374. A Commercial Back-Drop

Last week's blog about the historian Huizinga displayed one of the back-drops Ricketts designed for Shaw's play Saint Joan.

Charles Ricketts, Drop-curtain for Saint Joan (1924)

Internet images are prone to commercialization, and Ricketts's designs are no exceptions. Earlier I showed some examples of mugs. 

The Shaw back-drop can be ordered as a 'canvas', suggesting that some sort of painting will adorn the prospective buyer's wall. 

'Stretched canvas print' based on Ricketts's design for Saint Joan

The price is quite surprising for a print size of 13 by 10 inches: $95.99. Every free image on the internet can be ordered as a print for a price like this. One could, of course, download the image for free. Even a copy of the book that includes the original reproduction - and fifteen other plates - can be had for less. Saint Joan. A Chronicle Play in Six Scenes and An Epilogue doesn't have to cost more than $90,00. 

373. Johan Huizinga, Shaw, Ricketts, and Roland Holst

The great Dutch historian Johan Huizinga (1872-1945) wrote a review about Bernard Shaw's Saint Joan. He drew a comparison between a Dutch production by the Vereenigd Tooneel (first night: 20 December 1924) and the London production at the Regent Theatre which he saw in February 1925. The play had opened on 26 May 1924 at the New Theatre and ran for 244 performances, after which it moved to the Regent Theatre for another series of 321 performances, and later productions could be seen at the Lyceum Theatre at the Strand in 1926, and elsewhere.

Programme for a performance of Saint Joan,
Lyceum Theatre (May 1926)

Johan Huizinga mentioned the Regent Theatre production, that was - like the others - designed by Charles Ricketts. His costumes, set designs and drop-curtains were judged 'excellent' by Huizinga, who preferred this production and remembered Ricketts's work long after the performance, while those of the Dutch production, designed by the architect H.Th. Wijdeveld - less convincing - didn't impress him that much. Wijdeveld, who was married to one of the foremost Dutch actresses, designed several plays for the company of Eduard Verkade. Verkade was a director, actor, and translator. However, his translation of Saint Joan, according to Huizinga, who gave several examples, was sloppy, and faulty.

Huizinga's article was published in three subsequent issues of the Dutch magazine De Gids (April, May and June 1925) and occupies more than thirty pages in his collected works.

Huizinga, who thought of Shaw as a prosaic mind, was surprised by the serious heroism of the play, and the effort to recreate history in a tragedy. He argued that Shaw had understood Hegel's principle that tragedy doesn't result from the conflict between justice and injustice, but from the conflict between justice and justice. If Jeanne d'Arc had had to face cowards and bastards (Huizinga's words), she would have been a romantic character, not a dramatic one. Shaw took history seriously, all too seriously according to the historian, because he wanted to know what her ordeal could tell us today. Even Shaw's mistakes - wrong names, wrong quotes - don't matter to Huizinga, who subtly mentions them.

Huizinga's main questions in connection to the performance and Ricketts's designs are these: has Shaw given the play a medieval atmosphere, and if so, has it any bearing on the dramatic achievement of the play?

Charles Ricketts, Drop-curtain for Saint Joan (1924)

Huizinga is not convinced by the medieval atmosphere of the play, and feels that the bishop of Reims behaves as a Church of England man while the Dauphin acts like an Eton boy, and the comical effects are simply too Shavian to be medieval. The play is not archaic in any way,  it is unromantic, and still, Huizinga was captivated by Shaw's Saint Joan, the play fascinated him, partly because of Shaw's imagination that gave splendour to certain scenes, such as the dialogue at court before Jeanne enters, or the conversation of Warwick and Cauchon.

Given Shaw's version of this medieval story, the Dutch production would seem to be better suited for it, due to its austere design by Wijdeveld, the absence of historical props, and a subdued realism. But no, Huizinga argues, the play is better served with a colourful medieval setting, as the acting, the costumes and the scene decorations together produce a realistic unity. The lack of an austere style wouldn't go well with a severe performance. Ricketts's colourful and exalted costumes, on the other hand, created a vibrant, harmonious world. Huizinga asserted that the Dutch tradition displayed all varieties of grey, while the British theatre world traditionally excelled in a range of red colours, which he supposed to have come from the Pre-Raphaelites.

