692. Laurence Irving About Ricketts

Laurence Irving (1897-1988) talked about his work as a stage and film designer for the Art Workers Guild in 1964. [See for his meeting Ricketts as a student, blog 690]. The Art Workers Guild was founded in 1884 by architects and designers in need of a meeting place for the fine arts and the applied arts. A great range of crafts - over forty in 1909, over sixty at present - has been represented in the guild, including type-design and photography. Members included C.R Ashbee, Arthur Gaskin, Emery Walker, T.J. Cobden-Sanderson, Eric Gill, David Kindersley and William Morris. Walt Disney was among the honorary members. Men were long in the majority, but in later years women also became members, such as Judith Bluck and Mary Jane Long.

By 1964, when Irving gave his talk, the guild was no longer in the mainstream of artistic thinking, and was preserving values which were unfashionable. (A lot has changed since then.)

The Art Workers Guild at 6 Queen Square, London
[Photo: Art Workers Guild,
Creative Commons Attribution-Share Alike 4.0 International license]

From 1913, the Guild has been based at 6 Queen Square in Bloomsbury. Laurence Irving is listed as a member in 1933, but apparently only in that year. In his 1964 speech, he said that the secretary of the Guild asked him to deliver a lecture at the time, but he could not remember what he had spoken about. All he remembered was that George Bernard Shaw had sat in the front row - a lifelong enemy of his grandfather the actor Henry Irving. More than thirty years later, he again was asked to give a lecture on his work, which was announced in The Stage of 12 November 1964: 'Laurence Irving on Scene Changes, or, Thirty Years After'. The event was scheduled for the next day, Friday 13 November 1964, at 7 p.m. Admission was free.

'Art Workers Guild', announcement in The Stage, 12 November 1964, p. 13

A typescript of this lecture is preserved in the collection of the University of Bristol Theatre Collection (Ref No BTC30/8/4/13). [See the catalogue description.]

The title partly matches what the announcement in The Stage gave as the subject - 'Changes of Scene', but the date for the lecture is given here as ‘November 18th 1964’.

Irving said that as a young student at the Royal Academy Schools, he wanted to stay as far away from the stage as possible and began his career in the field of graphic art. It was only in 1926, thanks to author A.A. Milne and composer Fraser Simson, that he was persuaded to design scenery and dresses.

I was thrice blessed in being able to assimilate the theoretical and practical teaching of three masters. Charles Ricketts, George Harris and Edward Gordon Craig.

In that order, because he owed the most to Ricketts. Shannon and Ricketts invited him as a student to drop by at one of their Friday night meetings at Lansdowne House, Lansdowne Road, Holland Park.

Ricketts was a master of stagecraft. In him were combined the gifts of scholarship, architectural boldness, a vivid colour sense and a feeling for abstract pattern that revealed itself in the noble simplicity of his settings and the characterisation of his costumes.

His keen intelligence, broad knowledge, playful humour and skillful fingers contributed to him being held in high regard as a designer, although he could not always be patient with actors or authors.

"Men of letters have no taste!" I once heard him cry in exasperation when a poet failed to grasp an effect he was striving for. He meant, I think, that writers have not necessarily the visual imagination that their words imply and yet do not readily accept the illustration of them by another.

Ricketts contributed immensely to the formation of Irving's theatrical convictions. 

In his lecture, Irving said of Gordon Craig that he stripped the stage of irrelevant decorations, greatly influencing all designers after him, but that he could hardly ever put his theories into practice because he was not offered work in the commercial theatre world.

Ricketts, meeting him at the turn of the century, found him "too diffuse".

Irving said a designer should not distinguish between ‘serious and frivolous productions’, between tragedies and comedies, and that it was precisely the variety of genres and subjects that he had found so attractive about his work. Of importance to him was continuity in the collaboration between designer, director and theatre. But by the late 1920s, this was already a rarity.

Only about three Shakespearean productions of note were seen in London during those years and none of them (though two were splendidly designed by Ricketts) had much success.

Irving often saw the artist Rex Whistler at work, admiring hs 'imaginative grace and technical mastery'. In his lecture, Irving further elaborated on the form of theatre and its influence on the relationship between actors and audiences. 

Quotes are taken from: Ref No BTC30/8/4/13: Typescript for a lecture given by Laurence Henry Irving to the Art Workers Guild on 18 November 1964 titled 'Changes of Scene' (University of Bristol Theatre Collection).

[Thanks are due to Jill Sullivan, Assistant Keeper (User Services), University of Bristol Theatre Collection].

691 Ricketts & Shannon Discount

Last Saturday, the book website Biblio sent out an advertisement. Until next Sunday, books can be purchased at a discount under the code word Oscar Wilde. 

