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Portraits

Portraits of Duffy

Brian Duffy, photographer
1933 – 2010


Duffy photographed by Adrian Flowers, January 1958

Directed by Linda Brusasco, the television documentary The Man Who Shot the Sixties recounts the life story of Brian Duffy, a portrait photographer famous for his gift of charming, enchanting—and occasionally antagonising—his sitters, but also, more importantly, for his ability to capture superb images on film. In his conversations with colleagues and clients, Duffy could be both funny and caustic, but he was a highly sensitive individual, with an intimate knowledge of the world of fashion and clothing. Famously argumentative, he often found himself in the company of the rich and famous; top models, actors and politicians, but was also on good terms with the London’s East End community, including the notorious Kray brothers. Duffy became one of the top photographers at Vogue, and was later an imaginative director of short films for rock bands, but in 1990 he packed it all in, to set up a furniture restoration workshop in Camden where he worked for the next twenty years. A star during the swinging sixties, along with Terence Donovan and David Bailey, by the turn of the twenty-first century Duffy had faded from public view. Broadcast by the BBC in 2010, The Man Who Shot the Sixties was a timely step in promoting a wider awareness of this remarkable photographer, who had died that same year.

Duffy photographed by Adrian Flowers, May 1960

The Adrian Flowers archive includes several sets of photographs of Duffy. The earliest are individual portrait shots taken in January 1958, while the latest date from 1966, and were taken after a celebratory lunch at Alvaro’s restaurant on the King’s Road in Chelsea. In April of that year Duffy had photographed Alvaro Maccioni and his staff at the opening of the new restaurant, an enterprise which immediately rivalled the legendary Trattoria Terrazza in terms of its celebrity and film world clientele. After the lunch, on the spur of the moment, a group including Len Deighton, Duffy, Donovan, and Norman Brand, decided to call in to see Flowers at his studio on Tite Street. Ten years before, a young and inexperienced Duffy had been taken on as assistant photographer by Flowers. Norman Brand had worked for Vogue until 1962, when he joined Duffy at his studio in King Henry’s Road, Primrose Hill. Brand recalls the visit to Flowers: “I don’t know why but as we left it was decided that we would stroll down the King’s Rd and turn left into Tite Street where Adrian had his studio. After the usual chat someone said we should do a group portrait! I have always remembered this occasion and the photo being taken and always regretted never seeing the result but am thrilled to see it after all these years!” A series of photographs, formal and informal, were taken. In several of these, Duffy and Donovan pose together, laughing and joking.

Terence Donovan, ?, Len Deighton, Adrian Flowers, Norman Brand, Duffy, and ?
photograph by Adrian Flowers at his studio in Tite Street, 1966

There is also a series of ‘family’ portraits, where everyone assembled good-humouredly in front of the camera. In these, Adrian stands to the right, cable release just visible in his hand. Behind him, wearing spectacles and smiling, is Brand. Deighton is at the back, wearing a white linen jacket, with Donovan to his right. Tousle-headed and with his characteristic impish smile, Duffy is kneeling at the front. He is wearing a tie, as indeed are all the men in the photograph. Donovan looks particularly formal, as if about to attend a funeral. The woman wearing the fashionable trouser suit has not been identified, nor the man in the foreground, leaning on his elbow. The photograph celebrates the culmination of Duffy’s career, when he was launching himself into the world of film production, after achieving fame as a stills photographer.