As to the actors, Huizinga disliked the acting of Sybil Thorndike, which he characterised as affected and pretentious; for the Dutch production a young actress had been cast for the role of Jeanne, and her performance was boyish, spontaneous, and natural.

Charles Ricketts, Set design for the Epilogue (1924)

After the first instalment had been published, his friend Richard Roland Holst received a copy from Huizinga, and he admired the analysis of the performance, and of Jeanne d'Arc as a historical character. He also wrote: 'I liked the appreciative comments about the work of my old friend Ricketts, of whom, I feel a little estranged these years. If you would like to meet him during your next visit to London, be assured that he would welcome you if I can send him a note in advance.'

A few years later, Ricketts - who remained in contact with his European friends - would send Roland Holst a copy of his new book Beyond the Threshold with a handwritten dedication that referred to 'forty years of friendship'.

372. Catalogues Imitating Books (2)

Catalogue Number Four was the Spring 1984 catalogue of Pagoda Books in London and it was dressed in a thick white paper cover containing images of the front and back cover of a book designed by Charles Ricketts and described in the catalogue as number 242.

Catalogue Number Four, Pagoda Books (1984)

The example for the catalogue was Oscar Wilde. Recollections by Jean Paul Raymond & Charles Ricketts (1932), published posthumously. Of course, Charles Ricketts and Jean Paul Raymond are one and the same person. It is a weird use of a pseudonym, but it allowed Ricketts to pose as an interested listener, or, as the prospectus explained:

Ricketts invented Raymond so that he might create and control his auditory, command its sympathy, and suggest in the half-tones of familiar conversation certain elusive qualities of Wilde as a friend. The artifice succeeds. In a subtle sense he paints a new portrait of Wilde.
(Prospectus and Retrospectus of the Nonesuch Press 1932)

Oscar Wilde, Recollections (1932)

The cover seems to echo Ricketts's own design for Wilde's The Sphinx (1894). The front and back images of both designs together tell a story. 

The catalogue didn't use the spine design, and the gold was replaced with black.

Catalogue Number Four, Pagoda Books (1984)

Each cover is divided into four compartments with a man greeting a woman on the front panel, she is accompanied by a lady, and she herself reveals her young body while raising a glass to the young man. On the back cover the man welcomes her, holding a kylix. This seems the reverse order for the story, which we also see at the top of both covers. On the back the man is alone on a couch, again raising a kylix. On the front of the book the man and woman lie down embracing. Some critics suppose that the order of the images has been reversed by the printer. But Ricketts had intended this order. The original drawing, now in the British Museum, clearly shows this.

Charles Ricketts, design for cover
© The Trustees of the British Museum

The stories told by Ricketts are never straightforward, or one-dimensional.

Oscar Wilde, Recollections (1932)

Pagoda Books was the antiquarian book firm of Julie Speedie who wrote a book about Wilde's friend Ada Leverson.

371. Catalogues Imitating Books (1)

Sorting out old antiquarian catalogues, I found a few examples of catalogues that imitate one of the books that is offered for sale inside. 

An example is a 2002 catalogue issued by Bernard J. Shapero Rare Books in London: Literature. The catalogue contained 464 descriptions, three of which were of first editions by Oscar Wilde, designed by Ricketts or Shannon: The Picture of Dorian Gray (1891), Lady Windermere's Fan (1893), and The Sphinx (1894). 

All would have lent themselves for a catalogue cover, although the first one had been rebacked (not mentioned in the description) which ruined the original spine design. The second one would have given a salmon pink catalogue, but the bookseller opted for the third design, that of The Sphinx.

The Sphinx (1894) and Literature (2002)

The drawings on the front and back cover were slightly reduced in size, while the format of the catalogue was slightly larger than the book. The drawing on the spine was discarded, and replaced by the name of the firm and the subject of the catalogue.