ”.

Design ideas from the world of transport! X

Date: Wed, 6 Apr 2016 16:03:39 +0000 To: [email protected]

The man was a genius. His style of art encapsulates the style of that period. He left us a legacy of beautiful art from a view as he saw it.

• Pingback: The Many Murals of the Victoria Line (London, UK) | The Beauty of Transport
• Pingback: Grand Hotel (Midland Hotel, Morecambe, Lancashire, UK) | The Beauty of Transport
• Pingback: Flight of the Concourse (Leeds station, West Yorkshire, UK) – The Beauty of Transport
• Pingback: Absolute Block: the Transport Art of Gail Brodholt – The Beauty of Transport
• Pingback: The special tiles at London Underground’s Bethnal Green station | Applewood Marketing

Leave a comment Cancel reply

This site uses Akismet to reduce spam. Learn how your comment data is processed .

• Already have a WordPress.com account? Log in now.
• Subscribe Subscribed
• Copy shortlink
• Report this content
• View post in Reader
• Manage subscriptions
• Collapse this bar

• Share full article

Advertisement

Supported by

The Art of Collecting

The Idiosyncratic Perspectives of Eric Ravilious’s Watercolors

By Roderick Conway Morris

• June 17, 2015

LONDON — For much of his career Eric Ravilious was known principally for his wood engravings, book illustrations, murals and designs for Wedgwood ceramics. But, as the artist told his lover, the British printmaker Helen Binyon, during the 1930s, his “greatest ambition was to revive the English tradition of watercolor painting.”

Ravilious exhibited his watercolors three times in London in the 1930s, impressing critics and collectors. On the last occasion, in 1939, Jan Gordon noted in The Sunday Times how he managed to make every subject he painted “appear as something magic, almost mystic, distilled out of the ordinary everyday.”

At the end of the same year Ravilious was recruited as an official war artist, serving with the Royal Navy and the Royal Air Force, a challenge that gave rise to numerous memorable images. A few days after being posted to an R.A.F. station in Iceland in 1942, he volunteered to join an air-sea rescue mission. The aircraft failed to return, and on Sept. 2 he was reported missing, presumed dead, at the age of 39.

Since then, Ravilious’s reputation as a watercolorist has steadily grown. An absorbing exhibition of his works in this genre, accompanied by lithographs, woodcuts and drawings, is now at the Dulwich Picture Gallery in South London.

The show, which contains more than 100 pieces, is rewardingly arranged around a succession of themes rather than chronologically. It is curated by James Russell, an expert on the artist, and continues through August 31.

Ravilious was born in London and raised in Eastbourne on England’s south coast. His father, who had been apprenticed as a coach builder, was running an antiques shop, which may have influenced his son’s fascination with objects and his penchant for depicting antique vehicles.

Eastbourne’s proximity to the Sussex Downs nurtured a love of the countryside, but the rural scenes he homed in on were highly unusual — as the title of the opening section of the show, “Relics and Curiosities,” indicates. “Talbot-Darracq” is a painting of a rustic junkyard containing decaying farm machinery and the derelict remains of a Talbot-Darracq jalopy. “No.29 Bus” features the skeleton of a wheelless, open-topped omnibus marooned in an open field. “Caravans” depicts two former horse-drawn, Boer War fever wagons that he stumbled upon in 1934 and had converted into a living room and studio, which he parked near the Sussex cottage of his artist friend Peggy Angus.

The aspiring artist’s natural gifts won him scholarships to the Eastbourne School of Art and to the Design School of the Royal College of Art in London. One of his tutors there was Paul Nash, who encouraged his students to disregard traditional distinctions between the fine arts, crafts and commercial practice, and also shared with Ravilious his expertise in watercolor painting.

Ravilious revealed himself to be a talented wood engraver, who rapidly developed his own techniques and even tools. These instruments are on show here with some striking examples of his work in this medium. Proposed by Nash, Ravilious became a member of the new Society of Wood Engravers in 1925 and soon received his first commissions for book illustrations, which helped pay for his other artistic activities.

