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{{Short description|English painter}}
{{Use British English|date=September 2013}}
{{Use dmy dates|date=January 2024}}
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[[File:Ivor Beddoes July 1974.tif|thumbnail|right|Beddoes in 1974]]
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'''Ivor William Gilmour Beddoes''' (28 April 1909 – 14 March 1981) was a British [[matte painting|matte]] painter, sketch and [[storyboard artist]], [[Costume designer|costume]] and [[Scenic design|set designer]], painter, dancer, composer and poet. He is best known for his film work, spanning more than thirty years, from ''[[Black Narcissus]]'' and ''[[The Red Shoes (1948 film)|The Red Shoes]]'' to ''[[Star Wars (film)|Star Wars]]'' and ''[[Superman (1978 film)|Superman]]''.


==Early life and education==
{{AFC submission|t||ts=20121110154617|u=Julia Dunn|ns=5}}
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Beddoes was born in [[Muswell Hill]], North London, the eldest child of Rex and Helen (née Laird) Beddoes. As a child he studied the piano and joined in with his younger sister Gwen's dance classes. They performed song and dance acts at the frequent family musical evenings and later at local [[Concert party (entertainment)|concert parties]].
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'''Ivor William Gilmour Beddoes''' (28th April 1909 - 14th March 1981) was a British [[matte painting|matte]] painter, sketch and [[storyboard artist]], costume and set designer, painter, dancer, composer and poet. He is best known for his film work, spanning more than thirty years, from ''[[Black Narcissus]]'' and ''[[The Red Shoes (1948 film)|The Red Shoes]]'' to ''[[Star Wars Episode IV: A New Hope|Star Wars]]'' and ''[[Superman (film)|Superman]]''.
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[[File:Ivor Beddoes July 1974.tif|thumbnail|right]]
==Early Years==
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Beddoes was born in [[Muswell Hill]], North London, the eldest child of Rex and Helen (née Laird) Beddoes. As a child he studied the piano and joined in with his younger sister Gwen's dance classes. They performed song and dance acts at the frequent family musical evenings and later at local [[Concert party (entertainment)|concert parties]].


He attended [[Fortismere School|Tollington School]], at fifteen winning a scholarship to the Hampstead School of Art and at its closure after two years he was transferred to [[Hornsey College of Art]]. A few months after beginning his art study Beddoes was invited by Horace (Hodge) Bryant to join his concert party, working at least two nights a week during the summer season and eventually performing on every bandstand in London. The money he earned from this enabled him to buy the art materials he needed to continue his study.
He attended [[Tollington School]], at fifteen winning a scholarship to the Hampstead School of Art and at its closure after two years he was transferred to [[Hornsey College of Art]]. A few months after beginning his art study, Beddoes was invited by Horace (Hodge) Bryant to join his concert party, working at least two nights a week during the summer season and eventually performing on every bandstand in London. The money he earned from this enabled him to buy the art materials he needed to continue his study.
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==Stage Career==
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In 1927 Beddoes was spotted by <ref>{{cite web|title=Dick Tubb|url=http://www.imdb.com/name/nm0875615/|publisher=IMDb|accessdate=27 November 2012}}</ref>Dick Tubb and gave up the idea of a career in art to tour as juvenile lead in ''The Bird's Nest''. Having in his early teens taught himself to play the drums and read music, he also joined the orchestra to play jazz in the interval. In 1929 he became a drummer for the silent films until the talkies put him out of a job.


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==Stage career==
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Although he still wanted to pursue an artistic career, with the dire [[Great Depression|financial crisis of that time]] it was almost impossible to find commercial art work. In 1930 he was hired for a summer seaside concert party and at the end of the season was taken by his agent to the [[Arts Educational Schools, London|Cone School of Dance]] who were looking for a male dancer to partner one of their students. So at the age of 21 he took his place in a class of young girl students to learn the elementary technique of [[Barre (ballet)|barre]] and centre practice.
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In 1927 Beddoes was spotted by <ref>{{cite web|last=Tubb|first=Dick|title=BFI Dick Tubb filmography|url=http://explore.bfi.org.uk/4ce2ba937c978|archive-url=https://web.archive.org/web/20120721172405/http://explore.bfi.org.uk/4ce2ba937c978|url-status=dead|archive-date=21 July 2012|accessdate=18 January 2013}}</ref><ref>{{cite web|last=Tubb|first=Dick|title=Theatricalia|url=http://theatricalia.com/person/njb/dick-tubb|accessdate=18 January 2013}}</ref> Dick Tubb and gave up the idea of a career in art to tour as juvenile lead in ''The Bird's Nest''. Having in his early teens taught himself to play the drums and read music, he also joined the orchestra to play jazz in the interval. In 1929 he became a drummer for the [[silent film]]s until the [[Sound film|talkies]] put him out of a job.


⚫
Although he still wanted to pursue an artistic career, with the [[Great Depression|financial crisis of that time]] it was almost impossible to find [[commercial art]] work. In 1930 he was hired for a summer seaside concert party and at the end of the season was taken by his agent to the [[Arts Educational Schools, London|Cone School of Dance]] who were looking for a male dancer to partner one of their students. So at the age of 21 he took his place in a class of young girl students to learn the elementary technique of [[Barre (ballet)|barre]] and centre practice.
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Beddoes worked as a chorus boy, tap dancer and singer in several revues until he was unexpectedly asked to join the <ref>{{cite book|last=Adshead-Landale, Layson|first=Janet, June|title=Dance History: An Introduction|year=1994|publisher=Routledge|location=London|isbn=0-203-13736-1|pages=148|url=http://books.google.com/?id=D-cf2ecvqEAC&pg=PA148&lpg=PA148&dq=camargo+society#v=onepage&q=camargo%20society&f=false.}}</ref>Camargo Society who, at the time, were recruiting male dancers and was sent to [[Ninette de Valois]] who he partnered in one of her ballets ''<ref>{{cite book|last=Ryan|first=June|title=Ballet History|year=1960|publisher=Methuen|location=London|pages=42|url=http://books.google.com/?id=F7oOAAAAQAAJ&pg=PA42&lpg=PA42&dq=les+petits+riens+ninette+de+valois#v=onepage&q=les%20petits%20riens%20ninette%20de%20valois&f=false}}</ref>Les Petits Riens''. He was subsequently invited to join the [[Vic-Wells Ballet]], forerunner to the [[Royal Ballet]], but had to decline the offer because he would not have been able to survive on the wages as he was hoping to get married. He went back to the commercial, musical side of theatre appearing in several shows including ''The Hour Glass'', ''Helen'', <ref>{{cite web|title=Bow Belles|url=http://www.guidetomusicaltheatre.com/shows_b/bowbells.htm|accessdate=27 November 2012}}</ref>''Bow Bells'' and <ref>{{cite web|title=The Golden Toy|url=http://www.guidetomusicaltheatre.com/london_shows_chronology/1934.htm|accessdate=27 November 2012}}</ref>''The Golden Toy''. During the tour of the latter show, Beddoes was asked, along with <ref>{{cite web|last=Spurgeon|first=Jack|title=Obituary|url=http://www.independent.co.uk/news/people/obituary-jack-spurgeon-1421563.html|publisher=The Independant|accessdate=27 November 2012}}</ref>Jack Spurgeon, one of the other dancers, to learn the show's existing tumbling act in 2 weeks, which they did, painfully. At the end of the run they were booked to take the act to the [[Windmill Theatre]] for a three week show.