Duffy and Donovan photographed by Adrian Flowers in 1966

Born in Paddington, north London in 1933, to Irish parents, Duffy grew up in a world defined by conflict, and spent most of his childhood in a city regularly subjected to air raids. During one period of intense bombing he was temporarily evacuated, to the home of actors Roger Livesay and Ursula Jeans. However, through most of the war years he lived in London with his parents. His father, a cabinet-maker, was politically active and at one point had been imprisoned for involvement with the IRA. His mother was from Athlone, had an eye for stylish clothes, and was a devout Catholic. Escaping the confines of a household where religion and Republicanism were closely linked, Duffy and his friends enjoyed the freedom of the city—albeit a freedom tinged with fear—as they explored bomb sites and wrecked houses. Duffy’s parents never moved to the East End. His son Chris Duffy recalls: “my Mum’s parents lived in East Ham and I was brought up there until the age of five, so Duffy’s association with the East End was through my Mum’s side.” David Bailey, five years younger than Duffy, also grew up in this area. A rebellious teenager, often ending up in trouble, Duffy was fortunate to come of age at a time when the recent Butler Act had abolished school fees, opening secondary education to children from working class homes. He was also lucky in attending a progressive school in South Kensington run by ex-servicemen, the purpose of which was to introduce children to a wide range of culture, including opera, galleries and museums.
At the age of seventeen, Duffy enrolled in St. Martin’s School of Art, hoping to become a painter, but, intimidated by the skills and intellectual discussions of his fellow-students, switched to fashion design. At college he met Len Deighton; they formed a life-long friendship. After graduating, Duffy worked for Susan Small, and then for Princess Margaret’s dress designer, Victor Stiebel. Later he worked for Harper’s Bazaar, where the art director Gill Varney showed him how photography and fashion were closely intertwined. Deciding to take up photography, Duffy had a series of short-lived apprenticeships, and a spell at Artist Partners, before being taken on as an assistant in 1956 by Adrian Flowers. Although Flowers came from the same background as did many of the leading photographers of the day—John French had been in the Grenadier Guards, Cecil Beaton had been to Harrow and Cambridge, while Flowers himself attended Sherborne—he recognised and encouraged young talented photographers, irrespective of backgrounds or accents.

