A Sign Painting Exhibition Par Excellence

Summer 2024 will live long in the memory after my visit to an extraordinary exhibition: George Biles: King of Signwriters. It was mounted in Bridport, Dorset, across three venues—The British Legion Hall, Bridport Arts Centre, and the Bridport Museum—with material drawn from numerous sources.

In addition to signs from Palmers Brewery, there were theatrical backdrops from the local dramatic society, and a sampling of the vast collection of drawings, photographs, press clippings, and signs saved by Ken Allen following Biles' death in 1987. (Read the previous biographical post about Biles' life and work.)

The British Legion Hall was one of three three venues that hosted George Biles: King of Signwriters.

The show, curated by Jemma Thompson, was remarkable on myriad counts, but what stood out above all was the mastery on display across the full spectrum of sign painting and lettering disciplines. Biles' Signs Service Studio turned out illuminated manuscripts, mural signs, heraldry, scenic backdrops, and gilded transoms, in addition to its bread and butter of commercial signs of all kinds. Pictorial work was a speciality, and his swing signs for pubs were noteworthy for using both sides to tell a story, rather than the easy option of repeating the same illustration on each one.

Promotional piece for Signs Service Studio, the business run by George Biles in his native Bridport, Dorset.

The following is just a taster of what I saw in a few hours, where I could have easily spent 2–3 days taking it all in. I've also included material from a couple of extra-curricular visits that we made to Palmers Brewery and the Lord Nelson pub.

Having seen the show, I can honestly say that this is a truly unique collection, and worthy of greater exposure. Hats off to Jemma and everyone involved in pulling together this incredible display of the sign painter's craft; I hope it won't be a one-off.

And thank you to to Jemma for taking me and my wonderful companions for the day under your wing. We were totally spoiled!

Team Biles for a day (from left): Ken Allen, Sarah Hyndman at Type Tasting, Jemma Thompson, me, Andy from AJ Signs, and Joe Coleman. Photo: David Parnell.

Signs, Signs, Signs

Let's kick off with the basics: some signs.

This sign was painted by George Biles' first apprentice, Jimmy Hallett, in 1947. It was for The Smith Arms, which became the smallest pub in England when Charles II granted a licence to his blacksmith so that he could keep refreshed while his horse was being shod.

The use of white lettering in a blue band underneath a pictorial was a characteristic feature of Biles' work for Palmers Brewery.

The signs on show from Palmers Brewery have been kept for years in one of their storage lofts. Jemma introduced us to Luke Machin at the brewery who took us on a tour, and showed us this treasure trove.

More of the Palmers Brewery signs that there just wasn't room for in the exhibition. Fortunately, the entire collection has been professionally photographed within the scope of the National Lottery Heritage Fund grant that made the exhibition possible.

This short film is a charming look at Biles' work for Palmers, and it was playing on a loop for visitors to The British Legion Hall.

TV segment profiling George Biles and his work for Palmers Brewery on YouTube.

The Drawings

Biles was loath to throw anything away and, as a result, the material saved from his studio includes hundreds of drawings.

Rolls and rolls of drawings displayed in The British Legion Hall.

Drawing for Palmers Brewery.

Drawings with pictorials, lettering, and their use in combination.

Lettering for Biles' hometown of Bridport, Dorset.

Before & After

In many cases the drawings were matched to finished signs. These included full layouts, but also smaller studies for specific pictorial elements.

Groves Nurseries

Large 1987 sign board for Groves Nurseries.

The writer of this brilliant copy remains anonymous: "Mary, Mary, is not so contrary, for see how her garden grows. With plants and seeds and garden needs, all supplied by Groves."

This drawing appears to be either for another sign board for the same customer, or how the one above once looked before some of the changes that included opening on Sundays, and the new-format phone number.

The finished sign includes the studio signature, and is dated June 1987. Biles died in December that year.

Bridport Royal Charter Pageant

This drawing by George Biles was the beginning of the process that led to the finished poster that appeared around Bridport in 1953.

Boot Inn

The study produced ahead of the final swing sign for the Boot Inn.

Welcome to Bridport

This sign dates to 1981, and was one of a series that marked the entrances to Bridport for around 30 years. The maiden's nickname is 'Spirit of Bridport' and Biles took this element of the sign from a painting by Francis Henry Newbery in Bridport Town Hall.

Drawing for the same sign at slightly different proportions.

Tools of the Trade

A mockup of Biles studio with an easel and various of his original tools and materials. And brushes, mahl stick, and palette.

Theatrical Backdrops

Biles produced many of these pieces for the local theatrical group, typically without charge.

"He would use water-based emulsion paints for the cloths. Buckets and buckets of it." — Keith Cast

Mountain scene.

"He'd throw one end over a dexion display unit and then hoist the other end up until it was lever, then he'd just paint. Saw it all in his head. Occasionally stopping and rolling the completed part and then just carrying on. Proper artist, artisan." — David Jeanes, lighting and scenery for Bridport Panto.

One of Biles' theatrical backdrops on display in The British Legion Hall.

This woodland scene was painted in May 1958 by James (Jimmy) Hallett who was Biles' first apprentice and worked at the studio for 46 years.

Calligraphy & Illumination

The breadth of the studio's output is reflected in the contrast between the backdrops above and these examples of calligraphy and illumination.

Honouring Harry Philip Castree on the 50th anniversary of his membership of St Mary's Lodge in Bridport. These pieces were carefully planned out in pencil before taking out the ink.

Plans for calligraphic pieces.

I's left undotted and T's left uncrossed to efficiently turn out this plan for a text-heavy piece.

Freedom of the borough granted to Edward John Rees in 1964.

Zooming In

And even in the bigger pieces, there is astonishing detail.

Pictorial details from signs.

Pictorial details from theatrical backdrops.

Photo Album

Another layer was added to everything by the numerous photos and press clippings on display.

Biles' apprenticeship indenture, and a photo of him on his first day with Frederick Barrett & Sons in 1914.

Archival photos of the studio, and an elderly Biles still on the brush at height.

Having seen work in the flesh, one can only imagine how these would have looked in colour.

Lettering and pictorial work in combination on this wide-format sign for B.G. Wyatt Ltd.

Fariground art and lettering for Townsends.

Large wall sign for the William Whittle florist, and Biles on the brush for Rendell & Son butchers.

Bridport Bonus

Having Jemma as our guide for the day meant that we got to see some of Biles' surviving work in the wild around Bridport.

A well-preserved gilded transom window with decorative acanthus leaf corners.

This ghost sign for Rax Dairy is a shadow of its former self. The second photo was taken by Keith Roberts in 2008.

Still giving orders after all these years, and attempts to cover them.

And a couple of pieces by Jemma herself. (See more work from Jemma in my post about Summer 2024 at large.)

Jemma Thompson's directional signage for Fruits of the Earth and the George Biles exhibition.

One for the Road

We finished the day in the pub, so let's do the same here, with this large-scale painting for the Coach & Horses.

The exhibition was brought together by Jemma Thompson with support from Palmers Brewery, Bridport Town Council, and a grant from the National Lottery Heritage Fund.