⚫
Beddoes worked as a chorus boy, tap dancer and singer in several revues until he was unexpectedly asked to join the <ref>{{cite book|last=Adshead-Landale, Layson|first=Janet, June|title=Dance History: An Introduction|year=1994|publisher=Routledge|location=London|isbn=0-203-13736-1|pages=148|url=https://books.google.com/books?id=D-cf2ecvqEAC&dq=camargo+society.&pg=PA148}}</ref> Camargo Society who, at the time, were recruiting male dancers and was sent to [[Ninette de Valois]] who he partnered in one of her ballets ''<ref>{{cite book|last=Ryan|first=June|title=Ballet History|year=1960|publisher=Methuen|location=London|pages=42|url=https://books.google.com/books?id=F7oOAAAAQAAJ&dq=les+petits+riens+ninette+de+valois&pg=PA42}}</ref> Les Petits Riens'' as well as appearing in ''Rout'',<ref>{{cite book|last=Bedells|first=Phyllis|title=My Dancing Days|url=https://archive.org/details/mydancingdays006128mbp|year=1954|publisher=Phoenix House Ltd|location=London|pages=[https://archive.org/details/mydancingdays006128mbp/page/n198 168]}}</ref> ''[[La création du monde]]'' and ''Job''. He was subsequently invited to join the Vic-Wells Ballet, forerunner to the [[Royal Ballet]], but had to decline the offer because he would not have been able to survive on the wages as he was hoping to get married. He went back to the commercial, musical side of theatre appearing in several shows including ''The Hour Glass'', ''Helen'',<ref>{{cite web|title=Bow Belles|url=http://www.guidetomusicaltheatre.com/shows_b/bowbells.htm|accessdate=27 November 2012}}</ref> ''Bow Bells'' and <ref>{{cite web|title=The Golden Toy|url=http://www.guidetomusicaltheatre.com/london_shows_chronology/1934.htm|accessdate=27 November 2012}}</ref>''The Golden Toy''. During the tour of the latter show, Beddoes was asked, along with <ref>{{cite news|last=Spurgeon|first=Jack|title=Obituary|url=https://www.independent.co.uk/news/people/obituary-jack-spurgeon-1421563.html|work=The Independent|accessdate=27 November 2012|location=London|date=10 June 1994}}</ref> Jack Spurgeon, one of the other dancers, to learn the show's existing [[acrobatics|tumbling act]] in two weeks, which they did, painfully. At the end of the run they were booked to take the act to the [[Windmill Theatre]] for a three-week show.
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Beddoes stayed at the Windmill for six years as a ballet dancer, character actor in the comedy sketches and singer/dancer in the musical ensemble scenes. Later he became choreographer for the ballets as well as set and costume designer all while performing five shows a day. Through Mrs. [[Laura Henderson]], Beddoes was introduced to [[John Ireland (composer)|John Ireland]] who accepted him as a pupil in [[harmony]] and [[counterpoint]]. He then began to compose and orchestrate his own music for the ballets and [[Tableaux vivants|tableaux]].

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Beddoes stayed at the Windmill for six years as a ballet dancer, [[character actor]] in the comedy sketches and singer/dancer in the [[musical ensemble]] scenes. Later he became [[Choreography (dance)|choreographer]] for the ballets as well as set and costume designer, all while performing five shows a day. Through Mrs. [[Laura Henderson]], Beddoes was introduced to [[John Ireland (composer)|John Ireland]] who accepted him as a pupil in [[harmony]] and [[counterpoint]]. He then began to compose and orchestrate his own music for the ballets and [[Tableaux vivants|tableaux]].

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On 28 September 1940, at the end of six weeks of Production No.136, Beddoes walked off the stage for the last time. He became a stretcher bearer for the Ambulance Service in [[West Hampstead]] during the [[The Blitz|London Blitz]] and after a few months was [[Conscription in the United Kingdom|conscripted]] into the British Army.


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On the 28th September 1940, at the end of six weeks of Production No.136, Beddoes walked off the stage for the last time. He became a stretcher bearer for the Ambulance Service in [[West Hampstead]] during the [[The Blitz|London Blitz]] and after a few months was called up into the British Army.
==Wartime==
==Wartime==
In early 1941 Beddoes Sailed for the Middle East as a [[drafter|draughtsman]] for the [[Royal Corps of Signals|Royal Signals Corps]]. He served in the [[Western Desert Campaign|Western Desert]] for 18 months until the retreat to [[El Alamein]], he was then posted to [[Alexandria]] and later to [[Mersa Matruh]]. After an appeal was sent out for theatre professionals to join the Field Entertainment Unit, he was hired by [[Torin Thatcher]] and moved on to [[Cairo]]. There he produced plays, concert parties and revues and worked with the group until his demobilisation in January 1946.
In early 1941 Beddoes sailed for the Middle East as a [[drafter|draughtsman]] for the [[Royal Corps of Signals|Royal Signals Corps]]. He served in the [[Western Desert Campaign|Western Desert]] for 18 months until the retreat to [[El Alamein]], he was then posted to [[Alexandria]] and later to [[Mersa Matruh]]. After an appeal was sent out for theatre professionals to join the Field Entertainment Unit, he was hired by [[Torin Thatcher]] and moved on to [[Cairo]]. There he produced plays, concert parties and revues and worked with the group until his [[Demobilisation of the British Armed Forces after World War II|demobilisation]] in January 1946.


