Wednesday 14th March 2018


We as learning deliverers had a curator tour giving us a look at the new exhibitions today at Compton Verney. Ravilious & Co and Created in Conflict.

The exhibition includes many of Ravilious’ key works shown alongside both well-known and less seen works by his contemporaries, including work by each artist that has never before been exhibited publicly, and focuses chronologically on key moments when the work and careers of these artists coincided, overlapped or was particularly pertinent to the others, such as their time at the Royal College of Art, the 1927 St George’s exhibition, their time spent at Furlongs and Newhaven in Sussex, and their various roles in the Second World War.

The exhibition represents the wide range of media in which the artists worked, from watercolours to woodcuts, lithographic prints, book jackets and illustrations, patterned papers, and wallpaper and fabric design.

Ravilious photo by Phyllis Dodd from Fry Art GalleryRavilious_Westbury-Horse

Tirzah Garwood (below) met Eric Ravilious (above) in 1925 at the Eastbourne School of Art, where he was a teacher and she a student. Tall and thin with a “small head that jutted out at the back” and “long, girlish lashes”, his manners were like those of a curate, and she could tell straight off that he was “not quite a gentleman”. He also seemed rather conceited. Nevertheless, in 1930, they were married.


The Revilious one to me was the better of the two. In fact it was magnificent.
In the art world illustrators and graphic artists have always played second fiddle to the fine artist. But this show to me proves that real artists can multi task and the very best can multi task brilliantly. Ravilious and co shows that they can cross over and blend to produce stunning work in all areas. Fine art, graphics, and illustration and use many different mediums to make their work do what they wanted it to.

In the age before computers these men and women were a power house of British art.
You will surly recognise their wonderful styles, many of them so familiar to the British way of life in this particular time period of just before the second World War and up to and including the coronation of Elizabeth II and The festival of Britain and even up until the 1960s.
The exhibition at Compton Verney to me is one of the best they have ever had and the amount of works produced by this group of mainly friends will really astonish you.
It’s a real must visit for any art student doing any kind of art or anybody interested in the culture of a nation.

Ravilious & Co


Peggy Angus

Based on new research and telling a story that has never been told before, this exhibition of the artist and designer Eric Ravilious (1903-1942), coincides with the 75th anniversary of his death. It explores the significant relationships and working collaborations between Ravilious and an important group of friends and affiliates, including Paul and John Nash, Enid Marx, Barnett Freedman, Tirzah Garwood, Edward Bawden, Thomas Hennell, Douglas Percy Bliss, Peggy Angus, Helen Binyon, and Diana Low.

Ravilious & Co brings together nearly 500 paintings, prints, drawings, engravings, books, ceramics, wallpapers, and textiles – many rarely shown and previously unknown – and highlights key moments in the artists’ lives and work from first meetings at the Royal College of Art, to the evolution of their artistic practices into commercial and industrial design.

The exhibition has been created to mark the 75th anniversary of Ravilious’ tragic early death in Iceland during the Second World War and it finishes on a remarkable series of works from his time as an official war artist.


This exhibition of the artist and designer Eric Ravilious (1903 – 1942) explores the significant relationships and working collaborations between Ravilious and an important group of friends and affiliates.
Eric Ravilious (1903 – 1942) is now recognised as one of the most important and popular British artists of the 20th century. This major new exhibition explores the influence of Ravilious and his circle and their remarkable impact on British art and design in the 1930s and 1940s.


Portrait of artist Diana Low by William Nicholson 1933

Low, Diana, 1911-1975; Sir William Nicholson (1872-1949)

Sir William Nicholson by Diana Low  1933


EDWARD BAWDEN (1903-1989)

Bawden was a painter, illustrator and graphic artist, known for his prints, book covers, posters, and garden metalwork furniture. He was a successful commercial artist and served as an official war artist in the Second World War.
He was awarded a scholarship to study illustration at the Royal College of Art (RCA) in 1922, and it was here that he met his fellow student, future collaborator, and lifelong friend, Eric Ravilious. By 1930 Bawden was producing work for the Curwen Press, as was Ravilious and their former tutor, Nash, producing illustrations for leading accounts such as London Transport, Westminster Bank, Twinings, Poole Potteries, Shell-Mex, the Folio Society, Chatto & Windus, and Penguin Books. Between 1930 and 1963 he taught at the Royal College of Art and in 1968 became a tutor at the Royal Academy.
Bawden lived in Great Bardfield, Essex from the 1930s to 1970 and while living there became an important member of the Great Bardfield Artists, a group whose work was diverse in style but shared a love for figurative art.