Biblio.com mail, 26 October 2024

The site gives this kind of discount - as an incentive to purchase used and rare books from antiquarian booksellers - with some regularity. [For the website see Biblio.com.] I usually ignore such messages but this one caught my attention. 

Biblio.com mail, 26 October 2024

The discount code was illustrated with an image from one of Oscar Wilde's fairy tale collections, A House of Pomegranates, with illustrations by Charles Ricketts and Charles Shannon, or, as the artists put it on the title page:

THE DESIGN & DECORATION OF THIS BOOK BY C. RICKETTS & C.H. SHANNON

Via Biblio.com, two copies of this first edition are now on sale, one for $731.30 ('partially unopened [...] Covers a bit darkened, corners rubbed, hinges weakened with paper cracked, endpapers slightly darkened, engraved bookplate on the front pastedown with the monogram engraved on the plate of R.E 1899, otherwise interior clean and bright') and one for $3,150.00 ('Very good plus to near fine', 'a beautiful copy', 'Housed in cloth-backed marbled paper custom box. Small bookplate on front pastedown. Hinges neatly repaired. Only light soiling to board edges, with a bit of toning to spine. Text block free from foxing').

So the 10% discount might amount to $73 or even $315. However, the maximum discount per order is $20, making these two copies cost $711.30 or $3,130.00 respectively.

690. Laurence Irving Meets Ricketts

In 1922, the artist, book-illustrator and (later) set-designer for films Laurence Irving came to the Keep at Chilham Castle near Canterbury, as Ricketts wrote in letter to W.B. Yeats. Irving (1897-1988) was called 'a nice sensitive youngster' who sketched peacocks in the garden. Trained at the Byam Shaw School of Art, he met Ricketts and Shannon when he continued his training at the Royal Academy School, specialising in landscape and marine painting.

He once told Ricketts's biographer that he had asked Ricketts who the best landscape-painter was, and immediately got the reply: 'Wagner'.(*)

Charles Ricketts, 'Amfortas', design for Richard Wagner's Parsifal
(Supplement to The Illustrated London News, 19 May 1928)

The BBC archives show that he had previously told that anecdote in a more extended form, as he did on the radio programme The Irving Inheritance (interviewer John Miller):

The great influence on me was Charles Ricketts and I remember one night, as a rather callow student, asking Ricketts who he thought were our greatest landscape painters and in a flash he said, 'Tennyson and Wagner!'

And he added:

To me [the poet] Masefield was, I suppose, the supreme marine painter.

(The Irving Inheritance, BBC Radio 4, Sunday 1 March 1981, 19:30 [see the BBC Genome website])

Irving had published book illustrations for a medieval play, Godefroi and Yolande, published by John Lane, The Bodley Head in 1907, and Masefield's Philip the King, issued by William Heinemann in 1927, a year before he went to Hollywood with Douglas Fairbanks to be his Art Director on The Iron Mask.

Rex Whister and Charles Ricketts,
painted by Laurence Irving (1970)

An Irving oil painting from 1970 (see the collection of V&A) depicts Charles Ricketts next to Rex Whistler in the enormous scenic studio of Alick Johnstone, supervising the realisation for Henry VIII and Victoria Regina.

Other BBC programmes related to Ricketts are: Poverty and Oysters (17 August 1979, BBC 2) and Between Ourselves (22 February 1991, BBC Radio 3).

(*) J.G. Paul Delaney, Charles Ricketts. A Biography. Oxford, Clarendon Press, 1990, pp. 214, 312.

689. Ricketts and The Woman's World

A week ago I received a copy of Articles from The Woman's World Edited by Oscar Wilde, a selection of thirty essays with introduction and notes by Eleanor Fitzsimons. Gyles Brandreth [see the website of The Oscar Wilde Society] had this to say about this impressive new book:

Eleanor Fitzsimons has exploded the myth that Oscar Wilde was a lazy editor. She shows how hard he worked to find the best writers and the best illustrators to make his magazine a beacon of progressive thought regarding women in education, the professions, politics and the arts.

Selected Articles from The Woman's World Edited by Oscar Wilde (2024)

Fitzsimons discusses Wilde's editorial episode, which began in April 1887 when he was asked to be the editor of The Lady's World, half a year before the first issue under his editorship would appear. The time was taken to change the title, lay-out, and the contents of the magazine - the emphasis was now more on what women were thinking than on what they were wearing, although fashion remained an important subject. The introduction shows how Wilde, in his literary notes, supported new and democratic ideas, and invited women with sometimes opposing views to make contributions.

The editor covers contributions from different types of sections - poetry, fiction, literature, fashion, education, industry, employment for women, politics and public life. Although most of the authors were women, the illustrators were all men. Wilde became disappointed with the publisher's lack of support for his plans, both financially and in terms of content he faced constraints, leading to him giving up.