During his five years in Egypt, Beddoes made extensive studies of Egyptian life, history, costume and music, learning Arabic by studying and mixing with the local Egyptian people. He also produced a huge number of sketchbooks and <ref>{{cite web|title=Imperial War Museum|url=http://www.iwm.org.uk/collections/item/object/1050001082|accessdate=27 November 2012}}</ref>paintings, some of which are now owned by the [[Imperial War Museum]] as well as writing several books of poetry.
During his five years in Egypt, Beddoes made extensive studies of Egyptian life, history, costume and music, learning Arabic by studying and mixing with the local Egyptian people. He also produced a huge number of sketchbooks and<ref>{{cite web|title=Imperial War Museum|url=http://www.iwm.org.uk/collections/item/object/1050001082|accessdate=27 November 2012}}</ref> paintings, some of which are now owned by the [[Imperial War Museum]], as well as writing several books of poetry.
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==Film Career==
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With no prospect of returning to his stage career, Beddoes tried unsuccessfully for any job that would take him back to Egypt so that he could continue his studying. Finally, through his brother-in-law [[John Cox (sound engineer)|John Cox]] who, from the <ref>{{cite web|title=Army Film Unit|url=http://www.afpu.co.uk/|accessdate=27 November 2012}}</ref>Army Film Unit had taken over the sound department of [[Shepperton Studios]], he gained a series of introductions to [[Art Director|Art Directors]]. In Spring 1946 he met [[Alfred Junge]], who, after seeing the work that he had produced in Egypt, took him on to learn to be a sketch artist. He started working on ''[[Black Narcissus]]'' immediately, learning on the job, which also included painting the Indian murals and designing the titles. At the end of this film he joined [[Hein Heckroth]] to work on ''[[The Red Shoes (1948 film)|The Red Shoes]]'' and they worked together for the next five years designing sets, costumes and titles.


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==Film career==
Whilst working on ''The Red Shoes'' they came across a technical problem and Beddoes was sent to [[Technicolor]], along with <ref>{{cite web|title=Jozef Natanson|url=http://uk.imdb.com/name/nm0622174/|accessdate=27 November 2012}}</ref>Józef Natanson, to learn matte painting with <ref>{{cite web|title=Douglas Hague|url=http://uk.imdb.com/name/nm0353834/|accessdate=27 November 2012}}</ref>Duggie Hague ([[Walter Percy Day|Poppa Day's]] technical cameraman) instructing them. It was by trial and error that they learned the process of painting on glass. At one point Heckroth brought [[Michael Powell (director)|Michael Powell]] over to Technicolor to see the mattes that they were working on and from this meeting Beddoes was invited to become a permanent member of [[Powell and Pressburger|The Archers]].
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With no prospect of returning to his stage career, Beddoes tried unsuccessfully for any job that would take him back to Egypt so that he could continue his studying. Finally, through his brother-in-law [[John Cox (sound engineer)|John Cox]] who, from the <ref>{{cite web|title=Army Film Unit|url=http://www.afpu.co.uk/|accessdate=27 November 2012}}</ref> Army Film Unit had taken over the sound department of [[Shepperton Studios]], he gained a series of introductions to [[Art Director]]s. In Spring 1946 he met [[Alfred Junge]], who, after seeing the work that he had produced in Egypt, took him on to learn to be a sketch artist. He started working on <ref>{{cite book |last=Street |first=Sarah |title=Black Narcissus (British Film Guides) |year=2005 |publisher=I.B.Tauris |location=London |isbn=1845110463 |pages=91 |url=https://books.google.com/books?id=3iB1IqvrCLcC&dq=%22Ivor+Beddoes%22&pg=PA91}}</ref>''[[Black Narcissus]]'' immediately, learning on the job, which also included painting the Indian [[mural]]s and designing the [[Film title design|titles]]. At the end of this film he joined [[Hein Heckroth]] to work on ''[[The Red Shoes (1948 film)|The Red Shoes]]'' and <ref>{{cite book|last=Gibbon|first=Monk|title=The Red Shoes Ballet|url=https://archive.org/details/redshoesballetcr00gibb|url-access=registration|year=1948|publisher=Saturn Press|location=London|pages=[https://archive.org/details/redshoesballetcr00gibb/page/54 54], 55, 56, 81}}</ref> they worked together for the next five years [[Scenic design|designing sets]],<ref>{{cite web|last=Powell and Pressburger|title=Powell & Pressburger Images – ''The Red Shoes'' (1948)|url=http://www.powell-pressburger.org/Images/48_TRS/Designs/index.html|accessdate=18 January 2013}}</ref> [[Costume designer|costumes]] and [[Film title design|titles]].


Whilst working on ''The Red Shoes'' they came across a technical problem and Beddoes was sent to [[Technicolor]], along with <ref>{{cite web|last=Natanson|first=Jozef|title=BFI film database|url=http://ftvdb.bfi.org.uk/sift/individual/367321|archive-url=https://web.archive.org/web/20090124112550/http://ftvdb.bfi.org.uk/sift/individual/367321|url-status=dead|archive-date=24 January 2009|accessdate=18 January 2013}}</ref><ref>{{cite web|last=Natanson|first=Jozef|title=Jozef Pawel Natanson – A Fortunate Painter|url=http://www.bu.umk.pl/archiwum_emigracji/Nat2.htm|accessdate=18 January 2013|archive-url=https://archive.today/20130416113127/http://www.bu.umk.pl/archiwum_emigracji/Nat2.htm|archive-date=16 April 2013|url-status=dead}}</ref> Józef Natanson, to learn [[matte painting]] with <ref>{{cite web|last=Hague|first=Douglas|title=BFI filmography|url=http://explore.bfi.org.uk/4ce2bbd914755|archive-url=https://web.archive.org/web/20120722052858/http://explore.bfi.org.uk/4ce2bbd914755|url-status=dead|archive-date=22 July 2012|accessdate=18 January 2013}}</ref> Duggie Hague, ([[Walter Percy Day|'Poppa' Day's]] technical cameraman), instructing them. It was by trial and error that they learned the process of painting on glass. At one point Heckroth brought [[Michael Powell]] over to Technicolor to see the <ref>{{cite web|last=NZ Pete|title=THE RED SHOES - Powell & Pressburger: a retrospective look at the matte shots and optical composites in this classic British film.|url=http://nzpetesmatteshot.blogspot.co.uk/2010/06/red-shoes-powell-pressburger.html|accessdate=18 January 2013}}</ref> mattes that they were working on and from this meeting Beddoes was invited to become a permanent member of [[Powell and Pressburger|The Archers]].
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In 1952, when the slump in film making caused widespread unemployment, Technicolor invited him to join them as art director, matte painter and colour consultant. In 1956 Beddoes was sent to [[Bombay]] to open an art department at <ref>{{cite web|title=Ramnord Research Laboratories|url=http://www.bollywoodhungama.com/movies/company/type/view/id/38722|accessdate=27 November 2012}}</ref>Technicolor/Ramnord to teach Indian film makers western methods, create a matte department and to lecture as required. He stayed for one year, training Indian painters and draughtsmen and working on the initial stages of ''[[Pakeezah |Pakeezah]]''.