HELEN BINYON (1904-1979)

Binyon was a notable watercolourist, print-maker, wood engraver, puppeteer and teacher, working at Willesden School of Art 1945-6 and then at Bath Academy of Art from 1949 to 1965.
After their studies at the Royal College of Art, Binyon maintained a close friendship with Ravilious for the rest of his life and in the late 1970s wrote ‘Eric Ravilious – Memoir of an Artist’, published after her death in 1983. With her twin sister Margaret she developed The Binyon Books for children, which she illustrated and Margaret wrote. Early in her career she developed a passionate interest in puppeteering, and the sisters created and ran a travelling puppet show until the outbreak of the Second World War. She illustrated several books including ‘Brief Candles’ for the Golden Cockerel Press and ‘Pride and Prejudice’ for Penguin in 1938. During the Second World War she worked for the Admiralty in Bath drawing hydrographic charts.



Bliss was a painter, art critic and art conservationist and was appointed Director of Glasgow School of Art from 1946 until 1964.
He arrived at the RCA in 1922 having already studied at Edinburgh University after a year in the Highland Light Infantry at the tail end of the War. Schooled in Scotland from the age of six after a Raj childhood in India, he had confidence and quick witted entrepreneurial spirit. Although Rothenstein assigned him to the Painting School, he had ambitions to be a designer and illustrator.
In his second year Bliss was elected editor of the Student Magazine and Junior Common Room librarian – crucial roles in an environment where students learned as much from books, journals and their own discussions as from any formal teaching. An eclectic bibliophile, Bliss shared many interests with Ravilious and, during the RCA years and the rest of the 1920s, was both a close friend and a crucial early influence.

Freedman, Barnett, 1901-1958; Kitchen Interior


Freedman was a British painter, commercial designer, book illustrator, typographer, and lithographer. He was an official war artist during the Second World War.
The child of Russian Jewish émigrés, who arrived in Spitalfields, London in 1896, Freedman grew up in poverty and, between the ages of eight and thirteen, was frequently hospitalised with respiratory and heart disease. During this time, he read widely and taught himself to draw, paint, and play the piano and violin.
When he was sufficiently recovered, he was set to work as an office boy with a monumental masons’ and then in an architect’s office, and for five years attended evening classes at the Central School of Arts and Crafts.
Sitting for a London County Council scholarship, he was failed on three occasions before, displaying the audacity his friends would come to know and love, he accosted Rothenstein and showed him his portfolio. The RCA Principal was immediately convinced that a great injustice had been done and forced the official concerned to offer him a scholarship.


PERCY HORTON (1897-1970)

Horton was a painter and art teacher. From 1930-1949 he taught in the Painting School at the Royal College of Art, and became Ruskin Master of Drawing, University of Oxford from 1949 to 1964.
He arrived as a student at the Royal College of Art in 1922 after facing discrimination as a former conscientious objector during the First World War. Born in Brighton to working class parents, he was already a convinced socialist when the Great War broke out – a conflict he refused to support in any way.
After conscription was introduced, he was denied exemption from military service, called-up, taken to Edinburgh, and imprisoned from June 1916 to April 1918. He spent long periods in solitary confinement with hard labour, forbidden to either speak or draw for months at a time.
After his release, in broken health, he found it hard to get work, but in the summer of 1922 won a national scholarship, awarded without the usual interrogation about war service. This enabled him to enter the RCA’s Painting School.

(c) Mr Nick J. Chaloner; Supplied by The Public Catalogue Foundationem

ENID MARX (1902-1998)

Marx was an English painter and designer, best known for her industrial textile designs for the London Transport Board and the Utility Furniture Scheme. Marx was the first female engraver to be designated as a Royal Designer for Industry.
She entered the Royal College of Art (RCA) Painting School after completing a year at the Central School of Arts and Crafts. Her father, a distant relative of the political philosopher Karl Marx, was an engineer and she grew up in a liberal Hampstead household. Her school years were spent at Roedean near Brighton, to which she attributed her love of the South Downs, an enthusiasm shared with Ravilious.
The two met rehearsing for the December 1922 ‘Freshers’ Play’ in which Marx played Queen Elvira and Ravilious played Pittle Pottle, a jester in particoloured tights, and from then on he was always for her ‘the country boy who enjoyed birds nesting and games, a sort of Papageno’ (the bird-catcher in Mozart’s The Magic Flute). Ravilious’ friendship would prove crucial to Marx’s transition from failing painter to modernist designer. Excluded from Sir Frank Short’s RCA engraving classes on grounds of supposedly poor drawing, Ravilious began sneaking her in to learn by night what he had been taught during the day.