The selection follows the format of the original magazine, the text in two columns, and illustrations (for the introduction) embedded in the text, unfortunately leading to ugly gaps in the consequently short lines of text aligned on either side (see for example page 25). The endpapers are after a design by E.W. Godwin: the original bound volumes of The Woman's World had simple blank endleaves and this busy colourful fabric design - not designed for books bur for furniture - is misplaced in this volume.

Zooming in on Charles Ricketts, we unfortunately may detect some flaws. The short biography (pp. 246-7)  states that Ricketts's mother was French, an error that has been corrected by his biographer Paul Delaney who established that she was Italian. Throughout the book we find illustrations by Ricketts that are not attributed to him and about which a somewhat hidden footnote (p. 302, note 26) comments that they may have been his work. The misconception that Wilde was the one who invited Ricketts to produce illustrations - Ricketts had previously worked for the publisher Cassell and would not meet Wilde until 1889 - is reflected in the comment that theirs was one of Wilde's 'collaborative relationships' (p. 30). Eventually they did become close collaborators but not before 1890.

Not all of Ricketts's illustrations are signed by him, especially the headpieces for the fashion section are quite often missing a monogram, leading Fitzsimons to contradict herself. On the one hand, she says he ‘might’ have made these, on the other, she claims with certainty that they are his work: 'Charles Ricketts may have been the artist responsible for the headpieces to Mrs. Johnstone's articles "The Latest Fashions" [...]' (page 302) and 'From 1889, when Charles Ricketts began drawing playful headers for "The Latest Fashions" [...]' (page 243). Apparently, these drawings have not been examined closely.

There is no reason for doubt. Ricketts designed all the headpieces from February 1889 onwards. The first one is not signed, but the second one is (March 1889).

Charles Ricketts, detail of headpiece (The Woman's World, March 1889)

The double-lined square within the wreath is a simplification of Ricketts's monogram which he used to sign a tailpiece in the same instalment.

Charles Ricketts, detail of tailpiece (The Woman's World, March 1889)

For some articles he combined the CR monogram and the simple square, see for example his illustrations for 'Boots and Shoes' in The Woman's World of May 1889. Shortly, a book about the early illustrations by Ricketts reproducing all of them will be published and announced in this series of blogs.

688. Ricketts, Lettering and Ornament in The Printing Art

In 1907, Addison B. LeBoutillier (1872-1951) - an architect, who was famous for his pottery, and also known for his drawings and etchings - published an article in The Printing Art: A Monthly Magazine of the Art of Printing and of the Allied Arts, edited by Henry Lewis Johnson and published by the University Press, Cambridge, Massachusetts: 'Lettering and ornament' (volume 8, no. 6,  February 1907, pp. 385-392). [The Princeton Library copy can be found at Hathi Trust.]

Addison B. LeBoutillier

Addison B. LeBoutillier, 'Lettering and ornament'
(The Printing Art, February 1907, first page)

The article contains six examples of lettering and ornament of which one contains a quote from Charles Ricketts (p. [391]). The text comes from his polemical essay A Defence of the Revival of Printing (1899). The short passage (from pages 10 and 11) deals with the lack of decoration in early Italian printed books, William Morris's ideas about book decoration, and the use of ornamental type.

Addison B. LeBoutillier, 'Lettering and ornament'
(The Printing Art, February 1907, p. [391])

But the illustration is not a simple facsimile of the original edition. The text has been re-set from a letter not designed by Ricketts and placed in a border, with an initial T, which were neither drawn nor published by him.

The border and initial were originally designed for the Boston firm of Copeland and Day for their edition of D.G. Rossetti’s The House of Life (1894). Designed by Bertram Grosvenor Goodhue, they were later called ‘more cluttered than Morris’s ever were’.(*) They were also much heavier and denser than Ricketts's borders. Goodhue designed 3 borders and 114 initial letters for the Rossetti edition.

D.G. Rossetti, The House of Life (1894),
designed by B.G. Goodhue

The type is not designed by Ricketts nor by Goodhue - it is a copy of Morris's own Troy Type (mentioned by Ricketts in his quote), a version probably made by the American Type Founders, and called Satanick.

Why this text by Ricketts was chosen - he is not mentioned anywhere in the text (Morris, incidentally, is mentioned as an example) - and why it was set in a typeface based on Morris's and why the whole thing was placed in an ornamental border by Goodhue is a mystery. The result hardly qualifies as a typographic unit - at least not in the way Ricketts was striving for.

(*) Quote from William S. Peterson, The Kelmscott Press. A History of William Morris’s Typographical Adventure. Berkeley, California, University of California Press, 1996, p. 302.