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In 1952, when the slump in film making caused widespread unemployment, Technicolor invited him to join them as art director, matte painter and <ref>{{cite web|title=Colour consultant|url=http://www.filmreference.com/encyclopedia/Academy-Awards-Crime-Films/Color-THREE-STRIP-TECHNICOLOR.html|accessdate=17 January 2013}}</ref> colour consultant. In 1956 Beddoes was sent to [[Bombay]] to open an art department at <ref>{{cite web|title=Ramnord Research Laboratories|website=[[Bollywood Hungama]] |url=http://www.bollywoodhungama.com/movies/company/type/view/id/38722|archive-url=https://web.archive.org/web/20120508061720/http://www.bollywoodhungama.com/movies/company/type/view/id/38722|url-status=dead|archive-date=8 May 2012|accessdate=27 November 2012}}</ref> Technicolor/Ramnord to teach Indian film makers western methods, create a matte department and to lecture as required. He stayed for one year, training Indian painters and draughtsmen and working on the initial stages of ''[[Pakeezah]]''.
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On his return from India, Beddoes was loaned by Technicolor to Michael Powell to work in Madrid for almost a year on ''[[Honeymoon (1959 film)|Honeymoon (Luna de Miel)]]''. He designed sets and all of the costumes for the ballets, ''[[Honeymoon (1959 film)|El Amor Brujo]]'' and ''[[Honeymoon (1959 film)|Los Amantes de Teruel]]'', as well as painting the matte shots. He collaborated twice more on projected films, ''Hassan'' in 1959 and ''The Tempest'' in 1973; neither of these films were made.

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On his return from India, Beddoes was loaned by Technicolor to Michael Powell to work in [[Madrid]] for almost a year on<ref>{{cite book|last=Christie|first=Ian|title=Powell, Pressburger and Others|year=1978|publisher=British Film Institute|location=London|isbn=0-85170-086-1|pages=45}}</ref>[[Honeymoon (1959 film)|Honeymoon]] . He designed sets and all of the costumes for the ballets, ''El Amor Brujo'' and ''Los Amantes de Teruel'', as well as painting the matte shots. He collaborated twice more with Michael Powell on projected films, ''Hassan'' in 1959 and <ref>{{cite web|title=The Tempest|url=http://www.powell-pressburger.org/NotMade.html|accessdate=17 January 2013}}</ref>''The Tempest'' in 1973; neither of these films were made.

Beddoes left Technicolor in June 1959 when his department was closed down owing to the introduction of Eastmancolor and went on to work on more than fifty films. He assisted [[Ken Adam]] on several films including <ref>{{cite book|last=Frayling|first=Christopher|title=Ken Adam: And the Art of Production Design|year=2005|publisher=Macmillan|isbn=0571220576|pages=192|url=https://books.google.com/books?id=ZTgYDTSQyz0C&dq=ivor+beddoes+ballet+dancer&pg=PA192}}</ref>''[[Goodbye, Mr. Chips (1969 film)|Goodbye Mr. Chips]]'', ''[[Diamonds Are Forever (film)|Diamonds are Forever]]'' and ''[[Barry Lyndon]]'' as well as advising on and building stage models for ''The Girl of the Golden West'' (''[[La fanciulla del West]]'') staged at the [[Royal Opera House]] in 1977.<ref>{{cite web|last=La Fanciulla del West|title=The Royal Opera House Collections Online|url=http://www.rohcollections.org.uk/production.aspx?production=1481|accessdate=18 January 2013}}</ref> He continued in the film industry until just before his death, working in his latter years on the <ref>{{cite book|last=Titelman|first=Carol|title=The Art of Star Wars – Episode IV – A New Hope|year=1994|publisher=Titan Books Ltd.|location=London|pages=94, 95|isbn=1-85286-583-0}}</ref><ref>{{cite book|last=Call|first=Deborah|title=The Art of Star Wars – Episode V – The Empire Strikes Back|year=1995|publisher=Titan Books Ltd.|location=London|isbn=1-85286-584-9|pages=175}}</ref><ref>{{cite book|last=Attias, Diana|first=Smith, Lindsay|title=The Empire Strikes Back Notebook|year=1980|publisher=Ballantine Books|location=New York|isbn=0-345-28834-3|pages=13, 32, 39, 40, 42, 43, 48, 49, 67, 70, 71, 72, 73, 78, 84, 85, 88, 89, 93, 98, 99}}</ref>''[[Star Wars (film)|Star Wars]]'' and <ref>{{cite book|last=Petrou|first=David|title=The Making of Superman the Movie|year=1978|publisher=W H Allen and Co. Ltd.|location=London|isbn=0-352-304529|pages=217}}</ref>''[[Superman (1978 film)|Superman]]'' films.

==Personal life==
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Beddoes married Janet Challenger in 1933. They met while he was studying ballet at the [[Arts Educational Schools, London|Cone School of Dance]] in 1930 and she was his teacher. They lived in [[West Hampstead]] and had two children Martin (1940–2007) and Julia (born 1947). Throughout his life he painted, composed music and wrote both poetry and journals on all aspects of his life, as well as creating a wonderful wildlife garden. He was a superb raconteur and continued his tumbling exploits, such as numerous [[physical comedy|comedy falls]], to amuse (or shock)<ref>{{cite web|last=Body|first=Martin|title=Ivor Beddoes: Trick falls|url=http://galeon.com/ilmmatteminiat/mattepainter/Beddoes.html}}</ref> onlookers well into his late sixties, always the performer.