Nash was a British painter of landscapes and still-lifes, and a wood engraver and illustrator, particularly of botanic works. He served as an official war artist in both the First and Second World Wars.
From 1934-1940 he taught at the Royal College of Art in London. An accomplished printmaker, he was, with Paul, a founder member of the Society of Wood Engravers in 1920. He produced woodcuts and wood engravings first as illustrations to literary periodicals, and then increasingly as illustrations for books produced by private presses, including Jonathan Swift’s Directions to Servants (Golden Cockerel Press, 1925).

(c) Bridgeman; Supplied by The Public Catalogue Foundationpaul2

PAUL NASH (1889-1946)

Nash was a painter, photographer, writer, a fine book-illustrator and designer of applied art, stage scenery, fabric and posters. He was one of the most important landscape artists of the twentieth century and played a major part in promoting the avant-garde European styles of abstraction and surrealism throughout the 1930s. He is perhaps best known for his work as an official war artist, producing some of the most memorable images of both the First and Second World Wars.
A prominent member of the Society of Wood Engravers, Nash was involved in its first exhibition in 1920. As well as two volumes of his own wood engravings, Places and Genesis, Nash produced highly regarded book illustrations for several authors throughout the 1920s, including Robert Graves and Siegfried Sassoon. In 1924 and 1925 he taught part-time at the Design School at the Royal College of Art where he had a major impact on Ravilious and his circle.
Paul was the older brother of the artist John Nash


Created in Conflict

Addressing a broad time period, Created in Conflict: British Soldier Art from the Crimean War to Today will consider the enduring questions raised by war, including ways of keeping in touch with home, patriotism, loyalty and the treatment of veterans. Throughout the exhibition paintings, photographs and insightful collaborations between veterans and contemporary artists will reflect the power of artworks to make us feel both better and worse about war.

Challenging perceptions about war and behaviour; presenting a new dimension to soldiers’ experience, creativity and skills.
Created in partnership with the National Army Museum, this exhibition will showcase the incredible resourcefulness and diversity of artwork made by British Armed Forces personnel. With important loans from the V&A, the Imperial War Museum, and the Museum of Military Medicine, the exhibition will feature a rich variety of resonant items including tankards made by soldiers in the trenches during World War I, game pieces carved by Prisoners of War during World War II, and toys and quilts made by convalescing soldiers.


Thomas William Wood, Portrait of Private Thomas Walker, 1856  

This painting has been called a “rare propaganda portrait” and was apparently designed to allay public concerns over hosptial conditions for soldiers during the Crimean War. Victoria’s visit was probably another attempt to do the same. As you may be aware, Florence Nightengale and others were able to publicise the poor state of many field hospitals, and the need for cleanliness and more careful nursing of the wounded.

Tuesday, December 25, 1855: The Queen has forwarded to Private Thomas Walker, 95th Regiment, a present of £10. On her Majesty’s last visit to Fort Pitt she was struck with a quilt brought to her notice as the work of Walker, and desired that it might be forwarded to her Majesty, which has recently been done through Colonel C. B. Phipps.

Monday, March 3, 1856: An artist is engaged in the Military Hospital, Fort Pitt, Chatham, completing an oil painting of Thomas Walker, 95th Regiment, who has been an inmate at the hospital for fourteen months, during which period the entire top of his skull has been removed by skilfull operation at different periods by Mr. William Perry, surgical operator. The painting, which is intended for an exhibition, represents Thomas Walker in bed, busily engaged sewing together pieces of different coloured cloth, for the purpose of making the quilt which the Queen, upon seeing, was pleased to order to be sent to the palace. A part of the pattern is represented in the picture lying outside the bed. It was at the battle of Inkerman this youth received his wound, by a shell bursting directly over his head, which it fractured in the most extraordinary manner, causing insensibility for several days, until a piece of bone which pressed on his brain was removed.