687. Advertising for "The Pageant"

The Pageant. MDCCCXCVI, edited by Charles Hazelwood Shannon and J.W. Gleeson White, was issued by the young London firm of Henry & Co. in December 1895. Advertisements were published in several newspapers and weekly magazines, such as The Academy and The Athenaeum (30 November 1895), The Publishers' Circular (14 December 1895), and The Times (18 December 1895).

Earlier, there may have been a prospectus, as several papers quote the publisher's announcement of The Pageant. Early announcements were published in De Kroniek, a Dutch magazine (6 October 1895), Pall Mall Gazette (8 October 1895), and others.

Börsenblatt (2 November 1895)

An almost full-page advertisement in German appeared in the magazine for German bookshops and publishers, Börsenblatt für den Deutschen Buchhandel und die verwandten Geschäftszweige on 2 November 1895. [For a digital image see the website SLUB Dresden.]

The firm of Henry & Co. introduces itself as the German publisher of Richard Muther's Geschichte der Malerei (published by Henry & Co in 1895 as The History of Modern Painting) and the collected works of Nietzsche.

Next, The Pageant is promoted as a Christmas gift book and the execution is praised as 'in the best style', while the content is of supreme artistic and literary quality. A complete list of the contributions follows. About the binding it is said:

The Pageant ist gebunden in einen von C. RICKETTS, dem preciösesten Buchkünstlern, entworfenen Band.

(Translation: The Pageant is bound after a design by C. RICKETTS, the most exquisite book artist.)

Börsenblatt (2 November 1895), p. 6189.

The deluxe edition is mentioned, followed by some business announcements on discounts for pre-order or back-order.

Henry & Co report that they can quickly export English-language works to Germany (there is an ‘Export-Department’) and show interest in German works that can be translated (excluding novels).

I have not found similar ads in other foreign magazines - not even in Dutch newspapers, while some of the publishers at Henry & Co. were Dutchmen. However, J.T. Grein (one of them) wrote a long 'review' for a newspaper: '"The Pageant", een kunstwerk' (An Art Work) [Algemeen Handelsblad, 19 december 1895].

686. Two Copies of The Parables from the Gospels

Contacts between Ricketts and German artist Marcus Behmer have been the subject of blogs before (see in particular blog 624 'Charles Ricketts about Marcus Behmer'), and because the house with Behmer's library was lost during World War II, traces of them are scarce. Some copies of books by Ricketts with handwritten dedications to Marcus Behmer have been preserved, probably because Behmer often stayed with acquaintances outside Berlin or in Italy. Examples are Lord de Tabley, Poems Dramatic and Lyrical (1893) - Ricketts designed the cover - and Ricketts's book of imaginary conversations Beyond the Threshold (1929).

To this short list, we can now add a new title thanks to the digitisation project of the Duchess Anna Amalia Library in Weimar.

The Parables from the Gospels (Vale Press 1902)
[Herzogin Anna Amalia Bibliothek, Weimar]

The library owns a copy of the Vale Press edition of The Parables from the Gospels (1902). It is a dedication copy but the dedication is not from Ricketts but from Behmer himself who gifted the book to a close friend:

Für Alexander Olbricht durch Charles Ricketts’ Güte von Marcus Behmer. 8. Oktober 1926

Translation: For Alexander Olbricht, through the kindness of Charles Ricketts, from Marcus Behmer. 8 October 1926

Olbricht (1876-1942), an artist, who specialised in engravings, was a teacher at the Bauhaus between 1921 and 1935. He left 88 books to the Duchess Anna Amalia Library. [See the webpage about the cataloguing project].

The copy of The Parables from the Gospels bears his monogram and the date of 16 June 1933, five years after he received this copy from Behmer. At the back, on one of the blank pages is a long pencil note by Behmer explaining how this gift came about.

Im Sommer 1926 bat ich Charles Ricketts mir mitzuteilen wo ich wohl ein Exemplar dieses Büches bekommen könnte um an A.O. zu geben, der es so sehr liebe.

Mit einem Brief von 17. Aug. schickte mir dann R. ein Exemplar und schrieb dazu ..... By the same post I am sending you a signed copy of the Parables, this will enable you to present your Friend with your old copy, the book is difficult to find. ......." 

                                                                                                8.X.26         M.B. 

[Translation of the German: In the summer of 1926, I asked Charles Ricketts to let me know where I could get a copy of this book to give to A.O., who loved it so much.

With a letter dated 17 August, R. then sent me a copy and wrote: ...] 

Handwritten note by Marcus Behmer in
The Parables from the Gospels (Vale Press 1902)
[Herzogin Anna Amalia Bibliothek, Weimar]

The copy signed by Ricketts was probably lost, but Behmer's own first copy is now available for all to see on the Digitale Sammlungen website [follow this link].