Duffy, Adrian Flowers and Terence Donovan.
Photograph by Adrian Flowers, 1966

Terence Donovan also worked as an assistant in the Flowers studio. During this time Duffy received his first commission, from Ernestine Carter, fashion editor of The Sunday Times magazine. He was a star photographer for this publication for over twenty years, working closely with art director Michael Rand. In 1957 he was hired by Vogue, and grew to admire its editor Audrey Withers, another person willing to take a risk promoting young talent. Duffy loved France and, beginning in 1961, began to spend time in Paris, working for Elle magazine, where Peter Knapp was art director. For Elle he photographed Ina Balke and other models in Parisian street settings, as well as on the Cote d’Azur and Morocco.
Independent, averse to being told what to do, using 35mm cameras and Rolliflexes, working at a fast pace, often in street settings, Duffy, Donovan and Bailey broke many of the conventional rules of photography and were variously referred to as ‘the black trinity’ or ‘the terrible three’. Duffy’s photographs were inventive, with dramatic compositions, often close-cropped. His models, their arms raised in angular poses, sometimes bring to mind the iconography of saints in ecstasy. He was also conscious of cinema, and his photograph of people running underneath cranes could easily be a still from Trauffaut’s 1962 Jules et Jim, while in 1964, his photograph of Celia Hammond, arms outstretched on a street in Florence, could equally be from Kalatozov’s film Soy Cuba, released that same year. This acute visual awareness informs many of Duffy’s images; a model turning and reaching her hand backwards in an open limousine, taken for Town magazine in 1965, recalls the terrified actions of Jackie Kennedy two years earlier in Dallas. Duffy worked for Vogue for six years, photographing Kellie Wilson, Francoise Rubartelli, Jean Shrimpton, Jennifer Hocking, Joy Weston and other top models. Many of the best photographs of Joanna Lumley were taken by him. For Queen magazine he photographed Nicole Da La Marge, Paulene Stone, and Jill Kennington. He also often worked with model Marie-Lise Gres, and in 1962 photographed her at Castletown House in Co. Kildare, a Palladian house being restored by Desmond and Mariga Guinness and the Irish Georgian Society. Duffy also worked for Esquire, the Observer, and The Telegraph, becoming well-known for his portraits. His sitters ranged from politicians to actors, including Harold Wilson, Michael Caine, Ursula Andress, Brigitte Bardot, Nina Simone and Sammy Davis Jnr. At Nova Molly Parkin was another perceptive art director who recognised his talent. For one provocative article “How to Undress for your Husband” the model Amanda Lear posed in states of semi-nudity. Lear had also studied at St. Martin’s and had been a long-time muse of Salvador Dali. Her true gender identity was often the subject of gossip, and she is said to be the inspiration for the character Patsy in Absolutely Fabulous.
In 1966, Duffy was at the peak of his career, when Peggy Roche moved from Elle to become fashion editor of London Life magazine, where David Puttnam, himself the son of a photographer, was managing editor. Duffy took several of the cover photographs for this influential but short-lived magazine. Although the photographs used in Michelangelo Antonioni’s Blow-Up, made that same year, were by Don McCullin, the film was largely based on the work and lifestyles of Duffy, Donovan and Bailey. By the late 1960’s, with Puttnam now his agent, Duffy was moving away from stills photography, and becoming involved with Len Deighton in a film company. The company headquarters were at the bottom of Park Lane, in Piccadilly, the grand offices featuring a partner’s desk, made by Derek Gamble, in the shape of an propeller. Their productions included the 1968 Only When I Larf, and the following year Oh What a Lovely War, films directed by Basil Deardon and Richard Attenborough respectively. The team that travelled to Beirut in 1967 for Only When I Larf included Duffy, Deighton, Brand and Deardon. Having acquired the rights to the musical play Oh What a Lovely War, by Joan Littlewood, Duffy put together a team to film the production on Brighton Pier. However his hopes of directing the film were quashed by trade union regulations so instead he became the producer. Obsessed with World War I, Duffy had an extensive library of books on the topic. He also shot Lions Led by Donkeys a documentary made for Channel 4 about the battlefield of the Somme. David Puttnam’s 1987 film Hope and Glory is a moving depiction of the wartime London in which Duffy had grown up, and which had shaped his attitude to life.
Ever restless, Duffy moved on and began to specialise in more technically-sophisticated photography. In addition to working for the legendary Pirelli calendar, where he used Monaco as the location for his first portfolio in 1965, he photographed the musician David Bowie over a period of several years. The resulting images came to define Bowie’s stage persona, with four being used on album covers, including the 1973 Aladdin Sane. During these years, Duffy also focused on advertising campaigns for CDP, (where Puttnam had also worked), notably those for Smirnoff, Aquascutum, and for cigarette brands Silk Cut and Benson and Hedges, where his surreal visual imagination came into full play. For Aalders Marchant Weinreich he photographed Mary Quant products. He also worked for Biba. However, having conducted the equivalent of a guerrilla war within the elitist world of advertising for almost three decades, in 1990 Duffy retired, to concentrate on the craft of furniture restoration.

Chris Duffy with Duffy, August 1963

In 2010, two years after his son Chris has founded the Archive that bears his name, Duffy died of pulmonary disease. Unrepentant to the end, he observed “keeping your tongue up the society that pays you is an art of which I was void.” At his funeral the eulogy was delivered by David Puttnam, who observed that ‘the world needs more Duffys’, describing him as a ‘supremely talented and esoteric man . . a man who thrived on risks and challenges, who lived to create.’ Although he had destroyed many of his negatives in the late 1970’s, enough have survived to form a substantial collection. Over the following years, the Duffy Archive has thrived, becoming an invaluable resource of images that define the visual culture of the late twentieth century, and maintaining an online portal for the thirty or so galleries that represent Duffy’s work. Beginning in 2009 at the Chris Beetles Gallery in Mayfair, exhibitions of his photographs have been held around the world. The only showing of his work in Ireland, where both his parents were born and where he was conceived, took place in 2017, at the ebow gallery in Castle Street, Dublin.

Text: Peter Murray

Editor: Francesca Flowers

All images subject to copyright.