The patchwork done by Private Thomas Walker as he convalesced from a head wound in the Fort Pitt military hospital at Chatham, made for a particularly detailed narrative relationship between soldier maker and patchwork, which widely circulated in the contemporary press. The details known about Walker perhaps suggest a fuller accompanying narrative for the anonymous Leicestershire Regiment coverlet also supposed to have been made by a convalescent soldier recovering from Crimean War wounds. Walker, of the 95th Regiment, was severely injured at the battle of Inkerman. He met the Queen during a series of Royal visits to the wounded, and she described him in her journal as a most extraordinary case, a shell having burst on his head, the whole upper part of which was exfoliating, & would come away! Yet he looked well in the face, & said he did not suffer, only at times from giddiness. The Dr says he will entirely recover.13 The Times identified Walker as ‘perhaps the most extraordinary case’ among the wounded soldiers visited by the Queen: he ‘has been in hospital nearly 12 months, during which time he had 13 pieces of his skull removed by Doctor Parry

An 1856 portrait by Thomas Wood, now in the collection of the Royal College of Surgeons, depicts Walker propped up in bed making a vibrantly coloured quilt using the red, black, white and gold of army uniforms. Cassell’s Illustrated Family Paper produced an engraving of Wood’s painting, with which they included some details of how Walker had learnt to quilt in hospital with help from a fellow soldier’s wife. As Glenn Fisher’s research (2008) has shown, Walker’s father was a brewer’s servant and his own trade or calling was recorded on his attestation papers when he joined the 95th in 1850 as ‘a hawker’. These papers also show that he was able to sign his own name.14 Although Walker seems to have learnt patchwork in hospital, the report in Cassell’s suggests that he drew on his existing skills in hawking goods, to turn his sickbed work into a successful commercial enterprise.

Q 71106

Thomas Walker, left and Joseph Conolly who were presented to Queen Victoria on her visit to Chatham Hospital. Both were wounded at Inkermann

Private Thomas Walker has employed much of his time in hospital, and relieved the tedium of hisconfinement, in making patchwork rugs and table covers from the scarlet clothand facings of soldiers’ jackets. In the manufacture of these he has exhibited somuch taste and ingenuity that her majesty was pleased to select one for which she generously sent him £10; another large one has also been purchased from him, and he is now engaged in the making of a third, and still more handsome large rug, which he hopes to be able to dispose of to some charitably inclined persons. It deserves to be recorded to Walker’s credit that he has given six pounds of her Majesty’s donation to his relatives, who are in distressed circumstances, and £1 to the wife of a fellow patient who has assisted him in his work (5 July 1856).

L0010204 Fort Pitt Hospital, Chatham, 1855

Although, sadly, the Queen’s Walker quilt does not survive as part of the Royal Collection, the archive at Windsor does demonstrate that the Queen continued to be interested in Walker’s work and wellbeing. Following the Queen’s Chatham hospital visits, an update on Walker’s condition was sent to Colonel Phipps, keeper of the Privy Purse, who advised the Queen on her engagement with the war: About ten days ago Dr Parry extracted a large piece of his skull very skillfully. He is going on very well & amuses himself by making a patch work quilt of bits of cloth from soldiers coats, trousers and facings. He has shown great ingenuity in the devices he has chosen & does it very nicely.

Colonel Eden’s commendation of Walker’s ‘ingenuity’ of design, and nicety of work, is echoed by Cassell’s report of Walker’s ‘taste and ingenuity’ and his continuing endeavour to produce ‘still more handsome’ items, and by the emphasis in Wood’s painting on the neatness and delicacy of execution, as Walker carefully stitches together small triangles of material to produce perfectly interlocking parti-coloured lines. This celebration of Walker’s dextrous needlework and aesthetic skill gives a new dimension to the more conventional soldierly heroics signaled by his battle-wound. At the same time, these accounts work to reassure non-combatants about the rehabilitation of the wounded soldier, quickly returned to productivity and industry. Cassell’s detailing of the monies Walker received and passed on for his work brings his narrative into the wider story of self-help and improvement promoted by the journal. Founder John Cassell welcomed content ‘illustrative of the triumph of religion, temperance, morality, industry, energy and self-control over idleness, apathy, intemperance and habitual self-indulgence’.