Beddoes left Technicolor in June 1959 when his department was closed down owing to the introduction of [[Technicolor|Eastmancolor]] and went on to work on more than fifty films until just before his death, working in his latter years on the ''[[Star Wars]]'' and ''[[Superman (film)|Superman]]'' films.
==Family Life==
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Beddoes married Janet Challenger in 1933. They met while he was studying ballet at the Cone School of Dance in 1930 and she was his teacher. They lived in West Hampstead and had two children Martin (b.1940 - d.2007) and Julia (b.1947). Throughout his life he painted, composed music and wrote both poetry and journals on all aspects of his life, as well as creating a wonderful wildlife garden. He was a superb raconteur and continued his tumbling exploits, such as numerous [[pratfall|pratfalls]], to amuse (or shock) <ref>{{cite web|last=Body|first=Martin|title=Ivor Beddoes: Trick falls|url=http://galeon.com/ilmmatteminiat/mattepainter/Beddoes.html}}</ref>onlookers well into his late sixties, always the performer.
[[File:Ivor and Janet Beddoes dancing.jpg|thumbnail|right|Ivor and Janet Beddoes 1935]]
==Filmography==
==Filmography==
* ''[[Black Narcissus]]'' (1947) dir. Powell/Pressburger (scenic artist, uncredited)
* ''[[Black Narcissus]]'' (1947) dir. Powell/Pressburger (scenic artist, uncredited)
Line 39: Line 45:
* ''[[The Small Back Room]]'' (1949) dir. Powell/Pressburger (assistant art director, uncredited)
* ''[[The Small Back Room]]'' (1949) dir. Powell/Pressburger (assistant art director, uncredited)
* ''[[Gone to Earth (film)|Gone to Earth]]'' (1950) dir. Powell/Pressburger (assistant art director)
* ''[[Gone to Earth (film)|Gone to Earth]]'' (1950) dir. Powell/Pressburger (assistant art director)
* ''[[The Elusive Pimpernel]]'' (1950) dir. Powell/Pressburger (assistant designer)
* ''[[The Elusive Pimpernel (1950 film)|The Elusive Pimpernel]]'' (1950) dir. Powell/Pressburger (assistant designer)
* ''[[The Tales of Hoffmann (film)|The Tales of Hoffmann]]'' (1951) dir. Powell/Pressburger (assistant designer)
* ''[[The Tales of Hoffmann (film)|The Tales of Hoffmann]]'' (1951) dir. Powell/Pressburger (assistant designer)
* ''[[The Story of Robin Hood and His Merrie Men]]'' (1952) dir. Ken Annakin (sketch artist, uncredited)
* ''[[The Story of Robin Hood and His Merrie Men]]'' (1952) dir. Ken Annakin (sketch artist, uncredited)
Line 45: Line 51:
* ''[[Moulin Rouge (1952 film)|Moulin Rouge]]'' (1952) dir. John Huston (Technicolor colour consultant and special painting, uncredited)
* ''[[Moulin Rouge (1952 film)|Moulin Rouge]]'' (1952) dir. John Huston (Technicolor colour consultant and special painting, uncredited)
* ''[[Mogambo]]'' (1953) dir. John Ford (Technicolor colour consultant, uncredited)
* ''[[Mogambo]]'' (1953) dir. John Ford (Technicolor colour consultant, uncredited)
* ''[[Doctor in the House]]'' (1954) dir. Ralph Thomas (Technicolor colour consultant)
* ''[[Doctor in the House (film)|Doctor in the House]]'' (1954) dir. Ralph Thomas (Technicolor colour consultant)
* ''[[Attila (1954 film)|Attila]]'' (1954) dir. Pietro Francisci (special effects)
* ''[[Attila (1954 film)|Attila]]'' (1954) dir. Pietro Francisci (special effects)
* ''L'affaire des Poisons'' (1955) dir. Henri Decoin (Technicolor colour consultant, uncredited)
* ''[[L'affaire des Poisons]]'' (1955) dir. Henri Decoin (Technicolor colour consultant, uncredited)
* ''[[It's a Wonderful World (1956 film)|It's a Wonderful World]]'' (1956) dir. Val Guest (sketch artist, uncredited)
* ''[[It's a Wonderful World (1956 film)|It's a Wonderful World]]'' (1956) dir. Val Guest (sketch artist, uncredited)
* ''[[Seven Waves Away]]'' (1957) dir. Richard Sale (sketch artist, uncredited)
* ''[[Seven Waves Away]]'' (1957) dir. Richard Sale (sketch artist, uncredited)
* ''[[Honeymoon (1959 film)|Honeymoon]]'' ''(Luna de Miel)'' (1959) dir. Michael Powell (art director, costume design, matte artist)
* ''[[Honeymoon (1959 film)|Honeymoon]]'' ''(Luna de Miel)'' (1959) dir. Michael Powell (art director, costume design, matte artist)
* ''[[Gorgo (film)|Gorgo]]'' (1961) dir. Eugene Lourie (sketch artist, uncredited)
* ''[[Gorgo (film)|Gorgo]]'' (1961) dir. Eugene Lourie (sketch artist, uncredited)
* ''[[Invasion Quartet |Invasion Quartet]]'' (1961) dir. Jay Lewis (sketch artist, uncredited)
* ''[[Invasion Quartet]]'' (1961) dir. Jay Lewis (sketch artist, uncredited)
* ''[[The Roman Spring of Mrs. Stone]]'' (1961) dir. Jose Quintero (sketch artist, uncredited)
* ''[[The Roman Spring of Mrs. Stone]]'' (1961) dir. Jose Quintero (sketch artist, uncredited)
* ''[[Satan Never Sleeps|The Devil Never Sleeps]]'' (1962) dir. Leo McCarey (sketch artist, uncredited)
* ''[[Satan Never Sleeps|The Devil Never Sleeps]]'' (1962) dir. Leo McCarey (sketch artist, uncredited)
* ''[[Nine Hours to Rama]]'' (1963) dir. Mark Robson (sketch artist, set dresser, uncredited)
* ''[[Nine Hours to Rama]]'' (1963) dir. Mark Robson (sketch artist, set dresser, uncredited)
* ''[[The Haunting (1963 film)|The Haunting]]'' (1963) dir. Robert Wise (sketch artist)
* ''[[The Haunting (1963 film)|The Haunting]]'' (1963) dir. Robert Wise (sketch artist)