Adrian Flowers Archive ©

With thanks to www.duffyarchive.com

https://www.duffyarchive.com/videos/bbc-documentary-man-shot-sixties/


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Len Deighton – London Dossier

Len Deighton in Soho, photographed by
Adrian Flowers in 1966

In 1967, Penguin paperbacks published the London Dossier by Len Deighton. The book comprised essays on London by people who knew the city well, including Adrian Bailey, Jane Wilson, Spike Hughes and, of course, Adrian Flowers. A brief biography, written by Deighton, introduces the chapter on photography written by Flowers, and also throws light on their friendship:

Born in the general depression, is still recovering. A typical cancerian who moves sideways out of trouble. His main occupation is advertising and editorial photography. He has taken food pictures for the Observer and took the cover photo of Twiggy for this book. His studio in Tite Street, Chelsea, is crammed full of equipment, all of which he insists is absolutely necessary. His home is in Kentish Town, where he keeps his wife, three sons, one daughter, a dog and a cat, and an au pair girl. He owns four old cars, which are shared by his assistants, and a launch for touring the Thames. Keeps fit by playing football every day with his faithful bitch, Sarah. His aim in life, apart from keeping his wife happy, is to take the picture of all time.

Twiggy portrait for the cover of Deighton London Dossier,
design by Raymond Hawkey, photograph by Adrian Flowers, October 1966

In his essay in London Dossier Flowers advises the aspiring photographer to first of all buy an umbrella, at James Smith & Son, 53 New Oxford Street. This landmark at the corner of New Oxford Street and Shaftesbury Avenue still sells—according to its tarnished and extravagant Edwardian window signage, dagger canes, swordsticks, tropical sunshades, Irish blackthorns and umbrellas. “Get a large one and on leaving take a picture of this changeless shop” wrote Flowers, adding that even the act of carrying an umbrella, for the superstitious, might prevent rain. Although Smith’s survives, all the independent specialist photography shops mentioned by Flowers are now gone; their place taken by chains such as Jessops and the recently-merged Wex and Calumet. Specialising in Flowers’ favourite camera, the Hasselblad, the Photo Centre in Piccadilly Arcade has long since given way to a shoe shop, while Dixons on Oxford Street is now home to a Carphone Warehouse.

At 93 Fleet Street, the venerable Wallace Heaton shop, notwithstanding its royal warrant, is now an outlet for mobile phones. Many of the early negatives in the Adrian Flowers Archive are preserved in distinctive green Wallace Heaton envelopes. The company, which also had a shop at 127 Bond Street and published the famous photographers “Blue Book”, was taken over in 1972 by Dixons.

Likewise, Pelling & Cross at 104 Baker Street, specialising in Voigtlander cameras, is gone, while Kafetz Cameras, down the road at 234 Baker Street, is now home to Vy’s Nails. Flowers identified the Kodak Instamatic and Voigtlander Bessy-K cameras as most suitable for beginners. For more serious photographers he recommended the Nikkormat, with 28, 50 and 105mm lenses, but for maximum versatility, he suggested the half-frame Olympus Pen D2 or Canon Dial. Agfa CT 18 film was good at capturing the grey London fogs, but Flowers warned that the colours red and green were inescapable, in a city full of buses, parks, guardsmen and pillar boxes. The budding photographer was invited to go to St. James’s Park at three in the afternoon, when the pelicans were fed with herring. Moving on from there, the top of Lambeth Palace would afford a panoramic view familiar to Canaletto. However if admittance to the palace proved difficult, Flowers suggested the landing stage by the river, where the Decca radar company had established its head office. Moving along, the photographer would head to the Beefeaters and ravens at the Tower of London—the latter best photographed from the top of the Port of London Authority, and from thence proceed to Tower Bridge. Flowers includes in his itinerary that ‘quarter mile of sordidness for the sinister-seeking’; the area of East London made infamous by Jack the Ripper, with Christchurch at its centre. “Ripper’s Corner in Mitre Square has only one wall remaining. This is where the body of Catherine Eddowes, his fourth victim, was found. I suppose it is like collecting pregnant silences on tape, but even so, if you are interested in Jack the Ripper and have read all about the rippings, the experience of photographing this bit of wall will have a strange effect on you. The wall is in the southerly corner and should be taken in the gloom of dusk with the aid of the gas lamps that are still there.” [Len Deighton’s London Dossier Penguin Books 1967, p. 150] After these dubious thrills, the reader was encouraged to explore Thrawl Street, and Flower and Dean Street (Flowery Dean). Commercial Road, Puma Court and Hanbury Street. Wilkes Street led to the Gilead Medical Mission, an organisation dedicated to bringing the Gospel to the Jews, not to be confused with present-day Gilead Science. Many Shoreditch slums had been cleared by then, the ‘Old Nichol’ being replaced by the splendid Arts and Crafts Boundary Estate. Flowers dwells on the area’s association with slaughter houses and butchers, singling out the Jolly Butchers pub (formerly the Turk and Slave) in Cabbage Court, 157 Brick Lane, as a good subject. The setting for an unofficial morning jewellery market in the 1960’s, the Jolly Butcher closed in 1987 and now houses a café, sandwiched between two bagel shops. “To round off the visit, not forgetting to visit some dark and sinister laneways, wend your way to the Cosy Café in Cheshire Street.” [p. 150] Famed for its egg, bacon and bubble, this establishment is also sadly no longer in business. The building survives, just about, in a boring modern streetscape utterly devoid of character. Beside the Cosy Café, an alley led to a footbridge over the railway lines.