Notable characteristics of many of the artist’s watercolors were not only their original subject matter but also their idiosyncratic and amusing perspectives. Often a particular element is given exceptional prominence in the foreground (a device beloved of the Japanese artist Hiroshige). Examples in the first section of the show include the rusting wreckage and rowing boat in “Anchor and Boats”; the wartime images of the towering ship’s prow in “Warship in Dock” and the scaffolding and huge propellers in “Submarines in Dry Dock”; and the concrete blocks and tangle of barbed wire in “South Coast Beach.”

Ravilious’s prewar scenes were typically devoid of human figures. A rare exception is a tempera portrait of his friend and fellow artist Edward Bawden, though the subject’s personality is largely conveyed by the objects surrounding him in his studio. But then in 1940-41 Ravilious combined his little-used life-drawing training and watercolor skills to create a brilliant series of lithographs of submariners and divers at work.

Other atmospheric works of confined spaces include prewar images of greenhouses, hotel bedrooms and cottages. Ravilious became adept at capturing strongly delineated, strangely suggestive empty interiors that then lead the eye on to fainter, more shadowy exterior scenes — of the wartime flying-boat stations and airfields of “R.N.A.S. Sick Bay Dundee” and “The Operations Room,” and of the countryside, as in “Train Landscape.”

Broader landscapes and vistas are examined in the section “Time and Season,” such as a Thames River view, the Sussex and Wiltshire downs and the Welsh hills. These works also reveal an increasing mastery of elusive light effects, as in “Vicarage in Winter,” with its luminous icy sky. In this and in some of his later paintings Ravilious employed techniques, such as cross-hatching and patterning, that he had developed in his wood engravings.

Ravilious rarely made preparatory drawings, leading him to discard two-thirds or more of his watercolors executed on the spot. But the spontaneity of this approach was rewarded by such exhilarating views as the one captured in “Leaving Scapa Flow,” looking along the deck of the destroyer H.M.S. Highlander as it steams out of its anchorage to join the Norway campaign in 1940.

The final section, “Darkness and Light,” offers a superb lineup of watercolors, mostly painted in the last four years of the artist’s life, including tranquil holiday beach scenes at Aldeburgh on the Suffolk coast; the cliffs and lighthouse of “Beachy Head”; “Paddle steamers at Night” in Bristol; “Dangerous Work at Low Tide,” in which a bomb disposal team makes its way at dawn through the shallows at Whitstable in Kent to defuse a mine; ships silhouetted against the Arctic grandeur of “Norway”; the “Midnight Sun” viewed from the stern of a warship; and the guns of an aircraft carrier lighting up the night sky in “H.M.S. Ark Royal in Action.”

Arts and Culture Across Europe

The Venice Biennale, the art world’s most prestigious exhibition, opened recently  to some fanfare, some criticism  and a number of protests . Here’s a look at some of the standouts  from the 2024 edition.

Our theater critics and a reporter discuss the big winne r —  Andrew Lloyd Webber’s “Sunset Boulevard” — and the rest of the honorees at this year’s Olivier Awards .

New productions of “Macbeth” and “Hamlet” in Paris follow a French tradition of adapting familiar works . The results are innovative, and sometimes cryptic.

The internet latched on to 16-year-old Felicia Dawkins’ performance as The Unknown at a shambolic Willy Wonka-inspired event . Now she’s heading to a bigger and scarier stage in London.

When activists urged Tate Britain in London to take an offensive artwork off its walls, the institution commissioned Keith Piper  to create a response instead. The result recently went on display.

At a retrospective of John Singer Sargent’s portraits in London, where the American expatriate fled after creating a scandal in Paris, clothes offer both armor and self-expression .

Eric Ravilious for Wedgwood, cup, saucer, plate, “Travel’

£ 175.00

Eric Ravilious’s blue-grey  ‘Travel ‘ design for Wedgwood. Ravilious (1903 – 1942) worked as a watercolourist, print maker, wood cutter, designer and book illustrator in between the wars England; he died aged 39 whilst working as a war artist.

He was commissioned to produce a range of designs for Wedgwood in the 1930s. A few were manufactured and produced before the 2nd World War but the majority were produced by Wedgwood in the early 1950s.

Sold together as a set of 3. Displayed against a Ravilious lithograph which will be offered for sale here shortly

UK Carrier/ postage charged at cost or buyer collects from London NW5

Description

Related products

SOLD: Small festive china plate with King George VI Coronation Coach scene, 1937.