The inscrutability of Private Walker’s expression in Wood’s painting perhaps registers an ambivalence about soldiers’ feelings towards such work. Though the Queen recites the reassurance he ‘said he did not suffer’ in her journal, and Cassell’s reports that Walker had borne much suffering ‘with cheerful resignation’, the expression Wood gives Walker is certainly not cheerful. By making Walker’s face unreadable Wood keeps Walker’s feelings about his position and his ‘therapeutic’ work, a mystery, opening a space for doubt in the viewer’s interpretation of the painting. This indeterminacy might also encourage attention to the other troubling elements of this image. The positioning of the scissors in Walker’s lap, with their point directed to the centre of his crotch, uncomfortably suggests emasculation, even castration, by invalidism, and the craft work of the sickbed. This pointed reminder of the wounds suffered by Walker is extended by the surplus of available ‘scrap’ uniforms, in which we can perhaps glimpse the life and death narratives of those soldiers killed by the conflict that Walker narrowly survived.

Screenshot 2018-03-14 16.34.01

95th at Inkerman

When the siege of Sebastopol was decided upon, the Second Division took up a position on the extreme right, on the heights of Inkerman, and here it was twice attacked – on the 26th October, and, more heavily, on the 5th November. At the battle of Inkerman, the 95th – weakened by the losses at Alma and on the 26th October, and by the sickness which had been contracted in Turkey and had never left the army – numbered only 10 officers and 433 of other ranks. The regiment was now formed in six companies. There were not enough officers to spare two to carry the Colours, but there was no idea of leaving them in the rear in safety. They were brought on the field, “and were carried that day by two sergeants” – the Queens Colour by Sergeant William McIntyre and the regimental Colour by Sergeant John Gooding. Surely there can be no battle more difficult to describe than Inkerman!

The aim of the British soldiers was to attack, and no sooner did they leave the high ground about their camps to meet their enemy that the men found themselves involved in isolated combats, by small parties, by twos and threes, and even of individuals, fought out to the death in the mist-laden copses below Mount Inkerman. Many fought alongside the Guards near the sandbag battery that was taken and retaken seven times that day. Champion, who led the 95th, was mortally wounded, Major Hulme was shot through the thigh, Macdonald, the adjutant, received nearly twenty wounds by ball or bayonet; and till long past midday the unequal fight went on, until at its close the regiment had suffered casualties to the number of 144, and when the company rolls were first called, barely 80 men answered to their names. Two sergeants and 28 rank and file had been killed; four officers, two sergeants, and 108 of other ranks were wounded. Although the Battalion strength was under 100 as it marched away from Inkerman, it nevertheless continued to serve in the trenches before Sevastopol and the final attack on the fortifications. The saying in the 2nd Division “There may be few of the 95th left, but those are as hard as nails” led to the nickname of “The Nails”.

Its numbers reduced by three great losses in action, the survivors weakened by disease, exposure, and privation, the regiment yet continued during that awful winter on the Crimean uplands to do its full share of trench work; and when the campaign ended, the 95th had sustained a loss of 637 killed or dead of wounds and sickness, while 462 had been invalided.


A Welcome Arrival, 1855 

Oil on canvas by John Dalbiac Luard 

Born into a military family, the artist John Dalbiac Luard had passed through Sandhurst and served with the 63rd (The West Suffolk) Regiment of Foot and then the 82nd (The Prince of Wales’s Volunteers) Regiment of Foot before selling his commission as a lieutenant in January 1854 in order to take up painting as his profession. In the winter of 1855-1856 Luard travelled to the Crimea in order to produce sketches of the war and to visit his brother, Captain Richard Amherst Luard (b. 1827) of the 77th (The East Middlesex) Regiment of Foot, who is believed to be the central figure in the painting. The figure on the right has never been positively identified, but may be a self-portrait of the artist, who in a letter to his father recounted how he had witnessed the unpacking of a box of supplies while visiting his former regiment, the 82nd Regiment of Foot.

In the centre of the painting, asleep on a table behind the stove, is a cat, long popularly identified as ‘Crimean Tom’, the pet rescued from Sevastopol and brought back to England by Deputy Assistant Commissary William Gair. It is has been suggested that perhaps Gair is the officer on the left of the painting examining a miniature or photographic image of loved-ones at home. However there is no evidence to substantiate any of these claims.