Flowers recommended twilight as the best time of day for taking photographs in London, singling out the Victoria Embankment, and the promenade between Westminster and Lambeth bridges on the south side, as good for night shooting. “Trafalgar Square is worth taking at dusk. . . During the day Nelson can still look admirable without his column, apparently standing on a wooden box when viewed from Carlton House Terrace. At the end of this terrace is an unusually well-preserved example of bomb damage, contrasting strangely with the surroundings.” [p. 150] For explorations of Soho, Flowers recommended beginning in Compton Street, and that the photographer try to look like a tourist ‘to avoid being lynched’.

Terrazza “Trat” photographed by Adrian Flowers in 1966

Not long after opening in 1959, at the corner of Dean Street and Romilly Street in Soho, the Trattoria Terrazza had become one of London’s most popular eating places for people from the world of theatre and advertising. Run by Franco Lagattolla and Mario Cassandro, the “Trat” had genuine Italian friendliness and style, and served good Italian food. Less formal than Le Caprice or the Ivy, more exciting than other Soho eateries such as L’Epicerie or Wheelers, nothwithstanding Francis Bacon and Lucien Freud occasionally holding court in the latter, it was a fun place to meet, attracting regulars such as David Puttnam, Raymond Hawkey, Len Deighton and Adrian and Angela Flowers. Deighton wrote passages of The Ipcress File at the Trat, including mention of its cuisine, and it was here he met Michael Caine, before the novel and film brought both fame. While Cassandro was outgoing and charming, not a little of Lagatolla’s more reserved style is captured in the persona of Harry Palmer created by Caine. Other diners included David Niven, Brian Duffy, Julie Christie, Terence Stamp, David Bailey and Jean Shrimpton. The interior was remodelled in the 1960’s by Enzo Apicella, who created a spare, white Modernist space, while retaining a rustic flavour, with tiled floor, rush-covered seats and rough-plastered walls—a style emulated by countless other trattoria that sprang up in Britain over the following years, and is still exemplified in better restaurants such as Scalini’s in Chelsea. Flowers’ night snapshot of the exterior shows the cheerful neon sun motif that reflected the Trat’s legendary charm and style. No 19 Romilly St is today occupied by Le Relais de Venise, a dull steak and chips establishment with an exterior of gothic lettering and scumbled wood that caters mainly to tourists.

Flowers also suggested hiring a taxi to tour the streets slowly ‘you can get many fascinating shots this way’. Leicester Square was best photographed from Cranbourn Street, while Lower Regent Street provided the best view of Piccadilly Circus.

