Wimbledon 1931 Poster – South Wimbledon Underground Poster – Tennis Wall Art – Herry Perry – 1931
The 1931 Wimbledon Championships were the 51st edition of the prestigious tennis tournament. The event was held from June 22 to July 3, 1931, at the All England Lawn Tennis and Croquet Club in Wimbledon, London, England. This superb Wimbledon 1931 Poster was created by Heather Perry, better known as Herry Perry. The Mancunian born artist had been working with Transport for London for four years when she was commissioned to produce this poster to encourage spectators to travel to and from the event by London Underground.
Perry’s vantage point is positioned behind the baseline capturing a momentary pause in the exciting tennis tournament. The action temporarily suspended between rallies as the players prepare to face the next point. The three visible players, in their tennis whites, focus on the movement of the fourth. Although not present on the image the young woman is returning to the baseline to serve. The focus of Perry’s Wimbledon Poster is the ball boy front and centre of the design. The young boy is dressed in a purple t-shirt and green hat and shorts, Wimbledon’s famous colours, that were first introduced in 1909 and are maintained to this day. The ball boy has his right hand raised, offering the server an option of his tennis ball.
Set against the green grass of the tennis court, the artist has provided the important travel details in dark green letters inside white boxes. The text on the left-hand side of the poster reads Wimbledon. South Wimbledon Station thence by Bus. The starting date of the event appears in the same style on the right-hand side of the poster which reads ‘From June 22’.
The 1931 Wimbledon Tennis Championships
The 1931 tennis tournament was not only the 51st staging of the prestigious Wimbledon Championships, it was also the third Grand Slam tennis event of 1931. The Tennis Championships featured some prominent tennis players of the era, and it was notable for its international representation, with players from the United States, Spain, France, New Zealand, the Soviet Union, Austria, Switzerland, Agentina, Monaco, the Republic of Ireland and Great Britain competing for the prestigious titles.
Two American players made it into the Men’s Singles final. The twenty-year-old Sydney Wood and twenty-two-year-old Frank Shields. However, Sidney Wood secured the gentlemen’s singles tennis title without having to play the final match. He was declared the winner by default when Frank Shields withdrew from the final due to a knee injury sustained in his semifinal bout against Jean Borotra. This unique circumstance etched Wood’s name into history as the sole champion to claim the title without competing in the ultimate showdown.
In the Women’s Singles final, German tennis player Cilly Aussem defeated her compatriot Hilde Krahwinkel with a score of 6-2, 7-5, clinching the ladies’ singles title. Aussem’s graceful yet powerful style and Krahwinkel’s fierce determination made for an exciting match, with Aussem ultimately emerging victorious in a closely contested second set. This win cemented Aussem’s place in tennis history as the Wimbledon ladies’ singles champion of 1931.
Wimbledon’s 1931 Mens’ Doubles final was contested between two French players, Jaques Brugon and Henri Cochet and two Americans George Lott and John Van Ryn. In a thrilling match the first set ended with a score of 6–2 in favor of Van Ryn and Lott, displaying their early dominance.
The second set was fiercely contested and ended with a close score of 10–8, still in favor of Van Ryn and Lott. However, Doeg and Lott fought back in the third and fourth sets, winning 9–11 and 3–6, respectively.
The decisive fifth set saw both teams giving their all, with Van Ryn and Lott ultimately emerging victorious with a score of 6–3. Their win secured them the gentlemen’s doubles tennis title at the 1931 Wimbledon Championship.
The Women’s Doubles final showcased an exciting battle between two formidable pairs. The all-British team comprised of Phyllis Mudford and Dorothy Shepherd-Barron who emerged victorious, securing the ladies’ doubles tennis title with a hard-fought victory over French woman Doris Metaxa and her Belgian partner Josane Sigart. The final scoreline reflected the intense competition: 3–6, 6–3, 6–4. Mudford and Shepherd-Barron’s dynamic teamwork and skillful play ultimately propelled them to championship glory at the 1931 Wimbledon Championships.
An engaging contest also ensued in the Mixed Doubles category. American teammates Anna Harper and George Lott emerged victorious in the final, clinching the mixed doubles tennis title with a dynamic performance. They triumphed over the British pairing of Joan Ridley and Ian Collin, securing the win with a score of 6–3, 1–6, 6–1. Lott and Harper’s skill and teamwork shone brightly as they secured the coveted championship..
Who is Herry Perry?
Heather “Herry” Perry was a graphic artist, illustrator, and printmaker who is probably best known for her prolific design work for Transport for London and the London Underground throughout the 1920s and 1930s.
Frank Pick, was the visionary administrator behind the London Underground’s iconic visual identity, stumbled upon Herry Perry’s artistic talent. Enthralled by her work, he wasted no time in bringing her on board to design ‘The Empire Under One Roof’ at The Imperial Institute. Impressed with the results Pick commissioned Perry to create other poster designs for London Transport. It was the start of a successful partnership. Her tenure at Transport for London, which spanned from 1927 to 1938, bore the fruits of more than fifty original posters. Her preferred mediums were lithographs and wood engravings, yet she was an artist unafraid to tread new ground.
One memorable experiment was her 1935 Rugby Cup Final poster. Here, three rugby players came to life through a collage of London Underground tickets, demonstrating her innovative approach.
In 1929, Perry undertook the task of creating a series of five new London Underground maps, each focusing on different areas, including Hounslow, Edgware, South Harrow, Kew, and Morden. Her maps served as guides to navigate the intricate web of London’s transport system.
Beyond maps and sports, Perry lent her artistic flair to posters that celebrated the changing seasons. These posters didn’t feature specific destinations or timetables. Instead, they showcased seasonal flora and fauna, from the allure of blackberries to the delicate beauty of crocuses and bluebells. Some posters even carried the poignant message, “Leave them for others to see!” discouraging the picking of wildflowers.
In 1934, Perry took part in a campaign that painted a vivid picture of the diverse pleasures London had to offer. Her posters highlighted the city’s vibrant theatres, inviting restaurants, captivating sightseeing opportunities, and the art of socializing. It was a tapestry of London’s cultural richness brought to life through her artistry.
Perry’s talents extended to designing posters for special events. Her creations featured ticket prices and unique train schedules for events such as Wimbledon, the Lord Mayor’s Show, the Crufts Dog Show, and Bertram Mills’ Circus. She also turned her focus to military events, commemorating The Royal Tournament, RAF Displays, and the grandeur of Trooping the Colour.
Herry Perry’s creativity knew no bounds. In 1934, she crafted a Derby Day poster, featuring her unique interpretation of Paolo Uccello’s ‘The Battle of San Romano.’ With a touch of humor, she included a cheeky note at the bottom left corner: “…with apologies to Paolo Uccello,” a wink to her playful take on the masterpiece. This wasn’t her only jest; she dedicated the Kew map “To Bucephalus,” Alexander the Great’s legendary horse, showcasing her whimsical side.