685. A Shannon & Ricketts Exhibition in Munich (3)

Charles Shannon sold lithographs, woodcuts and drawings during and after the large show in Munich at the Heinemann galleries in October 1907. 

For Ricketts, however, the results were unsatisfactory as none of his paintings, bronzes and drawings sold.

However, some of his artworks were also temporarily displayed in Berlin (we don't know where): all of his paintings were dispatched to Berlin during the year, as were two of his drawings and the lithographic poster for The Persians. All of these returned to Munich as Ricketts's work had not found a buyer in Berlin. His 25 works were subsequently returned to London in June 1908. That must have been disappointing.

Charles Ricketts, 'The Holy Women' (1907)

Some of these works are now in public collections, such as:

'The Crucifixion' (The Wilson, Cheltenham);

'Descent from the Cross' (William Morris Gallery, London).

Others were later sold to collectors:

'The Holy Women' (Kōjirō Matsukata);

'The Samaritan at the Inn' (Mona Wilson).

And some works have vanished.

684. A Shannon & Ricketts Exhibition in Munich (2)

Galerie Heinemann in Munich did not send the unsold artworks back to London after the October exhibition in 1907. The works had been taken on consignment at the end of September 1907 and were to remain in the gallery's custody until 13 June 1908.  The paintings thus remained unavailable to other buyers in England or elsewhere for almost a full year; for the lithographs, this did not matter much, as Shannon could dispose of several copies, and so, for that matter, could the gallery. After, for example, 'At the Waters Edge' was sold (as ‘Auf Meeresgrund’),  Shannon sent a second copy, which, however, remained unsold. 

Charles Shannon, 'Alphonse Legros'
lithograph (1896)

After the exhibition ended, another buyer showed up, art historian Dr Otto Weigmann (1873-1940), who in April 1907 had become curator of the Graphic Collection of Munich. On 6 and 13 November 1907 he acquired five lithographs and two drawings (and later he would buy more works).

'Alphonse Legros' (Catalogue No. 40). This was 'Alphonse Legros' (1896).
'Die Badende' (Cat. No. 26). This probably was 'The Bathers' (1904).

'Max Beerbohm' (Cat. No. 24). This was 'Max Beerbohm' (1896).

'Meerwasser' (Cat. No. 29). This probably was another copy of 'Salt Water' (1895).

'Saën und Ernten' (Cat. No. 43). This was 'The Sower and the Reaper' (1904).

'Skizze für ein Portrait-Aquarell' (Cat. No. 66). Sketch for a portrait watercolour.

'Studien in Rötel' (Cat. No. 76). A study in red.

Another copy of 'Badende' was sold to the editors of the magazine Jugend in Munich ('Jugend-Redaktion) on the same day, 6 November 1907, while they also acquired copies of three more lithographs: 'Am Wasser' (original title not established with certainty), 'Die Wanderer' (probably 'The Wayfarers', 1904) and 'Morgen' ('Morning', 1905). 

Not clear is when these works were paid by Weigmann and Jugend. Perhaps, Weigmann acquired the works for the museum, and not for his private collection. Indeed there are works by Shannon in the collection of (now) Staatliche Graphische Sammlung München.

However, Shannon got paid for these acquisitions on 6 November when he received the amount of £ 40.2.6, including £10 for the exclusive right to sell some of his paintings (in return for the long time they were unavailable to him).

On the same date, 6 November 1907, another lithograph was sold: ‘Romantische Landschaft’ ('The Romantic Landscape', 1892), the buyer being lieutenant Jaenisch from Munich.

 

Galerie Heinemann, 'Lagerbuch Kommission',
LB-06-32, page 30

Records show that a number of works were sent to Berlin to be sold - where is not clear - Heinemann had no branch there. This probably happened in November 1907. Later, they were largely returned. Apparently Heinemann really made an effort to sell Shannon and Ricketts's works twice, firstly during the Munich exhibition and about a year later, just before the works were to be sent back to London. What was done with them in the meantime cannot be determined.

Indeed, Galerie Heinemann managed to sell sixteen more works by Shannon in June 1908, albeit neither paintings nor drawings. 

On 11 June 1908 four lithographs were sold to Kunsthandel Eduard Schulte which since 1901 had been run by Hermann Gottlob Schulte and Hermann Schulte junior:

'Die Taucherin' Catalogue No. 19). This was 'The Diver' (1895).

'Biondina' (Cat. No. 23). This was 'Biondina' (1894);

'Die Raucher' (Cat. No. 35). This was 'Le fumeur', a portrait of Reginald Savage (1895).