* ''[[The V.I.P.s |The V.I.P.s]]'' (1963) dir. Anthony Asquith (assistant art director, uncredited)
* ''[[The V.I.P.s (film)|The V.I.P.s]]'' (1963) dir. Anthony Asquith (assistant art director, uncredited)
* ''[[First Men in the Moon (1964 film)|First Men in the Moon]]'' (1964) dir. Nathan Duran (sketch artist, uncredited)
* ''[[First Men in the Moon (1964 film)|First Men in the Moon]]'' (1964) dir. Nathan Duran (sketch artist, uncredited)
* ''[[The Long Ships (film)|The Long Ships]]'' (1964) dir. Jack Cardiff (matte artist)
* ''[[The Long Ships (film)|The Long Ships]]'' (1964) dir. Jack Cardiff (matte artist)
* ''[[The Americanization of Emily]]'' (1964) dir. Arthur Hiller (assistant art director, sketch artist, uncredited)
* ''[[The Americanization of Emily]]'' (1964) dir. Arthur Hiller (assistant art director, sketch artist, uncredited)
* ''[[A Shot in the Dark (1964 film)|A Shot in the Dark]]'' (1964) dir. Blake Edwards (assistant art director - Paris location - sketch artist, uncredited)
* ''[[A Shot in the Dark (1964 film)|A Shot in the Dark]]'' (1964) dir. Blake Edwards (assistant art director – Paris location – sketch artist, uncredited)
* ''[[The Yellow Rolls-Royce]]'' (1964) dir. Anthony Asquith (sketch artist, uncredited)
* ''[[The Yellow Rolls-Royce]]'' (1964) dir. Anthony Asquith (sketch artist, uncredited)
* ''[[Murder Ahoy!]]'' (1964) dir. George Pollock (assistant art director on location in Cornwall and Gravesend, uncredited)
* ''[[Murder Ahoy!]]'' (1964) dir. George Pollock (assistant art director on location in Cornwall and Gravesend, uncredited)
Line 79: Line 85:
* ''[[Nicholas and Alexandra]]'' (1971) dir. Franklin J. Schnaffner (sketch artist, uncredited)
* ''[[Nicholas and Alexandra]]'' (1971) dir. Franklin J. Schnaffner (sketch artist, uncredited)
* ''[[Diamonds Are Forever (film)|Diamonds are Forever]]'' (1971) dir. Guy Hamilton (sketch artist, uncredited)
* ''[[Diamonds Are Forever (film)|Diamonds are Forever]]'' (1971) dir. Guy Hamilton (sketch artist, uncredited)
* ''[[Sleuth (1972 film)|Sleuth]]'' (1972) dir. Joseph L. Mankiewicz (sketch artist, model maker, uncredited)
* ''[[Sleuth (1972 film)|Sleuth]]'' (1972) dir. Joseph L. Mankiewicz (sketch artist, model maker, uncredited)
* ''[[Barry Lyndon]]'' (1975) dir. Stanley Kubrick (illustrator, uncredited)
* ''[[Barry Lyndon]]'' (1975) dir. Stanley Kubrick (illustrator, uncredited)
* ''[[The Seven-Per-Cent Solution (film)|The 7% Solution]]'' (1976) dir. Herbert Ross (sketch artist)
* ''[[The Seven-Per-Cent Solution (film)|The 7% Solution]]'' (1976) dir. Herbert Ross (sketch artist)
* ''[[Gulliver's Travels (1977 film)|Gulliver's Travels]]'' (1977) dir. Peter R. Hunt (sketch artist and titles)
* ''[[Gulliver's Travels (1977 film)|Gulliver's Travels]]'' (1977) dir. Peter R. Hunt (sketch artist and titles)
* ''[[Star Wars Episode IV: A New Hope|Star Wars]]'' (1977) dir. Geoge Lucas (sketch artist, uncredited)
* ''[[Star Wars (film)|Star Wars]]'' (1977) dir. George Lucas (sketch artist, uncredited)
* ''[[The Spy Who Loved Me (film)|The Spy Who Loved Me]]'' (1977) dir. Lewis Gilbert (sketch artist, uncredited)
* ''[[The Spy Who Loved Me (film)|The Spy Who Loved Me]]'' (1977) dir. Lewis Gilbert (sketch artist, uncredited)
* ''[[The Turning Point (1977 film)|The Turning Point]]'' (1977) dir. Herbert Ross (sketch artist, uncredited)
* ''[[The Turning Point (1977 film)|The Turning Point]]'' (1977) dir. Herbert Ross (sketch artist, uncredited)
* ''[[Superman (film)|Superman]]'' (1978) dir. Richard Donner (illustrator)
* ''[[Superman (1978 film)|Superman]]'' (1978) dir. Richard Donner (illustrator)
* ''[[The Empire Strikes Back]]'' (1980) dir. Irvin Kershner (sketch artist)
* ''[[The Empire Strikes Back]]'' (1980) dir. Irvin Kershner (sketch artist)
* ''[[Superman II]]'' (1980) dir. Richard Lester (matte artist and illustrator)
* ''[[Superman II]]'' (1980) dir. Richard Lester (matte artist and illustrator)
==Bibliography==
* {{cite book|last=Bedells|first=Phyllis|title=My Dancing Days|year=1954|publisher=Phoenix House Ltd.|location=London|page=168}}
* {{cite book|last=Gibbon|first=Monk|title=The Red Shoes Ballet|year=1948|publisher=Saturn Press|location=London|pages=54,55,56,81}}
* {{cite book|last=Christie|first=Ian|title=Powell, Pressburger and Others|year=1978|publisher=British Film Institute|location=London|isbn=0-85170-086-1|page=45}}
* {{cite book|last=Petrou|first=David|title=The Making of Superman the Movie|year=1978|publisher=W.H. Allen and Co. Ltd|location=London|isbn=0-352-304529|page=217}}
* {{cite book|last=Titelman|first=Carol|title=The Art of Star Wars - Episode IV - A New Hope|year=1994|publisher=Titan Books Ltd|location=London|isbn=1-85286-583-0|pages=94,95}}
* {{cite book|last=Call|first=Deborah|title=The Art of Star Wars - Episode V - The Empire Strikes Back|year=1995|publisher=Titan Books Ltd|location=London|isbn=1-85286-584-9|pages=175}}
* {{cite book|last=Attias, Diana|first=Smith, Lindsay|title=The Empire Strikes Back Notebook|year=1980|publisher=Ballantine Books|location=New York|isbn=0-345-28834-3|pages=13,32,39,40,42,43,48,49,67,70,71,72,73,78,84,85,88,89,93,98,99.}}



