510. Michael Field, Prostitution and The Hague

In an article about Michael Field, pseudonym of Katharine Bradley and Edith Cooper, Anna Gruetzner Robins wrote about the pair's erotic dreams and poems, but also about their study of Walter Pater's work in which 'male-male desire' predominates and in which images of women, such as Venus, are described in terms of prostitution: 'An undercurrent of revulsion runs through his comments. He imagines Venus to be a worn-out sex worker, a woman of the streets, up before dawn, with "sorrow in her face" at the thought of the whole long day of love yet to come.' ('A Woman's Touch: Michael Field, Botticelli, and Queer Desire' was published in Botticelli Past and Present, an open access publication of UCL Press, 2019). 

Michael Field had a crush on Botticelli's paintings, until Charles Ricketts convinced them that Edward Burne-Jones was a better painter. Apparently, he did not see that Burne-Jones could not help them have pleasant dreams. 

Capitoline Venus (Capitoline Museum, Rome)

[Photo: José Luiz Bernardes Ribeiro]

Paintings such as Botticelli's 'Primavera' and sculptures such as the Venus of the Capitol triggered Michael Field's erotic fantasies. Katharine Bradley wrote from Rome to her lover Edith that, happily, the statue of Venus was unshrouded and unmutilated, but that 'the real beauty of the waist is only seen in the back', and she therefore hoped that someone would turn the statue around so that the 'beauty of the loins' could be engraved in her memory.

Her thoughts on the female body were firmly opposed to those of Pater and other nineteenth-century men. Gruetzner Robins briefly discusses Bradley's knowledge of prostitution. 

Josephine Butler (1876)

While living in Bristol, she had become acquainted with a group of Quakers around Josephine Butler who successfully opposed derogatory laws and measures against women in prostitution:

In September 1883 she travelled together with a group of women, including Josephine Butler, to attend the Third Annual Congress of the British and Continental Federation for the Abolition of State Regulation of Vice, at The Hague. There Katherine [Katharine] gave a speech herself and listened to five days of speeches about prostitution.
(Gruetzner Robins, p. 154)

From The Hague she wrote three long letters to Edith about her experiences in the Netherlands where the congress was held from 17 to 22 September 1883. She was one of the many attendees. It has to be said that most of the speakers were men and that there were special sessions where women were not allowed to participate and others that were organised exclusively for women, in addition to which Butler herself held meetings in her own chambers - and it was at one of those intimate meetings, an early-morning prayer-meeting, that Katharine Bradley manifested herself as a speaker. She did not make a speech, for it was during a prayer session that she said a prayer of thanks that won praise in the small devotional circle. This explains why her presence had escaped the notice of the Dutch journalists. There is nothing about these private meetings in the newspaper reports. In a letter of 23 September 1883 Bradley wrote to Edith:

I prayed in the midst of the people, and as I found from the loving gratitude of the Dutch ladies, was understood. I tried to say how that gathering made clear to me the meaning of the day of Pentecost, how though we could not all understand the words of some of the prayers we had heard each man speak in the tongue in wh. he was born, through the presence of the Holy Spirit. And bye the bye I prayed for the women of The Hague, when we left to begin the hard work, and especially gave thanks for these, who had adopted a tongue not their own for our sakes, and received us with such love and kindness. And the dear homely yet withal impressive and dignified ladies came to me and thanked me in a way I shall never forget.

(Sharon Bickle (Ed.), The Fowl and the Pussycat. Love Letters of Michael Field, 1876-1909. Charlottesville and London, University of Virginia Press, 2008, pp. 105-106).

Despite the hustle and bustle of the conference with speeches in English, French and Dutch, Katharine Bradley still saw something of the city and its surroundings. On 15 September, two days before the start, she arrived at Hotel Paulez.

Hotel Paulez [left], c.1880 (Collection Munipical Archives, The Hague)

In the centre of The Hague, opposite the Royal Theatre and on the corner of Korte Voorhout - where, after a bombing in 1945, the American Embassy designed by Marcel Breuer was to be built - stood the Hotel Paulez, which was a proud second on the list of luxury hotels in The Hague. The hotels that would later lead the ranking, such as Hotel des Indes where Pavlova stayed, did not yet exist at that time. Bradley therefore made an expensive choice, probably inspired by the stay of the entire delegation at the Hotel Paulez.