SOLD: Covered ceramic dish or cache-pot, with the crest of Clare College Cambridge

SOLD: Handmade ceramic frog, ‘rather toad-like,’ by Prue Piper, made in Somerset.

SOLD: Marbleised mid-century stoneware pottery heavy platter-plate

on bibleofbritishtaste

© 2022 Bible of British Taste

the saleroom

• Auction Calendar
• Auction Houses
• Featured Lots

'Travel' a Wedgwood part tea and coffee service designed by Ravilious

In Antiques & Collectables - November 2023

Catherine Southon Auctioneers & Valuers

Antiques & collectables - november 2023, sale date(s), venue address.

We are happy to offer an in-house packing and posting service for most non-fragile items.  Please contact us for a quote.

Alternatively, please make your own arrangements.  A list of local providers is given below:

Mail Boxes Etc., Croydon Tel: +44 (0)208 649 9777 Email:  [email protected]

Pack & Send, Croydon Tel: +44 (0)203 818 1980 Email: [email protected]

Jentel: Tel: +44 (0)1268 776777. Email: [email protected]

Important Information

Please carefully note the terms of sale below, which override our standard terms.

We ask that all condition reports are requested by 5pm 13th November.  After this time we cannot guarantee that they will be provided in good time for bidding.  Condition Reports are given in good faith and are opinion not fact.  We encourage potential buyers to inspect first hand. 

Viewing is available in person at our Farleigh Court Golf Club venue on the following days:

Monday 13th November 3pm-6pm

Tuesday 14th November 9am-5pm

Wednesday 15th November 9am-10am

We are also able to offer further images, detailed condition reports and virtual viewing if required.

Bidding can be carried out in person, online, by direct telephone or the placement of absentee bids.  If you would like to leave a bid or book a telephone line, please ensure you do so by 4pm the day before the auction. 

We are pleased to offer a live online bidding service on our website. To access this service, please visit  www.catherinesouthon.co.uk  and view the auction to register to bid. You can browse and bid in advance or during the live auction. There is an additional fee for lots purchased through our website of 3% + VAT.  You MUST register for the auction on our website and not on  www.the-saleroom.com to take advantage of this rate .

Our preferred method of payment is by bank transfer. Payment will also be accepted online via the saleroom.com or by consumer debit card in advance of collection. We will not be accepting cash, credit card, business debit card or cheque payments for this sale.

LARGE ITEMS MUST be collected from the Auction venue by 1pm Friday 17th November.  Please arrange transport  before this deadline.  Failure to do so will incur an additional fee.

We are able to offer an in-house packing and posting service for small and non-fragile items.  Please contact us for a quote.

Alternatively,   A list of local shippers is provided below:

Pack & Send, Croydon Tel: +44 (0)203 818 1980 Email:  [email protected]

Jentel:  Tel: +44 (0)1268 776 777  email: [email protected]

COLLECTIONS

LARGE ITEMS  MUST be collected from the Auction venue by 1pm Friday 17th November.  Please arrange transport before this deadline.   Uncollected property will be transported to our offsite storage facility and collection can be arranged by appointment only.  Additional fees will apply 

All lots are available for collection from the auction venue, Farleigh Court, during the week of the auction up until 1pm on Friday. Items not collected  will be available for collection at our Chislehurst office. Please call 020 8468 1010 to make arrangements for any collections.  Payment must be made prior to collection.

AUCTIONS We hold regular Antiques and Collectables Auctions, with colour catalogues, on-line catalogues and Live bidding.

The Company’s registered office is: Lygon House, 50 London Road, Bromley, BR1 3RA. Company Registration Number 08020183. Registered in England and Wales.

Terms & Conditions

IMPORTANT INFORMATION FOR BIDDERS AND BUYERS 

CONDITIONS OF BUSINESS  All lots are offered subject to Catherine Southon Auctioneers & Valuers Ltd’s Conditions of Business.  ESTIMATES AND RESERVES  Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may be higher or lower than the range of figures given and there are no predetermined starting prices. Estimates may be subject to revision. Published estimates are exclusive of buyer’s premium and VAT.  All lots are subject to reserves. The reserve price is never higher than the low pre-sale estimate.  BUYER’S PREMIUM AND VAT  A buyer’s premium of 26.4% is applicable to all the lots in this sale.  The buyer’s premium is inclusive of VAT at the current standard rate (20%). Lots are normally offered for sale under the auctioneers margin scheme and VAT is payable on the buyer’s premium by all buyers.  Lots marked with a dagger † will be offered under normal UK VAT rules and VAT will be charged on both the hammer price and the buyer’s premium. 