'Venus & Amor' (Cat. No 48). This must have been 'The Little Venus' (1895).

The Schulte firm got a 15% discount and paid DM 182.75. Shannon received £ 7.2.6.

Galerie Heinemann, 'Kassbuch', 11 June 1908
KB-04-23, page 30

Twelve more works were sold the same month: the series of colour woodcuts Shannon had made between 1898 and 1903. Sets of these are now very rare. Purchaser on 25 June 1908, again, was Otto Weigmann.

Each time a lithograph was sold, Shannon sent a replacement copy that often went unsold. In this way, Heinemann handled 109 works by Shannon, of which 32 were sold: one pastel, one watercolour, two drawings, twelve woodcuts and sixteen lithographs.

683. A Shannon & Ricketts Exhibition in Munich 1907 (1)

Surprisingly, until recently, I had not come across this major exhibition of Ricketts and Shannon's work in 1907; the show has not been mentioned in Paul Delaney's biography, nor in any other book or article about Ricketts and Shannon. Yet it was not an exhibition to be overlooked: 110 art works were on display and the event took place in the show room of one of the most important art dealers in Germany, the Heinemann firm in Munich. Perhaps the fact that it was a non-English venue allowed this exhibition to be forgotten and the fact that Shannon got his first major one-man show at Leicester Galleries in London that same year.

Charles H. Shannon, Charles Ricketts, London.
(München, Galerie Heinemann, Oktober 1907)

The catalogue of this exhibition in October 1907 is extremely rare, there are no copies of it in the British Library, the Tate Library or the National Art Library (V&A, London), for example. The catalogue is titled: Charles H. Shannon, Charles Ricketts, London. (München: Galerie Heinemann, 1907) and lists oil paintings, lithographs, drawings, watercolours, wood-engravings and bronzes. 

Galerie Heinemann was founded by David Heinemann in 1872 and in 1890 was taken over by his three sons. It had branches in New York and Nice and in 1904 moved the main premises to Lenbachplatz 5/6 in Munich where the Shannon and Ricketts exhibition was held three years later. Theobald and Hermann Heinemann headed the Munich business, while Theodor, the oldest brother, was in charge of the New York office. 

After the two younger brothers had died, Theodor's wife Franziska and their son Fritz managed the Munich department. In January 1938 Fritz left for New York, followed in 1939 by his mother, while the firm was 'aryanised', and forcibly sold. After the war Fritz Heinemann returned to Germany and in the end got hold of the archive that he donated to the German Art Archive (Germanisches Nationalmuseum, Nuremberg) in 1972. The documents have been digitised and are accessible on the website 'Galerie Heinemann Online' [see Galerie Heinemann Online].

Galerie Heinemann, Lenbachplatz 5/6, Munich

Although the magazine The Queen mentioned that the Heinemann Galleries exhibited pictures by the American artist Pinckney Marcius-Simons in September 1907, no English newspaper seems to have reported about the October show.

Shannon exhibited eighty-five works: sixteen oil paintings, thirty-seven lithographs and thirty-two drawings, pastels, watercolours and colour woodcuts. From the digitised catalogue it seems that the order in the rooms was different from that in the catalogue which started with Shannon's paintings and ended with Ricketts's bronzes. New numbers have been written in red ink before the black printed numbers, suggesting a different order altogether. However, the numbers are confusing as there are two series of number 1-25:

1-8 CR's paintings

9-24 CHS's paintings

25 CR painting

1-37 CHS's lithographs

38-63 CHS's woodcuts, pastels and drawings

64-66 CR's drawings

67-72 CHS's woodcuts

73 CR's poster

74-85 CR's bronzes

The show ended with the numbers 86 and 87. These were two bronzes by Kathleen Bruce: her portraits of Ricketts and Shannon.

Some titles in the catalogue have been crossed out, but these are not the works that were actually sold.

Only four works were sold during the course of the exhibition. Not the more expensive paintings, but a pastel painting and a watercolour, both by Shannon, and two lithographs

Frank Eugene, photograph of
Friedrich August von Kaulbach (1907
 [Bavarikon]

The main buyer was a German painter from Munich, Friedrich August von Kaulbach (1850-1920), who was known for his decorative, romantic society portraits in the French style. On 26 October 1907, he acquired a pastel of the wounded amazone (catalogue no. 73: 'Die verwundete Amazone') and a portrait study in watercolour (catalogue no. 75: 'Porträtstudie'). 

The cash book records his purchase.

Cash book 4 (KB-04-2 for 17.08.1907-17.05.1909)
[Galerie Heinemann]

Shannon got paid the same day, as the cast book shows. He received £30 for the works that Kaulbach had acquired, but paid a commission of 25%.