On her first day, she went with a delegation colleague to Scheveningen for a sea bath:

They gave me as it were a chemise in white flannel with no drawers: the experience though not very safe was delicious [...] The drive to ... the little sea-side place was through Magnificent alleys [...].

(letter, 19 September 1883)

That evening, she attended a busy reception given by the mayor of The Hague, J.G. Patijn, probably in the old city hall on the Groenmarkt.

Town Hall, The Hague (c.1900)

There were 'little glasses of foaming Champagne', 'little patties - wicked looking little things', 'tea in apparently blue Delft ware', after which she got into a conversation with a young Dutch woman with whom she talked about her dress, and Bradley tried to explain 'the high art position'. She was 'relieved to find she had heard of Morris'. Katharine and Edith 'rejected corsets and crinolines in favour of daringly clinging dresses in arty colours such as peach, gold or green, with hair loosely knotted at the nape of the neck' (see Emma Donoghue, We Are Michael Field, 1998, p. 33).

On the first day of the conference, she and Mary Priestman were helped by 'Pastor Pierson' in their search for a place to have lunch. Hendrik Pierson was one of the leading figures in the Dutch debate on prostitution and, according to Bradley, he spoke 'good' English and was 'serviceable'. 

Portrait of Hendrik Pierson (1896)
[Lithograph by Jan Pieter Veth]

Katharine described him as a man with long hair, a socialist who was to speak that evening. A group photo was taken of the participants that afternoon, but Mary and she 'remained obscure  in the background'. This photograph is depicted in The Fowl & the Pussycat, where the location is said to be the Zoological-Botanical Gardens. However, the company would only walk to the zoo after the photograph was taken, and the buildings in the background correspond to the environment of the place where the conference was held. The opening was held in the parliamentary buildings, in the famous Trèves hall, but the congress afterwards took place in the building of 'Kunst en Wetenschappen' (Arts and Sciences) on Zwarteweg. On such occasions, group photos were often taken in the gardens behind the building - some of those can be seen on the website of the Municipal Archives of The Hague. (This district, between Herenstraat and Schedeldoekshaven, was later demolished and replaced by new buildings.)

Kunst en Wetenschappen, c. 1880
[Collection Municipal Archives, The Hague]

Bradley bought some grapes, and the party moved to the Zoological Gardens where they 'sat by a pond, and watched the stork on one leg!' 

A delicious place this garden, with the most exquisite foliage plants, and nice brilliant coloured birds [...].

(19 September 1883)

The Zoological Gardens, The Hague
(map, c.1870)
[Collection Municipal Archives, The Hague]

In the gardens (located opposite today's central station), many plants and birds could be viewed, but there were also various animal species including kangaroos, deer, a camel, squirrels, antelopes, mouflons, zebras, marmots and bears.

On 22 September, a closing reception was held at the home of Henrik Count van Hogendorp (1842-1924) and his young wife Alice Ellen, born Gevers Deijnoot (1857-1905).

Henrik Count van Hogendorp
[Collection Municipal Archives, The Hague]

Katharine described the reception in a letter of 23 September 1883:

And then at half-past eight to the Count van Hogendorp's - the last great reception at one of the grand aristocratic old families of Holland.  [...] The young and beautiful wife had a word for each, - graceful and full of frankest charm [...] Tea in exquisite Delft ware - no handles to the cups - was passed round. I was introduced to a Dutch gentleman - then to his wife, and then in a quiet time looked round at the brilliant Assembly, and at the room, with its Delft wall-plate, its probably family miniatures, and soft tinted curtains. Afterwards in an adjoining room we gathered to hear Mrs Butler speak. There looked down the great  ancestral Hogendorps - approvingly I should think [...].

During Butler's speech, Bradley's gaze wandered to a small Dutch painting of a knitting girl in a white dress. Afterwards, many of the Dutch ladies approached her: 

I am to them a Dutch Madonna - their chosen, as it seems to me of all England's delegates.

And that was because of her prayer of thanksgiving the day before.

