It is with great sadness that I inform you that Roger Mayne had a heart attack and
died Saturday, June 7th.
Rogers seminal body of work on the working class neighborhoods
of London in the
1950s and early 1960s made him one of the most important post-war British
He will be missed by us all and especially by his wife Ann Jellicoe, their daughter
Katkin, their son Tom and their families.
Photography was a way for Mayne to connect with people and explore the world
around him. Maynes honest and empathetic approach to photography is evident in
the candid response from his subjects and has influenced generations of
Though his talent as a photographer was recognized early in his career, it was his solo
exhibition at The Victoria and Albert Museum in 1986 and the subsequent use of his
images on album covers and concert backdrops for the musician Morrissey in the
1990s that renewed interest in his work. Thanks to the early support from his first
dealer, Zelda Cheatle and Mark Haworth-Booth, former curator of photography at The
Victoria and Albert Museum, and the continual support of my colleague Lindsey
Stewart at Quaritch, his dealer in London, Maynes photographs are revered and
included in numerous private and institutional collections worldwide. Most recently,
Maynes work was featured in Art of the 60s at the Tate Britain in 2004, Making
History at the Tate Liverpool in 2006, How We Are: Photographing Britain at
Britain in 2007 andRoger Mayne: Aspects of A Great Photographer at the Victoria
Gallery, Bath in 2013.
Mayne first became interested in photography while studying chemistry at Balliol
College, Oxford University from 1947-1951. In 1953 he developed an interest in the
St. Ives School, which embraced the abstract avant-garde movement, and became
friendly with the painters Terry Frost, Patrick Heron and Roger Hilton. Mayne
consciously printed with high contrast to emphasize the formal qualities in his work
and increased the scale of his prints to have a further dialogue with the painting of
In 1954 Mayne moved to London to become a photographer, and in 1956 he
discovered Southam Street. It was a street in a working class neighborhood of West
London that would be demolished to make room for high-rise apartments. During the
five years Mayne photographed there, it was full of energy: teddy boys, jiving girls,
and kids playing in the street. Mayne also photographed other streets of West
London and similar working class neighborhoods in Britain. For Mayne even the empty
streets and dilapidated buildings had a kind of decaying splendor. Though
modernization ended community life in the streets, Maynes work preserves the spirit
of that time. By 1959 Maynes images were so indicative of this period
that Vogue used them to illustrate teenage styles. Colin MacInnes used one of
images on the cover of Absolute Beginners, a novel told in the first person by a
teenage freelance photographer living in West London that commented on the youth
culture of the time.
Throughout this period Mayne worked as a freelance photographer and his
photographs were reproduced regularly in magazines and newspapers. His work was
included in group exhibitions at the Combined Societies, a progressive group of local
photographic societies in Britain that broke away from the Royal Photographic
Society. His work was also included in Otto Steinerts Subjektive Fotografie in
Germany, a series of group exhibitions and books of international photography that
emphasized personal expression and the aesthetic potential of the medium. Mayne
had solo exhibitions in 1956 at the George Eastman House in Rochester, N.Y. and at
the Institute of Contemporary Arts in London. As early as 1956-57 the Museum of
Modern Art, New York and the Art Institute of Chicago acquired his work.
It has been an honor and a pleasure to represent Roger. My relationship with him has
affected me greatly, always reminding me to be as true to others as I am to myself. I
will miss him.
Bartos, Adam. Kosmos.
(Princeton Architectural Press, 2001) $40
Botman, Machiel. One Tree.
(Nazraeli Press, 2011) $65 signed
Botman, Machiel. Rainchild.
(Schaden, 2004) $200 signed
Breitenbach, Josef. Manifesto.
(Nazraeli Press, 2008) $60
Breitenbach, Josef. Resonance.
(Temple Rock Company, 2013) $20
Caffery, Debbie Fleming. The Spirit & The Flesh.
(Radius Books, 2009) $60 signed
Limited edition $1200
Frame, Allen. Detour.
(Kehrer Verlag, 2001) $50 signed
Gagliani, Oliver. Oliver Gagliani: Scores of Abstraction.
(Center for Photographic Art, 2006), $30
Gordon, Richard. American Surveillance: Someone To
Watch Over Me.
(Chimaera Press, 2009) $50 signed
Gordon, Richard. Meta Photographs.
(Chimaera Press, 1978) $40
Josephson, Kenneth. Matthew.
(2054 Press and Stephen Daiter Gallery, 2012) $50 signed
Lenz, Gita. Photographs.
(Candela Books, 2010) $50
Noble, Laura. The Art of Collecting Photography.
(AVA Books, 2006) $60
Szabo, Joseph. Jones Beach.
(Abrams Image, 2010) $35 signed
Traub, Charles H.
(Gitterman Gallery, 2006) $25 signed
Traub, Charles H. Dolce Via: Italy in the 1980s
(Damiani, 2013) $50 signed
Traub, Charles H. Object of My Creation
(Gitterman Gallery, 2011) $25 signed
Yemchuk, Yelena. Gidropark
(Daminani, 2010) $45 signed