In 1922, Shannon's career as a lithographer and painter was stagnating, while Ricketts's work as a theatre designer was admired by writers, designers, audiences, and critics alike.
Shannon, as a result of his feeling of stagnation, latched on to the idea of moving house as a change and 'a sort of renewal of life grown into a monotony of habits'. Ricketts, as usual, took the opposite view, dreading the effort and uncertainty and confessing 'to moments of acute depression and fear of the future which is not good for anyone'. He was, he claimed, 'of a cat-like disposition, deeply attached to places, which I generally like better than people'. However, a move was necessary. Their twenty-one-year-old lease for the Lansdowne House flat was running out and Davis [the owner] had decided to sell the building.
|Lansdowne House (Wikimedia Commons)|
[J.G. Paul Delaney, Charles Ricketts. A Biography. Oxford, Clarendon Press, 1990, pp. 331-332.]
On May 1923 they found themselves in their new home, Townshend House, a large Edwardian villa (since demolished) near Regents Park. Not a thing in the new house worked, not a window, tap, lock, stove, or geyser, Ricketts claimed, though they had been paid for weeks and months before; the painters had bolted before finishing the job, leaving their paint pots behind - Ricketts was clearly over-reacting as usual. As soon as the stove in the dining-room was working, they made that their headquarters, as the weather was wet and wintry.
[Ibid, p. 333.]