The next day Mary Priestman and Katharine Bradley travelled to Amsterdam and from there via Rotterdam back home. Whether Bradley, after this trip, ever spoke again at meetings of the Ladies National Association is unclear. But ethical subjects had the interest of both Michael Fields. They spoke out in favour of votes for women, supported a local anti-vivisection society, and Katharine Bradley had subscribed to John Ruskin's utopian Guild of St. George. Although public activism was set aside for literature; Bradley continued to attend lectures on socialism, and charity, and attended meetings of the Fellowship of the New Life, but 'appeared to have been more of a bystander than an involved member' (Diana Maltz, in Michael Field and Their World, ed. by Margaret D. Stetz and Cheryl A. Wilson, 2007, p. 198).

The prayer of thanks must have been an exceptional expression of faith for a poet who later adhered to pantheism (with a pagan temple in the garden) and still later converted to the Roman Catholic faith.

509. A Friend of the Frick

The Frick collection is now on temporary display in another location in New York, in the MET Breuer, a building that is the opposite of the museum's mansion, a modernist concrete structure designed by Marcel Breuer.

One of the countless articles devoted to this completely different way of presenting the works of art included the name of Charles Ricketts, who visited New York only once in his life.

On October 15, 1927, Ricketts sailed to Canada and after brief visits to Quebec and Montreal, he travelled to Ottawa to see the Ottawa Gallery. He had been advising the museum on art purchases for many years. The city kept him busy for three weeks. Then he went to snowy New York which, to his own surprise, he liked: Fifth Avenue, Broadway, the polyglot crowds, the skyscrapers. 

He examined various art collections: the MET, where he was told that the museum would do a show of his books. Indeed, there was an exhibition that year, when Harold Bell's collection of bookbindings was shown. Ricketts visited the collectors Grenville L. Winthrop and Henry Clay Frick and saw their private art collections. 

Hans Holbein, 'Sir Thomas More', 1527 (painting)
[The Frick Collection, New York]

An observation he made there is now quoted in Untapped New York, in an article by Julia Vitullo-Martin. From New York, Ricketts wrote a note to Sydney Cockerell, dated 20 November 1927:

I had to spend three weeks, not nine days, in Canada, and have had too short a time in New York. The Greek things are admirable, the Egyptian things superb, both well shown [in the MET]. I was overwhelmed by the Frick Collection. Imagine Sir Thomas More, the beautiful saint, and Cromwell, the monster, united in history, art, and tragedy, now facing each other united by Holbein and time and chance!
(Self-Portrait, 1939, p. 388).

Hans Holbein, 'Thomas Cromwell', 1532-1533 (painting)
[The Frick Collection, New York]

In the Frick Museum, More's portrait hung to the left of a fireplace and Cromwell's to the right, and this order, determined by Frick himself, has always prevailed. In the temporary exhibition, too, the portraits hang side by side. Vitullo-Martin writes:

Sir Thomas More and his arch enemy, Thomas Cromwell, again face one another, but without the intervening fire place to soften the cold stares. Cromwell looks heavy, almost thuggish, while More looks confidently peaceful, as if he were Sir Laurence Olivier's uncle.

(Julia Vitullo-Martin, 'Will We Love the Frick Madison As We Loved the Frick?', Untapped New York, 10 March 2021).

She then quotes Ricketts and introduces him as 'Frick's friend, the painter Charles Ricketts'. 

This friendship probably did not extend beyond Ricketts's one-time visit to the collection.

[The Frick Collection posted a video online in which Xavier Salomon talks about the paintings and shows images of their place in the museum.]

508. Emery Walker's Collection & Ricketts & Shannon

William S. Peterson recently published a compilation of articles about William Morris and personalities from his immediate circle, Morris & Company (Oak Knoll Press, 2020). Because of the lockdown, I only got the book last week. It contains articles previously published elsewhere, although it also includes some speeches and presentations not previously published in print. 

An article that appeared earlier in Matrix quotes Sydney Cockerell's diary, in which a visit to Ricketts and Shannon is noted for 7 December 1897. (Due to an unfortunate late decision to swap two articles in the book, neither the title page nor the index are correct; at least, for these two articles: the quote about Ricketts and Shannon is on page 100-101 and not on page 108-109). Anyway, although Cockerell later corresponded intensively with Ricketts, and we can infer that he had known Ricketts for some time, he especially mentioned that he liked Shannon.