Even with fast film, the photographer would need a tripod to capture flashing neon lights at night. Battersea Park, with its Henry Moore sculpture, was on the itinerary, with the nearby power station chimneys still belching out smoke. The 29th of May, Oak Apple Day, saw pensioners of the Royal Hospital Chelsea on parade, while the Chelsea Flower Show, also held in May, was a treat, particularly at 4pm on the last day, when plants were sold off cheaply. ‘If you could get a hundred viewpoints at once, you’d have the film of the year.’ observed Flowers drily. Leather Market Street south of Guy’s Hospital on Friday mornings, and the Caledonian Market on Bermondsey Street, were charming to photograph, as were Portobello Road and Petticoat Lane. Flowers was less comfortable with Victorian architecture – ‘If wild monstrosities are your passion start with the Albert Memorial’. Berkeley Square, King’s Road, Chelsea – ‘If you want to see and not be seen, a good tip is to grab a window table in the pub called the Chelsea Potter about midday.’ Horse riding at Rotten Row, Hyde Park, every morning, and the dray horses still used by Whitbread Brewery in Chiswell Street and Watney’s Mortlake brewery. St. Paul’s Cathedral was a favourite. The viewing terrace of the Shell Building could be visited for two and sixpence, but closed at four in the afternoon, which was disappointing for photographers hoping to shoot at twilight. The GPO tower was also disappointing, due to haze, but the Monument provided a good view of Tower Bridge. Flowers recommended the Tudor houses at Holborn, Chancery Lane, and Lincoln Inn Old Buildings, where barristers in their regalia could be seen at lunchtime. Other sights included the Old Curiosity Shop, and men wearing bowler hats, still a common sight at London Bridge in the morning, and at Cornhill and Lombard Street.

Len Deighton on a London routemaster, photographed by
Adrian Flowers 1966

Photographers were advised to take the 214 bus from Tottenham Court Road to Highgate West Hill, and to go through Hampstead Heath, on to Kenwood House, and then to the Spaniard pub. They would then to take the 210 bus to Highgate Village, and from there walk down Swains Lane to the cemetery, for Flowers a place he held sacred as the burial place of the pioneer of photography William Friese-Greene. Regent’s Park Zoo and Tilbury Docks, the bridge on the River Thames, all received honourable mention, while Flowers recommended photographing the London Policeman ‘still proudly not carrying a gun’. The Roman wall at Cooper’s Row, off Trinity Square, the Natural History Museum, the Science Museum and London’s fire stations were all on the list. Flowers highlighted details such as cast iron railings, although many of these had been melted down during WWII. His final suggestion was to go to a theatre near Covent Garden, eat and drink into the early hours at one of the specially licenced pubs “Then, at 4 or 5 in the morning use stamina to judge, with an unjaundiced eye, the picture-making possibilities of the famous flower and fruit markets.” [p. 157]

Text: Peter Murray

Editor: Francesca Flowers

All images subject to copyright.

Adrian Flowers Archive ©

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Len Deighton – Action Man

DIVERS

While the first edition of Deighton’s spy novel Horse Under Water, published by Jonathan Cape in 1963, contains many action scenes centring on the discovery of a U-Boat sunk off the Portugese coast in the last days of WWII, it is in the paperback edition, published by Penguin, that the author introduced an additional early episode, in which the British agent trains as a scuba diver at the HMS Vernon base in Portsmouth. As always, Deighton carried out detailed research before writing, managing to get permission to go to Portsmouth and not only witness navy divers undergoing training, but to experience what it was like for himself:

Image for ‘Horse Under Water’, photograph by Adrian Flowers

Adrian Flowers accompanied Deighton on this trip to Portsmouth, photographing both the author and navy divers. For Flowers, it was in many ways a homecoming, as his mother’s uncle Alfred West, a photographer and pioneering cinematographer at the turn of the twentieth century, had specialised in photographing and filming the Royal Navy. In 1898, West had photographed torpedo practice in Portsmouth. He also filmed Charles Parsons’ experimental steamship Turbinia, and gave demonstrations of his films at Osborne House. In 1913 he sold his yachting negatives to Beken of Cowes (they are now with the Brett Gallery) but most of his films, made under the ‘Our Navy’ title, are now lost. Adrian’s childhood was spent at “Atherstone” on St. David’s Road, just ten minutes’ walk from Alfred West’s photography studios at Palmerston Road, Southsea.