Cash book 4 (KB-04-2 for 17.08.1907-17.05.1909)
[Galerie Heinemann]

He had also sold two lithographies, called 'Meerwasser' (catalogue No. 29) and 'Auf Meeresgrund' (catalogue No. 18) to countess Treuburg in Schloss Holzen near Nordendorf. At the end of the nineteenth-century Holzen was a centre of painting in Munich. The countess was presumably Rosine Antonie Therese von Poschinger (1849-1935). 'Meerwasser' probably is 'Salt Water', a lithograph from 1895, published in The Savoy, and 'Auf Meeresgrund' must be 'At the Waters Edge' which was a recent lithograph finished in the year of the exhibition.

[To be continued.]

682. Charles Shannon in Sleaford

Charles Shannon spent most of his adult life in London, but apart from the long trips abroad he made with Ricketts or others, he occasionally returned to the area where he came from. In September 1918, for example, he spent ten days with his sisters Helen and Catherine in Sleaford (Lincolnshire), the village where he had grown up and where his father, the reverend Frederick William Shannon, had been a rector of Quarrington and Old Sleaford from 1861 to 1909. Shannon's father would die a year later, and was buried by the north door of Quarrington Church where a cross marks his grave. After his own death in 1929, Shannon's ashes were interned in front of this grave.

Exactly when is undisclosed, but at some point Shannon designed a new cover for the baptismal font for Quarrington Church.

Charles Shannon, cover for the baptismal font
of Quarrington Church
[Photo: Chris Hodgson]

The font itself reputedly dates back to the late fourteenth century, and probably was brought to Quarrington in the late 1800s, but in the late twentieth century the new Shannon cover was discarded by the church, probably because of the enormous weight of the iron construction which made it not easy to use as it required at least three people to open the cover for a christening ceremony. It is now privately owned.

Carre Gallery director Christopher Hodgson and the Shannon display

The Sleaford Gallery Arts Trust hosts a permanent display relating to Shannon in its Carre Gallery. [See the website of Carre Gallery.] Shannon prints and ephemera were collected by Christopher Micklethwaite and donated by the family to the Carre Gallery to honour Shannon and Micklethwaite, both residents of Sleaford.

[Thanks are due to Christopher Hodgson.]

681. A Prophetic Book: Vale, Vale

In his articles for The Academy, Robert Ross was free to experiment. In the 29 September 1906 episode, the starting point is Algernon Swinburne (1837-1909), who was still alive when Ross published his article. In 1868, the poet had published a study on William Blake (1757-1827) and Ross wrote: 'Much has been discovered about Blake since 1866' [1868]. However, 'it would be idle at this time of day to criticise'.

William Rothenstein, 'Portrait of Robert Ross'
(National Portrait Gallery, London)

Instead, Ross makes a big turn by imagining that Blake could have been inspired by Swinburne:

How fascinated Blake would have been with Mr. Swinburne if by some exquisite accident he had lived after him. We should have had, I fancy, another Prophetic Book - something of this kind.

Then follows a conversation between Ross and a certain Theodormon in a landscape next to ‘the gulf of oblivion'. He promises that Ross will get to see Swinburne, he does wander around and his 'permanent address is the Peaks, Parnassus', a joke on Swinburne's place of residence The Pines in Putney.

They come to a printing house where William Morris is 'reverting to type and transmitting art to the middle classes', but a voice sounds from inside the building.

'Vale, Vale,' cried Charles Ricketts from the interior. I was rather vexed as I wanted to ask Ricketts his opinions about various things and people and to see his wonderful collection. Shannon, however, presented me with a lithograph, and a copy of “Memorable Fancies” by C.R.

Then follows the rendering of this 24-line poem purportedly written by Ricketts making fun of all art historians, - each line could be given at least two footnotes to address all the innuendos-  while beginning with the non-academic background of Ricketts himself.

Charles Ricketts & Charles Shannon,
cover for The Dial, No. 1 (1889)
(from Yellow Nineties 2.0)

How sweet I roamed from school to school,

But I attached myself to none;

I simply sat upon my Dial,

And watched the other artists' fun.

Will Rothenstein can guard the faith,

Safe in Academic fold;

'T was very wise of William Strang,

What need have I for Chantrey's gold?

Let the old masters be my share,

And let them fall on B.B.'s corn;

Let the Uffizi take to Steer,

What do I care for Herbert Horn?

Or the stately Holmes of England,

Whose glories never fade;

The Constable of Burlington,

Who holds the Oxford Slade.

It's Titian here and Titian there,

And come to have a look;

But "thanks of course Giorgione,"

With Mr. Herbert Cook.

For MacColl is an intellectual thing,

And Hugh P. Lane keeps Dublin awake;

And Fry to New York has taken wing,

And Charles Holroyd has got the cake.