For officers at least, the arrival of parcels from home was a welcome relief from the monotony and privations of life in camp. The walls of the hut are decorated with pages from ‘The Illustrated London News’.


The Last Jedi

Resistance forces, led by General Leia Organa, flee D’Qar when a First Order fleet arrives. Poe Dameron leads a costly counterattack that destroys a First Order dreadnought, but after the Resistance escapes to hyperspace, the First Order tracks them and attacks the Resistance convoy. Kylo Ren, Leia’s son, hesitates to fire on the lead Resistance ship after sensing his mother’s presence, but his TIE fighter wingmen destroy the bridge, incapacitating Leia. Disapproving of new leader Vice Admiral Holdo’s passive strategy, Poe helps Finn, BB-8, and mechanic Rose Tico embark on a secret mission to disable the tracking device.

Meanwhile, Rey arrives on Ahch-To with Chewbacca and R2-D2 aboard the Millennium Falcon to recruit Luke Skywalker to the Resistance. Disillusioned by his failure to train Kylo as a Jedi, and under self-imposed exile from the Force, Luke refuses to help—even after he learns of Han Solo’s death at Kylo’s hands—and believes that the Jedi should become extinct. Unbeknownst to Luke, Rey and Kylo communicate through the Force, puzzling the two enemies. As the rival Force users learn about each other, each has future visions of themselves as partners.


R2-D2 persuades Luke to train Rey. After Kylo tells Rey about what happened between him and Luke that caused him to choose the dark side of the Force, Luke confesses that he momentarily contemplated killing Kylo upon sensing that Supreme Leader Snoke was corrupting him, causing Kylo to destroy Luke’s new Jedi Order in retaliation. Convinced that Kylo can be redeemed, Rey leaves Ahch-To to confront Kylo without Luke. Luke prepares to burn down the Ahch-To Jedi temple and library, but hesitates. Yoda’s ghost appears and destroys the temple by summoning a thunderstorm, claiming Rey has all she needs to learn, and encourages Luke to learn from his failure.


Holdo reveals her plan to discreetly evacuate the remaining Resistance members using small transports. Believing her actions cowardly and risky, Poe leads a mutiny. Finn, Rose, and BB-8 travel to the Canto Bight casino and acquire the help of the hacker DJ, who says he can help them disable the tracking device. They infiltrate Snoke’s ship, but all but BB-8 are captured by Captain Phasma. Meanwhile, Rey lands on the ship, and Kylo brings her to Snoke, who reveals that he facilitated the mental connection between her and Kylo as part of a plan to destroy Luke. Ordered to kill Rey, Kylo instead kills Snoke and, with Rey, defeats Snoke’s guards. Rey believes that Kylo has returned to the light side of the Force, but he instead invites her to rule the galaxy with him, which she refuses. They use the Force to fight for possession of Anakin Skywalker’s lightsaber, which splits in two.


Leia recovers and stuns Poe, allowing the evacuation to begin. Holdo remains on the ship to mislead Snoke’s fleet as the others flee to an abandoned Rebel Alliance base on Crait. DJ reveals the Resistance’s plan to the First Order, and the evacuation transports are slowly destroyed. Holdo sacrifices herself by ramming Snoke’s fleet at lightspeed; Rey escapes in the chaos, while Kylo declares himself Supreme Leader. BB-8 frees Finn and Rose, who escape after defeating Phasma, and they join survivors on Crait. When the First Order arrives, Poe, Finn, and Rose attack with old speeders. Rey and Chewbacca draw the TIE fighters away with the Falcon, while Rose stops Finn from completing a suicide run against the enemy siege cannon, which penetrates the Resistance fortress.


Luke appears and confronts the First Order to enable surviving Resistance members to escape. Kylo orders the First Order’s forces to fire on Luke to no effect. He then engages Luke in a lightsaber duel; upon striking Luke, Kylo realizes he has been fighting a Force projection of him. Rey uses the Force to help the Resistance escape on the Falcon. Luke, exhausted, dies peacefully on Ahch-To. His death is sensed by Rey and Leia, but Leia tells surviving rebels that the Resistance has all it needs to rise again. At Canto Bight, one of the children who helped Finn and Rose escape grabs a broom with the Force and gazes into space.


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