[McBean, Angus] Woodhouse, Adrian. Angus McBean. Text by Adrian Woodhouse. First Edition. London/Sydney, Macdonald, 1985. 30cm x 26cm. 64 unnumbered pages. Original softcover. Very good condition with some minor signs of external wear. [Masters of Photography]

Angus McBean (8 June 1904 – 9 June 1990), was a Welsh photographer, associated with surrealism.
Angus McBean was born in South Wales in June 1904. Despite the surname and the family’s claim to be head of the sub-clan McBean, they had been Welsh for generations. Clem McBean was a surveyor in the mines and the family moved frequently around Wales with his job. Fascinated by the apparently magical properties of photography, Angus wanted to be able to take pictures of people and sold a gold watch left to him by his grandfather to raise the five pounds necessary for the equipment.
In 1925, after his father’s early death, McBean moved with his mother and younger sister to Glasgow. He worked for Liberty’s department store in the antiques department learning restoration, while his personal life was spent in photography, mask-making and watching plays in the West End theatre. In 1932 he left Liberty and grew his distinctive beard to symbolize the fact that he would never be a wage-slave again. He then worked as a maker of theatrical props, including a commission of medieval scenery for John Gielgud’s 1933 production of Richard of Bordeaux.
McBean’s masks became a talking point in social columns, and were much admired by the leading Bond Street photographer Hugh Cecil. Cecil offered McBean an assistant’s post at his Edinburgh studio, and having learnt the secrets of Cecil’s softer style and after using the studio at night, McBean set up his own studio 18months later in a basement in Belgrave Road, Victoria, London.
The artist McBean as he was still known as a mask maker, gained a commission in 1936 from Ivor Novello for masks for his play “The Happy Hypocrite.” Novello was so impressed with McBean’s romantic photographs that he commissioned him to take a set of production photographs as well, including young actress Vivien Leigh. The results, taken on stage with McBean’s idiosyncratic lighting, instantly replaced the set already made by the long-established but stolid Stage Photo Company. McBean had a new career and a photographic leading lady: he was to photograph Vivien Leigh on stage and in the studio for almost every performance she gave until her death thirty years later.

McBean resultantly became one of the most significant portrait photographers of the 20th century, and was known as a photographer of celebrities. In the Spring of 1942 his career was temporarily ruined when he was arrested in Bath for criminal acts of homosexuality. He was sentenced to four years in prison and was released in the autumn of 1944. After the Second World War, McBean was able to successfully resume his career.
There were in effect two periods to McBean’s career, his pre- and post-war phases. Pre-war he was a lot more confident in himself and experimented successfully with surrealism, indeed his work with the likes of Vivien Leigh are some of the most accessible surrealist photographic images known. Post war he reverted to a more regular style of portraiture photography, nearly always working with the entertainment and theatre profession.

In 1945, not sure whether he would find work again, McBean set up a new studio in a bomb-damaged building in Endell Street, Covent Garden. He sold his Soho camera for £35, and bought a new half-plate Kodak View monorail camera to which he attached his trusted Zeiss lenses. McBean was commissioned first by the Stratford Memorial Theatre to photograph a production of Anthony and Cleopatra, and all his former clients quickly returned. Through the late 1940s and 50s he was the official photographer at Stratford, the Royal Opera House, Sadler’s Wells, Glyndebourne, the Old Vic and at all the productions of H. M. Tennent, servicing the theatrical, musical and ballet star system. (An example of his work in this genre from 1951 can be seen on the page about Anne Sharp, whom he photographed in a role in one of Benjamin Britten’s operas.) Magazines such as the Daily Sketch and Tatler vied to commission McBean’s new series of surreal portraits. In 1952 he photographed Pamela Green as Botticelli’s Venus, with David Ball his boyfriend as Zephyrus.
McBean’s later works included being the photographer for the cover of The Beatles’ first album (Please Please Me – 1963), as well as covers art for other performers, surrealist work as well as portrait photographs of individuals such as Agatha Christie, Audrey Hepburn, Laurence Olivier and Noël Coward. Both periods or his work (pre and post war) are now eagerly sought by collectors and his work sits in many major collections around the world.
Two figures have prevented McBean from gaining more fame: Cecil Beaton (thanks to his lavish lifestyle and work for Vogue and the British royal family); and David Bailey, who much later (1960s) was close to Cecil Beaton both personally and in terms of style. McBean did not enjoy this level of fame either in his life or after death, even though he was arguably the better technically and artistically. Additionally McBean’s focus on the world of theatre (particularly London’s West End) did not give him international recognition. In 2007 seven original colour transparencies by McBean were accidentally thrown in the bin at the HQ of EMI. (Wikipedia)

• Keywords: Photographic History & Techniques · Photography · Photography
• Language: English
• Inventory Number: 120BB

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