On 9 December 1897 he made a few calls at a publisher, a type foundry, and a manufacturer of printing presses:

Then with Walker to 8 Hammersmith Terrace where I met Shannon & Ricketts. Like Shannon, whom I had not met before, very much.

Emery Walker (1851-1933), the technical genius behind both the Kelmscott Press and the Doves Press, together with Walter Boutall managed a company for process engraving, who reproduced some of the illustrations in Ricketts's and Shannon's magazine The Dial. Walker's collection included all the works of the Kelmscott Press and the Doves Press and all kinds of documents about both private presses, but it was broader and stayed in the family for a long time. In the 1990s it was sold to what is now The Wilson, formerly the Cheltenham Art Gallery and Museum. (See the catalogue for descriptions and images, in many cases including transcriptions of letters).

Website The Wilson, Cheltenham

The collection includes issues three and four of The Dial, as well as an announcement about ordering specially designed bookbindings, and a prospectus. The collection may be richer but it has not yet been catalogued as a whole - and, due to the lockdown, it is now unclear whether any other works by Ricketts and Shannon have been preserved in the collection.

One special copy has however been catalogued: Ricketts's A Defence of the Revival of Printing, published in June 1899, with a personal dedication to Walker:

to E Walker | from C. Ricketts | 17 July 1899.

Another presentation copy was given to Sydney Cockerell.

507. Ricketts, Symons, Gray

After moving to Edinburgh, John Gray visited friends in London with some regularity. He also stayed in touch with them in other ways, through letters or publications. In September 1928, the Dominican journal Blackfriars published a contribution by Gray which was read by Ricketts. 

On a postcard Ricketts wrote to A.J.A. Symons (with whom he was in contact about exhibitions of the First Edition Club and about a possible publication of his stories) that John Gray had published 'a charming new poem' and that he would keep this recent issue of the magazine for Symons. Many of Ricketts' letters are undated, but the postcard is postmarked 11 October 1928 and the most recent issue of Blackfriars prior to that date was the issue of September 1928. It contained a translation by Gray of a poem by Henri de Régnier.

Henri de Régnier

They have struck on the doors of gold
with the hefts of their rugged swords;
and their salt lips are cold
from the mists which hang in the fjords.

Like kings they have entered again
the bourg where torches flare;
the charger steps high, and his mane
flies back like the mad sea's hair.

They are bidden to notable feasts
in gardens, on terraces, spread
with sapphire and amethyst
of these lie on the ocean bed.

So drunk with wine of the years,
so dazzled with jewels and rings,
so deafened with praise, in their ears
the hammering ocean rings.

It is an adaptation of a poem that De Régnier published as part of a long section 'Motifs de légende et de mélancholie' in Poèmes 1887-1892 (Paris, Société de Mercure de France, 1895, pp. 60-61).

Ils ont heurté les portes d'or
Du pommeau rude de leurs glaives
Et leurs lèvres étaient encor
Amères de l'embrun des grèves.

Ils entrèrent comme des rois
En la ville où la torche fume,
Au trot sonnant des palefrois
Dont la crinière est une écume.

On les reçut en des palais
Et des jardins où les dallages
Sont des saphyrs et des galets
Comme on en trouve sur les plages;

On les abreuva de vin clair,
De louanges et de merveilles,
Et l'écho grave de la mer
Bourdonnait seul à leurs oreilles.

John Gray, Poems (1931): title page

After his first two major volumes from the 1890s, Silverpoints and Spiritual Poems, new poems by John Gray appeared only sporadically. Ad Matrem appeared in 1903, The Long Road in 1926. In 1931, he published his last poetry collection: Poems. This collection of poems was designed by Eric Gill and René Hague in a modern style: set in Gill's own type and with a title page that was also a table of contents (a rare combination of functions). It was published in 1931, but it did not include the poem that Ricketts had praised.

It was not reprinted during Gray's lifetime. Ricketts himself would not live to see the publication of Poems, as he died on 7 October 1931. Poems was published barely a month later and Gray was so impressed by the death of his former mentor and lifelong friend that he dedicated the volume to his memory.