==References==
==References==
{{reflist}}
{{Reflist}}
⚫
==External Links==
* http://www.imdb.com/name/nm0065978/
⚫
* http://explore.bfi.org.uk/4ce2ba9f26bd2





{{AFC submission|t||ts=20121110154826|u=Julia Dunn|ns=5}}








⚫
==External links==
* {{Commons category-inline|Ivor Beddoes}}
⚫
* [https://web.archive.org/web/20120712204016/http://explore.bfi.org.uk/4ce2ba9f26bd2 BFI biography]


{{Authority control}}


{{DEFAULTSORT:Beddoes, Ivor}}
{{AFC submission|t||ts=20121110155954|u=Julia Dunn|ns=5}}
[[Category:1909 births]]
[[Category:1981 deaths]]
[[Category:20th-century English male actors]]
[[Category:20th-century English painters]]
[[Category:English male painters]]
[[Category:British Army personnel of World War II]]
[[Category:English war artists]]
[[Category:English male dancers]]
[[Category:English male stage actors]]
[[Category:People from Muswell Hill]]
[[Category:Royal Corps of Signals soldiers]]
[[Category:British storyboard artists]]
[[Category:20th-century English male artists]]

Latest revision as of 04:39, 14 November 2024

Beddoes in 1974

Ivor William Gilmour Beddoes (28 April 1909 – 14 March 1981) was a British matte painter, sketch and storyboard artist, costume and set designer, painter, dancer, composer and poet. He is best known for his film work, spanning more than thirty years, from Black Narcissus and The Red Shoes to Star Wars and Superman.

Early life and education

[edit]

Beddoes was born in Muswell Hill, North London, the eldest child of Rex and Helen (née Laird) Beddoes. As a child he studied the piano and joined in with his younger sister Gwen's dance classes. They performed song and dance acts at the frequent family musical evenings and later at local concert parties.

He attended Tollington School, at fifteen winning a scholarship to the Hampstead School of Art and at its closure after two years he was transferred to Hornsey College of Art. A few months after beginning his art study, Beddoes was invited by Horace (Hodge) Bryant to join his concert party, working at least two nights a week during the summer season and eventually performing on every bandstand in London. The money he earned from this enabled him to buy the art materials he needed to continue his study.

Stage career

[edit]

In 1927 Beddoes was spotted by [1][2] Dick Tubb and gave up the idea of a career in art to tour as juvenile lead in The Bird's Nest. Having in his early teens taught himself to play the drums and read music, he also joined the orchestra to play jazz in the interval. In 1929 he became a drummer for the silent films until the talkies put him out of a job.

Although he still wanted to pursue an artistic career, with the financial crisis of that time it was almost impossible to find commercial art work. In 1930 he was hired for a summer seaside concert party and at the end of the season was taken by his agent to the Cone School of Dance who were looking for a male dancer to partner one of their students. So at the age of 21 he took his place in a class of young girl students to learn the elementary technique of barre and centre practice.

Beddoes worked as a chorus boy, tap dancer and singer in several revues until he was unexpectedly asked to join the [3] Camargo Society who, at the time, were recruiting male dancers and was sent to Ninette de Valois who he partnered in one of her ballets [4] Les Petits Riens as well as appearing in Rout,[5] La création du monde and Job. He was subsequently invited to join the Vic-Wells Ballet, forerunner to the Royal Ballet, but had to decline the offer because he would not have been able to survive on the wages as he was hoping to get married. He went back to the commercial, musical side of theatre appearing in several shows including The Hour Glass, Helen,[6] Bow Bells and [7]The Golden Toy. During the tour of the latter show, Beddoes was asked, along with [8] Jack Spurgeon, one of the other dancers, to learn the show's existing tumbling act in two weeks, which they did, painfully. At the end of the run they were booked to take the act to the Windmill Theatre for a three-week show.

Beddoes stayed at the Windmill for six years as a ballet dancer, character actor in the comedy sketches and singer/dancer in the musical ensemble scenes. Later he became choreographer for the ballets as well as set and costume designer, all while performing five shows a day. Through Mrs. Laura Henderson, Beddoes was introduced to John Ireland who accepted him as a pupil in harmony and counterpoint. He then began to compose and orchestrate his own music for the ballets and tableaux.

On 28 September 1940, at the end of six weeks of Production No.136, Beddoes walked off the stage for the last time. He became a stretcher bearer for the Ambulance Service in West Hampstead during the London Blitz and after a few months was conscripted into the British Army.

Wartime

[edit]

In early 1941 Beddoes sailed for the Middle East as a draughtsman for the Royal Signals Corps. He served in the Western Desert for 18 months until the retreat to El Alamein, he was then posted to Alexandria and later to Mersa Matruh. After an appeal was sent out for theatre professionals to join the Field Entertainment Unit, he was hired by Torin Thatcher and moved on to Cairo. There he produced plays, concert parties and revues and worked with the group until his demobilisation in January 1946.

During his five years in Egypt, Beddoes made extensive studies of Egyptian life, history, costume and music, learning Arabic by studying and mixing with the local Egyptian people. He also produced a huge number of sketchbooks and[9] paintings, some of which are now owned by the Imperial War Museum, as well as writing several books of poetry.

Film career

[edit]

With no prospect of returning to his stage career, Beddoes tried unsuccessfully for any job that would take him back to Egypt so that he could continue his studying. Finally, through his brother-in-law John Cox who, from the [10] Army Film Unit had taken over the sound department of Shepperton Studios, he gained a series of introductions to Art Directors. In Spring 1946 he met Alfred Junge, who, after seeing the work that he had produced in Egypt, took him on to learn to be a sketch artist. He started working on [11]Black Narcissus immediately, learning on the job, which also included painting the Indian murals and designing the titles. At the end of this film he joined Hein Heckroth to work on The Red Shoes and [12] they worked together for the next five years designing sets,[13] costumes and titles.