PRE-SALE EXHIBITION  All auctions are on public view before, and on the morning of, the sale. 

CONDITION REPORTS  All prospective bidders are encouraged to attend the pre-sale exhibition and view the lots in person. If this is not possible, we will be pleased to provide a brief condition report where practical. All condition reports are provided in good faith. Buyers are reminded that it is their responsibility to satisfy themselves of the condition of lots. All weights and measurements are approximate only. Please refer to Conditions of Business for further information. We are also able to offer virtual viewing if required. 

BIDDING IN PERSON  To bid with us you must first register to obtain a bidding number. You will be asked to provide proof of identity. All lots sold will be invoiced in the name and address in which the paddle has been registered and will not and cannot be transferred to other names or addresses. If you instruct an agent to bid on your behalf, you will need to provide a letter of authority to this effect. 

ABSENTEE & TELEPHONE BIDDING  We are able to execute bids on behalf of clients. All bids should be submitted in writing and in good time. Lots will be purchased as cheaply as possible (subject to other bids received, reserves). It will be possible to arrange auction room telephone bidding, but subject always to the availability of lines and staffing. These services are offered free of charge and are subject to our Conditions of Business.  ONLINE BIDDING 

Payment is due in sterling immediately after the sale and before purchases can be released. Please note that the-saleroom.com will not take payment from your registered card.  We welcome the following methods of payment: 

- ELECTRONIC AND WIRE TRANSFERS  Wire transfers can be made directly to our bank:  National Westminster Bank plc  33 High Street  West Wickham  Kent  BR4 0WH  Sort Code: 60-23-22  Account Number: 88081613 Account Name: Catherine Southon Auctioneers & Valuers Ltd  IBAN: GB47 NWBK 6023 2288 0816 13 Swift Code: NWBKGB2L  BIC: NWBK GB 2L 

Please note that the full amount owed must be transferred. Catherine Southon Auctioneers & Valuers Ltd will not accept transfer charges. All bank transfer/commission charges must be paid by the buyer.

- CONSUMER DEBIT CARD

In line with the Consumer Rights (Payment Surcharges) Regulations 2012 there is no charge for payments by UK registered consumer debit card. We do not accept American Express.  We reserve the right to charge a fee of 2.5% + VAT for payment by corporate debit card.

- WE WILL NOT BE ACCEPTING CASH, CREDIT CARDS OR CHEQUES FOR THIS AUCTION.

CONDITIONS OF BUSINESS FOR BUYERS  1. INTRODUCTION  (a) The contractual relationship of Catherine Southon Auctioneers & Valuers Ltd and Sellers with prospective Buyers is governed by:  (i) these Conditions of Business for Buyers;  (ii) the Conditions of Business for Sellers available from Catherine Southon Auctioneers & Valuers Ltd;  (iii) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer’s announcement.  (b) As auctioneer, Catherine Southon Auctioneers & Valuers Ltd acts as agent for the Seller. Occasionally, Catherine Southon Auctioneers & Valuers Ltd may own or have a financial interest in a lot.  2. DEFINITIONS  “Bidder” is any person making, attempting or considering making a bid, including Buyers;  “Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent;  “Seller” is the person offering a lot for sale, including their agent, or executors;  “THE COMPANY” means Catherine Southon Auctioneers & Valuers Ltd, registered office: Lygon House, 50 London Road, Bromley BR1 3RA. Company Registration number: 08020183;  “Buyer’s Expenses” are any costs or expenses due to Catherine Southon Auctioneers & Valuers Ltd from the Buyer;  “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the current rate of 26.4% (inc VAT);  “Hammer Price” is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price;  “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses;  “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot.  The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.  3. EXAMINATION OF LOTS  (a) THE COMPANYs knowledge of lots is partly dependent on information provided by the Seller and THE COMPANY is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale by appointment. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions.  (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of THE COMPANY’s opinion and not representations of fact. Each lot is sold by the Seller with any and all errors of description, faults and imperfections. All weights and measurements are approximate and should not be relied upon as fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at THE COMPANY’s absolute discretion.  4. EXCLUSIONS AND LIMITATIONS OF LIABILITY TO BUYERS  (a) THE COMPANY shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit.  (b) Subject to Condition 4(a), neither THE COMPANY nor the Seller: (i) is liable for any errors or omissions in any oral or written information provided to Bidders by THE COMPANY, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Seller to the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by THE COMPANY in connection with the conduct of auctions or for any matter relating to the sale of any lot.  (c) Without prejudice to Condition 4(b), any claim against THE COMPANY and/ or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither THE COMPANY nor the Seller shall be liable for any indirect or consequential losses.  (d) Nothing in Condition 4 shall exclude or limit the liability of THE COMPANY or the Seller for death or personal injury caused by the negligent acts or omissions of THE COMPANY or the Seller.  5. BIDDING AT AUCTION  (a) THE COMPANY has absolute discretion to refuse entry to the online auction. Before sale, Bidders must register online or complete a Registration Form and supply such information and references as THE COMPANY requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case THE COMPANY’s prior and express consent must be obtained).  (b) THE COMPANY will endeavour to execute absentee written bids provided that they are, in THE COMPANY’s opinion, received in sufficient time and in legible form.  (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to THE COMPANY’s other commitments; THE COMPANY is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. 