Ross could go quite far with his innuendos and even write about homosexuality, in a short piece on John Addington Symonds (1840-1893):

He published at the Kelmscott the other day 'An Ode to a Grecian Urning.' The proceeds of the sale went to the Arts and Krafts Ebbing Guild, but the issue of 'Aretino's Bosom and other Poems' has been postponed.

In 1873 Symonds had written about pederasty and homosexuality in A Problem in Greek Ethics (published anonymously in 1883). Ross refers to this by inserting the word for pederast (urning) in the title of a poem by Keats and by introducing the name of the German psychiatrist and sexologist Richard Krafft Ebing in the name of the Arts and Crafts Society. But he was careful enough not to include allusions to his (or his own) homosexuality in the Ricketts poem.

For the reader, solving all the art historical references in this poem is a pleasant summer puzzle.

Robert Ross, 'Swinblake: A Prophetic Book, With Home Zarathrusts',
The Academy, 29 September 1906

(Robert Ross, 'Swinblake: A Prophetic Book, With Home Zarathrusts', The Academy, 29 September 1906, p. 3078.)

680. The Cecil Rhodes of Art

During the time Robert Ross ran the Carfax Gallery, he regularly wrote articles for The Academy that were somewhere between review, commentary, anecdote and fiction written in a personal style with plenty of inside jokes and inimitable humour. The name of Ricketts often appeared in the columns, which mainly indicates that Ross and Ricketts spoke to each other frequently and not just about art (the latter is especially evident in their personal correspondence). Some of his pieces were collected by Ross in the publication Masques and Phases (1909), but by no means all of them. 

Robert Ross, 'The Drama. Mr. Arthur Symons's Morality'
(The Academy, 21 April 1906) (fragment)

His 'review' of an Arthur Symons play led him to contemplate the rise of small theatre groups, including The Literary Theatre Society which involved Ricketts and his friends. Ross, evidently, argued there were too many small coteries:

It seems to me a great pity that the Stage Society should not amalgamate with the New Stage Club, The Literary Theatre Club and all the better dramatic societies. I am in favour of imperialism on the stage, if not elsewhere. The Illicit Theatres Limited would be a good name for the company. For the romantic symbolist and poetic drama they would obtain the services of that Cecil Rhodes of art, Mr. Charles Ricketts, and those Jameson raiders of poetry, Mr. Sturge Moore. Mr. Laurence Binyon and Mr. Arthur Symons. (Robert Ross, The Drama. Mr. Arthur Symons's Morality', The Academy, 21 April 1906, p. 383.)

Of course, the comparison of Ricketts to Cecil Rhodes (1853-1902) is viewed in a very different perspective today, but in London in 1906 the imperialist flavour was not considered as negative, and Rhodes, a mining magnate and politician who founded Rhodesia (now Zimbabwe and Zambia), was seen as an energetic man 'who got things done'.

679. A Series of Cartoons by Charles Shannon (4)

Shannon's final drawing in The Alarum depicts a domestic scene with a woman and a man in their living room between plants on side tables, rattan chairs, a piano, tall windows with curtains, a work of art on a chest of drawers (or a cabinet), a tea table, and a carpet.

Charles Shannon, 'A Diplomatic Answer', The Alarum, Vol. 1, No. 4 (10 November 1886), p. 7.

All his drawings in this magazine are not only signed with his full name, but also dated. The latter has a reason. Magazines by no means always published such drawings, for which they paid, in the next issue. To prevent an artist, once famous, from being criticised for such drawings, the signature proved that it was an early work, which the artist no longer had to account for. Indeed, some of the drawings for Judy remained unpublished for several years - Shannon himself had since taken a different path.

678. A Series of Cartoons by Charles Shannon (3)

The drawings Shannon placed in The Alarum served two purposes: making money and raising name awareness. The drawings themselves could not be sensational; they were not supposed to be artistic, but more or less amusing or entertaining.

Charles Shannon, in The Alarum, Vol. 1, No. 3 (3 November 1886), p. 10

Many of these drawings take place in society, sometimes in unfamiliar, accidental company, such as in the modern means of transport, the train. Shannon contributed two drawings to the third number of The Alarum (for the other one, see last week's blog). 

In a railway carriage, a young American man sits opposite an older Englishman (hat, umbrella, lorgnon), who sits in the corner near the window. A lady, reading a newspaper, does not take part in the conversation.

First Traveller. - "I reckon, Stranger, this pace wouldn't pay in America."

Second traveller (satirically). "I suppose you go so fast you can't see the villages?"

First Traveller. - "You bet. That's nothing : they go at such a lick over there that standing in a village you can't see the train pass."

Could Shannon himself have laughed at this drawing?