ACE178.3 (00:08:47 - 00:18:40)
Farrington VO describes the relationship between Hamnett and Gaudier-Brzeska over sketches of nudes. Hamnett’s VO talks about “becoming an artist”. Film of Paris in the early 1900s and 1920s, artists at work in studio, etc. Hamnett VO describes being visited by Modigliani. Farrington VO over portrait of Hamnett by Modigliani and portrait by Hamnett of Ossip Zadkine (1914), influenced by the work of Modigliani. Hamnett VO describing her life in Paris over various photographs and film of a fancy dress ball. Farrington VO over various photographs of Hamnett. Paintings. VO Hamnett talks about someone suggesting that she might get a decorative and furniture-painting job with the Omega Workshops in Fitzroy Square. Farrington talks about Roger Fry setting up the Workshops to give work to penniless artists and to try to influence British design. Farrington VO over examples of Omega design – on a piano front, on a table-top and surrounding chairs, fabrics, etc. Farrington suggests that women may have had to carry out designs produced by male colleagues; everything was anonymous. Photographs of women, including Hamnett, at work. Sketches and paintings by Hamnett. Hamnett VO talking about the French influence on their work. James Hepburn talks about Hamnett’s work. Portrait of young man in background. Hamnett VO talking about her “psychological portraits” over various pictures including Reclining Man (c.1918). Various photographs of Paris with VOs talking about all the important artists and musicians Hamnett associated with there. Original film and photographs of cafés, restaurants an night-clubs in Paris in about 1920. Farrington’s VO on Hamnett’s reaction to Paris, constructing an image of herself as “an eccentric, Bohemian English artist”, and being the centre of the social scene. Artists of the period; portrait sketches and paintings by Hamnett who was not particularly interested in the new movements and styles.

ACE178.4 (00:18:40 - 00:26:06)
Hamnett VO describes the appearance of her autobiography, Laughing Torso (1932). Press cuttings and reviews. Booth-Clibborn VO suggests reasons why it became an instant best-seller. Margaret Hepburn and VO film and photographs of English public houses, talking about being in London at the end of the era of literary and artistic people frequenting London pubs. Soho in the 1930s. John Heath-Stubbs VO suggesting that it had an atmosphere similar to that in Paris in the 19th century. Woman’s VO proposes that Hamnett went to pubs to relax and meet people. Sketches and watercolours by Hamnett of London streets, boxers, musicians, etc. Farrington VO on Hamnett’s talent for observation of the everyday way of life. John Heath-Stubbs and VO photographs of Hamnett and interiors public houses. Farrington VO photographs of Hamnett. Booth-Clibborn VO over photographs of Hamnett explaining that she didn’t look after herself, was twice hospitalised with broken hips; Hamnett’s hospital diary with sketches of other patients. Farrington VO points out that these sketches prove that Hamnett continued to work very late in her life, and continued to be interested in her sitters. VOs over photograph of Hamnett and film of her suitcase of scrapbooks and press cuttings. Hamnett VO over some of her portraits explaining that going to see a painting done long ago is like going to see an old friend, experience a mixture of nervousness and pleasure. The jigsaw puzzle pieces re-form into a photograph of Hamnett. Credits.