6. IMPORT, EXPORT AND COPYRIGHT RESTRICTIONS  THE COMPANY and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licenses required by law under the International Trade in Endangered Species (CITES).  7. CONDUCT OF THE AUCTION  (a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary.(b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable.  (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer.  (d) Any post-auction sale of lots shall incorporate these Conditions of Business.  8. PAYMENT AND COLLECTION  (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”).  (b) Title in a lot will not pass to the Buyer until THE COMPANY has received the Purchase Price in cleared funds. THE COMPANY will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price, as above.  (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a).  (d) The Buyer must arrange collection of lots on a mutually convenient day agreed by The Company and the Buyer. Purchased lots are at the Buyer’s risk from the earlier of (i) collection or release to a nominated carrier (ii) 5 working days after the auction. Until risk passes, THE COMPANY will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. THE COMPANY’s assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers.  (e) All packing and handling of lots is at the Buyer’s risk. THE COMPANY will not be liable for any acts or omissions of third party packers or shippers.  9. REMEDIES FOR NON-PAYMENT  Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, THE COMPANY may in its sole discretion exercise 1 or more of the following remedies:-  (a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense;  (b) cancel the sale of the lot;  (c) set off any amounts owed to the Buyer by THE COMPANY against any amounts owed to THE COMPANY by the Buyer for the lot;  (d) reject future bids from the Buyer;  (e) charge interest at 4% per annum above NatWest Bank Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds;  (f) re-sell the lot by auction or privately, with estimates and reserves at THE COMPANY’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale;  (g) Exercise a lien over any Buyer’s Property in THE COMPANY’s possession, applying the sale proceeds to any amounts owed by the Buyer to THE COMPANY. THE COMPANY shall give the Buyer 14 days written notice before exercising such lien;  (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs;  (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings.  10. FAILURE TO COLLECT PURCHASES  (a) If the Buyer pays the Purchase Price but does not collect the lot within 10 working days of the auction, the lot will be stored at the Buyer’s expense and risk at THE COMPANY’s premises or in independent storage.  (b) If a lot is paid for but uncollected within 1 month of the auction, following 60 days written notice to the Buyer, THE COMPANY will re-sell the lot by auction or privately, with estimates and reserves at THE COMPANY’s discretion. The sale proceeds, less all THE COMPANY’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction.  11. DATA PROTECTION  (a) THE COMPANY will use information supplied by Bidders or otherwise obtained lawfully by THE COMPANY for the provision of auction related services, client administration, marketing and as otherwise required by law.  (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i).  12. MISCELLANEOUS  (a) All images of lots, catalogue descriptions and all other materials produced by THE COMPANY are the copyright of THE COMPANY.  (b) These Conditions of Business are not assignable by any Buyer without THE COMPANY’s prior written consent, but are binding on Bidders’ successors, assigns and representatives.  (c) The materials listed in Condition 1(a) set out the entire agreement between the parties.  (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect.  (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of THE COMPANY. 