Deighton put his brief training session at Portsmouth to good use. Descriptions of diving occupy much of the first half of Horse Under Water, as various characters compete to gain access to the treasures on the sunken vessel. The plot moves along at bewildering speed, and it is not revealed until the end of the novel that the race to retrieve items from the submarine wreck has been prompted by the existence of a list of people in the UK who were prepared to collaborate in a German occupation of Britain. This theme of betrayal, touched upon in many of Deighton’s novels and short stories, forms the basis of his later novel SS GB.  In Horse Under Water, it is revealed that the former Royal Navy officer ‘Fernie’, a dodgy character who gets involved in the submarine dives, had been earlier recruited into the ‘League of St. George’, influential people who hoped to form a Nazi Party in Britain. As always, Deighton brings his narrative to life with vivid descriptions of people and places, as befits his experience as an illustrator. He also introduces lively references to 1960’s music and consumer culture, including Miles Davis, Charlie Mingus, Tio Pepe Sherry, Omo washing powder etc. Although Adrian Flowers’ photograph of the actor Michael Caine is used in the Penguin edition cover, Horse Under Water was never made into a film.

Len Deighton looks on while divers help each other take off rubber wetsuits. Photograph: Adrian Flowers
Cover of Jonathan Cape 1963 hardback edition

BOMBERS AND FIGHTERS

On 3 Jan 1971, in The New York Times, Len Deighton reviewed an autobiographical account by Peter Townsend of the Battle of Britain and the events leading up to it, in which Townsend described an aerial duel between a Hurricane fighter and a Heinkel III bomber. Two years before, when working on Bomber, his own dramatised account of an RAF night attack during WWII, Deighton had carried out detailed research on aircraft of the period, particularly the Heinkel III. On August 15 1969, he was invited to join the crew in a restored Heinkel which was being flown from England to Siegerland airfield, near Cologne. The aircraft was in fact a post-war machine, one of several hundred built under license by CASA for the Spanish air force. Thirty or so of these Spanish Heinkels were used in the 1969 film The Battle of Britain. Although it was planned to fly the Heinkel over the city of Cologne as a promotion for the film, this publicity stunt was cancelled, not least because many of the inhabitants had died in air raids by the RAF during WWII. The following year, after a few demonstration flights, the Heinkel was grounded at Siegersland for safety reasons. It was subsequently acquired by the Deutsches Museum and is now fully restored and on display in the Flugwerft Schleissheim—but with Spanish air force rather than Luftwaffe livery.

Len Deighton in front of the Heinkel III in 1969, photograph by Adrian Flowers

Before the flight took off on August 15th, Adrian Flowers photographed Deighton, both standing in front of the Heinkel, and also inside the cockpit. The research undertaken by Deighton during this period informed his writing of Fighter, published in 1977. One of the chapters in Fighter is titled “Inside a Heinkel He III”.

While working on Bomber, Deighton leased from IBM a new device called an MT/ST (Magnetic Tape Selectric Typewriter)—an early word-processor—and had it installed in his home in Merrick Square, near Elephant and Castle. Adrian Flowers photographed Deighton in his home office, surrounded by typewriters, the IBM word processor and filing cabinets. Although he surrounded himself with high technology, some of the energy evident in Deighton’s prose style may derive from the down-to-earth fact that he liked to write while standing rather than sitting.

Len Deighton in his London office in 1968. Photograph by Adrian Flowers

Text: Peter Murray

Editor: Francesca Flowers

All images subject to copyright.

Adrian Flowers Archive ©