Whilst working on The Red Shoes they came across a technical problem and Beddoes was sent to Technicolor, along with [14][15] Józef Natanson, to learn matte painting with [16] Duggie Hague, ('Poppa' Day's technical cameraman), instructing them. It was by trial and error that they learned the process of painting on glass. At one point Heckroth brought Michael Powell over to Technicolor to see the [17] mattes that they were working on and from this meeting Beddoes was invited to become a permanent member of The Archers.

In 1952, when the slump in film making caused widespread unemployment, Technicolor invited him to join them as art director, matte painter and [18] colour consultant. In 1956 Beddoes was sent to Bombay to open an art department at [19] Technicolor/Ramnord to teach Indian film makers western methods, create a matte department and to lecture as required. He stayed for one year, training Indian painters and draughtsmen and working on the initial stages of Pakeezah.

On his return from India, Beddoes was loaned by Technicolor to Michael Powell to work in Madrid for almost a year on[20]Honeymoon . He designed sets and all of the costumes for the ballets, El Amor Brujo and Los Amantes de Teruel, as well as painting the matte shots. He collaborated twice more with Michael Powell on projected films, Hassan in 1959 and [21]The Tempest in 1973; neither of these films were made.

Beddoes left Technicolor in June 1959 when his department was closed down owing to the introduction of Eastmancolor and went on to work on more than fifty films. He assisted Ken Adam on several films including [22]Goodbye Mr. Chips, Diamonds are Forever and Barry Lyndon as well as advising on and building stage models for The Girl of the Golden West (La fanciulla del West) staged at the Royal Opera House in 1977.[23] He continued in the film industry until just before his death, working in his latter years on the [24][25][26]Star Wars and [27]Superman films.

Personal life

[edit]

Beddoes married Janet Challenger in 1933. They met while he was studying ballet at the Cone School of Dance in 1930 and she was his teacher. They lived in West Hampstead and had two children Martin (1940–2007) and Julia (born 1947). Throughout his life he painted, composed music and wrote both poetry and journals on all aspects of his life, as well as creating a wonderful wildlife garden. He was a superb raconteur and continued his tumbling exploits, such as numerous comedy falls, to amuse (or shock)[28] onlookers well into his late sixties, always the performer.

Filmography

[edit]

References

[edit]
  1. ^ Tubb, Dick. "BFI Dick Tubb filmography". Archived from the original on 21 July 2012. Retrieved 18 January 2013.
  2. ^ Tubb, Dick. "Theatricalia". Retrieved 18 January 2013.
  3. ^ Adshead-Landale, Layson, Janet, June (1994). Dance History: An Introduction. London: Routledge. p. 148. ISBN 0-203-13736-1.{{cite book}}: CS1 maint: multiple names: authors list (link)
  4. ^ Ryan, June (1960). Ballet History. London: Methuen. p. 42.
  5. ^ Bedells, Phyllis (1954). My Dancing Days. London: Phoenix House Ltd. pp. 168.
  6. ^ "Bow Belles". Retrieved 27 November 2012.
  7. ^ "The Golden Toy". Retrieved 27 November 2012.
  8. ^ Spurgeon, Jack (10 June 1994). "Obituary". The Independent. London. Retrieved 27 November 2012.
  9. ^ "Imperial War Museum". Retrieved 27 November 2012.
  10. ^ "Army Film Unit". Retrieved 27 November 2012.
  11. ^ Street, Sarah (2005). Black Narcissus (British Film Guides). London: I.B.Tauris. p. 91. ISBN 1845110463.
  12. ^ Gibbon, Monk (1948). The Red Shoes Ballet. London: Saturn Press. pp. 54, 55, 56, 81.
  13. ^ Powell and Pressburger. "Powell & Pressburger Images – The Red Shoes (1948)". Retrieved 18 January 2013.
  14. ^ Natanson, Jozef. "BFI film database". Archived from the original on 24 January 2009. Retrieved 18 January 2013.
  15. ^ Natanson, Jozef. "Jozef Pawel Natanson – A Fortunate Painter". Archived from the original on 16 April 2013. Retrieved 18 January 2013.
  16. ^ Hague, Douglas. "BFI filmography". Archived from the original on 22 July 2012. Retrieved 18 January 2013.
  17. ^ NZ Pete. "THE RED SHOES - Powell & Pressburger: a retrospective look at the matte shots and optical composites in this classic British film". Retrieved 18 January 2013.
  18. ^ "Colour consultant". Retrieved 17 January 2013.
  19. ^ "Ramnord Research Laboratories". Bollywood Hungama. Archived from the original on 8 May 2012. Retrieved 27 November 2012.
  20. ^ Christie, Ian (1978). Powell, Pressburger and Others. London: British Film Institute. p. 45. ISBN 0-85170-086-1.
  21. ^ "The Tempest". Retrieved 17 January 2013.
  22. ^ Frayling, Christopher (2005). Ken Adam: And the Art of Production Design. Macmillan. p. 192. ISBN 0571220576.
  23. ^ La Fanciulla del West. "The Royal Opera House Collections Online". Retrieved 18 January 2013.
  24. ^ Titelman, Carol (1994). The Art of Star Wars – Episode IV – A New Hope. London: Titan Books Ltd. pp. 94, 95. ISBN 1-85286-583-0.
  25. ^ Call, Deborah (1995). The Art of Star Wars – Episode V – The Empire Strikes Back. London: Titan Books Ltd. p. 175. ISBN 1-85286-584-9.
  26. ^ Attias, Diana, Smith, Lindsay (1980). The Empire Strikes Back Notebook. New York: Ballantine Books. pp. 13, 32, 39, 40, 42, 43, 48, 49, 67, 70, 71, 72, 73, 78, 84, 85, 88, 89, 93, 98, 99. ISBN 0-345-28834-3.{{cite book}}: CS1 maint: multiple names: authors list (link)
  27. ^ Petrou, David (1978). The Making of Superman the Movie. London: W H Allen and Co. Ltd. p. 217. ISBN 0-352-304529.
  28. ^ Body, Martin. "Ivor Beddoes: Trick falls".
[edit]
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