Auctioneer:

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

Your question has been sent to the auctioneer.

There was an error sending your enquiry, why not try again later

General delivery information available from the auctioneer

Tags: Wedgewood , Wedgwood, Saucer , Cup , Jug , Coffee Service , Pot , Plate, Cups

• Daily Deals
• Help & Contact

• Watch List Expand watch list Loading... Sign in to see your user information
• Recently Viewed
• Bids/Offers
• Purchase History
• Saved Searches
• Saved Sellers
• Collect & Spend Learn more
• Notification
• Expand Basket Loading... Something went wrong. View basket for details.

There seems to be a problem serving the request at this time

Eric Ravilious Wedgwood

• Price + postage: lowest first
• Price + postage: highest first
• Lowest price
• Highest price
• Time: ending soonest
• Time: newly listed
• Distance: nearest first
• Gallery view
• Time Period Manufactured
• Buying format
• All filters

Wedgwood Vintage Golden Jubilee 1952-2002 Eric Ravilious Celebration Mug

Stunning vintage wedgwood pottery platter travel design by eric ravilious, wedgwood eric ravilious 1953 queen elizabeth ii coronation mug rare, stunning wedgwood 10" plate by eric ravilious travel design, boxed wedgwood eric ravilious alphabet plate blue 7 1/4" brighton museum #1, rare original 1950s eric ravilious garden design platter for wedgwood - art deco, superb 1950s wedgwood arnold machin/eric ravilious ferdinand taurus zodiac bull, wedgwood black basalt with gold alphabet mug by eric ravilious * ltd edition *, superb wedgwood 1952 queen elizabeth ii coronation mug cl 6485 by eric ravilious, ravilious & wedgwood: the complete wedgwood designs of eric ravilius, superb wedgwood vintage golden jubilee 1952-2002 eric ravilious celebration mug, wedgwood eric ravilious garden tea or coffee pot england black yellow china, wedgwood eric ravilious bone china trinket box queen elizabeth ii golden jubilee, wedgwood eric ravilious garden cream and sugar set england black yellow, rare original 1930s eric ravilious alphabet bowl for wedgwood art deco vintage, one wedgwood eric ravilious garden bread plate 7" diam england black yellow, the complete wedgwood designs of eric ravilious 1995, ravilious & wedgwood complete wedgwood designs of eric ravilious, wedgwood eric ravilious garden teacup and saucer set england black yellow, wedgwood vintage golden jubilee 1952-2002 eric ravilious celebration trinket pot, wedgwood vintage golden jubilee 1952-2002 eric ravilious celebration clock, wedgwood eric ravilious garden dinner plate 9.5" diam england black yellow, wedgwood bone china trinket box queen elizabeth ii’s golden jubilee, ravilious, wedgwood gold persephone bone china cream soup and saucer w4134 ravilious, ravilious and wedgwood: the complete wedgwood designs of eric ravilious, ravilious and wedgwood gc english ravilious eric william richard dennis hardback, ravilious and wedgwood ec ravilious eric william english hardback richard dennis, ravilious and wedgwood fc ravilious eric william, ravilious and wedgwood ic ravilious eric william.

Moscow Metro – Part 2

Have you been to Moscow ? In all seriousness, they have the prettiest metro stations I have ever seen and I still can’t believe how immaculate and lovely every station was. There are several different stations pictured below and this is the second of several posts where I will show you the beauty of the Moscow Metro. Did you see part 1 ?  There really isn’t much to say because I think the pictures speak for themselves. I have so many more pictures to share with you!

Have you ever been to Moscow? Is it someplace you have thought about visiting?

She speaks fluent English, French and Spanish, and works for a major airline. And guess what? She’s also a licensed elementary teacher and has an MBA.

Similar Posts

Stay Away From Africa!

There is a trend I’m noticing that is really irritating me and if you are doing it I want…

Hollywood Walk Of Fame – Muhammad Ali

Have you heard of the Hollywood Walk Of Fame? Did you know there is one star on Hollywood Blvd….

Did You Know There Are Canals In Paris?

If you are heading to Paris and are looking for some non-touristy things to do, check out the canals….

Apartment Rental Chicago

As you know I am crazy about apartment rentals. I had to fly to Chicago for one night and…

Would You Expect To Find These Type Of Pastries In Bratislava?

Do you think of pastries when you think of Eastern Europe?  I doubt it. When I walked into this…

Luxury Vacation Apartment Rental In Cape Town

  There are plenty of luxury vacation apartment rentals in Cape Town and this one is superb. I stayed…

This is the train STATION?? Oh my god… So gorgeous. Moscow has never even crossed my mind as a possible travel destination but this is gorgeous…Hmmm… LOL

I know, right? We spent several hours in the metro, just marveling at the beauty of each one. Thanks for stopping by!

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

• Moscow Tourism
• Moscow Hotels
• Moscow Bed and Breakfast
• Moscow Vacation Rentals
• Flights to Moscow
• Moscow Restaurants
• Moscow Attractions
• Moscow Travel Forum
• Moscow Photos
• All Moscow Hotels
• Moscow Hotel Deals
• Things to Do
• Restaurants
• Vacation Rentals
• Travel Stories
• Rental Cars
• Add a Place
• Travel Forum
• Travellers' Choice
• Help Centre

Rush Hour? Metro - Moscow Forum

• Europe    
• Russia    
• Central Russia    
• Moscow    

Moscow Hotels and Places to Stay

• Where can I get initial answers to ANY question?

Firebird Travel

RUSSIA TRAVEL HOME

Thank you for your enquiry.

RUSSIA TRAVEL PACKAGES A selection of Russian tours to take as they are or adjust to your needs.

THE GOLDEN RING Visit the heart of ancient Russia. What is the Golden Ring?

MOSCOW TOURS What you can see in Moscow.

MOSCOW DAY TRIPS Get out of Moscow and take a relaxing trip to some of these places

ST. PETERSBURG Some of the sights to see in Petersburg

LAKE BAIKAL TOURS Hiking and trekking around the world's deepest lake in the heart of Siberia

RUSSIAN DIGS Come and work in the field on a Russian Archaeological dig. Full training given on site.

TRAVEL TIPS & SERVICES Getting around in Russia

If you do not receive a confirmation email shortly then you have probably incorrectly entered your email.

Number of travelers ">

Special Interests or requests.          "> ">

If you experience difficulties please use this link to send Regular Email . All information is treated as confidential

Russia Travel Blog  | All about Russia in English

• About our blog
• RussiaTrek.org

Sidebar →

• Architecture
• Entertainment
• RussiaTrek.org News

• Send us a tip with a message
• Support RussiaTrek.org
• Travel Guide to Ukraine
• Comments RSS

← Sidebar

The trains and stations of the Moscow Metro

2 Comments · Posted by Alex Smirnov in Cities , Travel , Video

The Moscow Metro is the third most intensive subway system in the world after Tokyo and Seoul subways. The first line was opened on May 15, 1935. Since 1955, the metro has the name of V.I. Lenin.

The system consists of 12 lines with a total length of 305.7 km. Forty four stations are recognized cultural heritage. The largest passenger traffic is in rush hours from 8:00 to 9:00 and from 18:00 to 19:00.

Cellular communication is available on most of the stations of the Moscow Metro. In March 2012, a free Wi-Fi appeared in the Circle Line train. The Moscow Metro is open to passengers from 5:20 to 01:00. The average interval between trains is 2.5 minutes.

The fare is paid by using contactless tickets and contactless smart cards, the passes to the stations are controlled by automatic turnstiles. Ticket offices and ticket vending machines can be found in station vestibules.

Tags:  Moscow city

You might also like:

The bridge over Zolotoy Rog Bay in Vladivostok

The views of St. Petersburg from the TV tower >>

Tomás · August 27, 2012 at 11:34 pm

The Moscow metro stations are the best That I know, cars do not.

Alberto Calvo · September 25, 2016 at 8:57 pm

Great videos! Moscow Metro is just spectacular. I actually visited Moscow myself quite recently and wrote a post about my top 7 stations, please check it out and let me know what you think! :)

http://www.arwtravels.com/blog/moscow-metro-top-7-stations-you-cant-miss

Leave a Reply

XHTML: You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

• February 2024
• January 2024
• December 2023
• November 2023
• October 2023
• September 2023
• August 2023