John Gray, Poems (1931): dedication

Note:

Ricketts's letter to Symons is held in the Oscar Wilde and his Literary Circle Collection at the Clark Memorial Library (shelf mark: R539L S988 1928 Oct. 11).

506. The Designs on the Cover of 'Bibliography of Oscar Wilde' (6)

Last time I mentioned a vignette that was not used by Ricketts for the limited first editions of Oscar Wilde's De Profundis in 1905. The fourth vignette was replaced by that of the sea and the star. In an 1970 essay on bookbindings designed by Ricketts, Giles Barber wrote about De Profundis:

Here again we come back to Rossetti, for the plain ivory cover bears only three circles with simplified ornamentation and, between the top two, the calligraphically inscribed title. These top two circles show, on the left the imprisoned bird, on the right the free bird. Ricketts’s signed sketch for the binding, now in the possession of Mr. John Sparrow, shows that he intended his initials to appear hidden between the prison bars. This detail seems to have been dropped in the finished work.

(Giles Barber, 'Rossetti, Ricketts, and Some English Publishers' Bindings of the Nineties', The Library, December 1970, pp. 329-330) 

Charles Ricketts,
sketch for vignette of escaping bird
(current whereabouts unknown)
[reproduced after Christie's auction catalogue,
21 October 1992]

We can indeed see the initials 'CR' in the bottom right-hand section of the drawn vignette. This sketch was in the possession of John Sparrow, and was partly reproduced in the catalogue of the Christie's auction of his collection: Printed Books from the Celebrated Library of the late John Sparrow, O.B.E., Warden of All Souls College, Oxford (21 October 1992).

Barber continued:

More important is that on the original sketch the bottom circle originally bore a complicated circular thorn device which has been crossed out and that the final circular device, showing the star in the sky above the great waters as described in the concluding paragraph of the book, has been substituted. This fine and bare design, so unlike the nineteenth century in style, was adopted three years later for all the volumes of Methuen’s collected edition of Wilde. Since this design is so effective on the ivory vellum finally chosen it is perhaps interesting that in a footnote to the original sketch Ricketts wrote: "Please ask Mr. Leighton. Ask for specimen on black cloth, on green cloth (same as Vale Shakespeare) and mauve cloth same as used on Oscar Wilde’s plays".'

(Giles Barber, 'Rossetti, Ricketts, and Some English Publishers' Bindings of the Nineties', The Library, December 1970, p. 330).

 

The vignette of a thorn was not used by Ricketts for Wilde's works, and yet we have reason to believe that it has not completely fallen out of favour. The question is whether Barber has identified it correctly.

Once again, Stuart Mason (pen-name of Christopher Sclater Millard) comes into the picture.

In 1907 Mason had published a study and bibliography on The Picture of Dorian Gray: Art and Morality. After Wilde's collected works appeared in 1908, followed in 1910 by the so-called Second Collected Edition in a smaller format, bound in green buckram, Mason published a second revised edition of Oscar Wilde. Art & Morality in 1912. The new edition was published by a different publisher: Frank Palmer in London. In the 1914 Bibliography of Oscar Wilde, Mason himself described this new edition as 'Uniform with Methuen's foolscap 8vo edition of Wilde's works'.

Oscar Wilde, Lord Arthur Savile's Crime and Other Stories (1910)
and Stuart Mason, Oscar Wilde. Art & Morality (1912)

Mason's work does indeed look suspiciously like the Methuen volumes, also because Wilde's name has now been added to the title, so that at first, the book even seems to have been written by him. The vignette of the sea is not used here. The new vignette seems to reasonably match Barber's description. Would Ricketts have allowed him to use it? Nobody is thanked for the design in the preface and the vignette is not even mentioned in his later bibliography.

If we look closely at the design, we can see that the thorny branches are actually flames.

Vignette on the cover of Stuart Mason,
Oscar Wilde. Art & Morality (1912)

The similarity to the vignettes of the escaping and free birds is immediately apparent: the shape of the same bird is cut out in the middle, including the spread wings and the opened beak. To the right, we see a preview of the later vignette of the star - here still accompanied by the crescent moon. At the bottom, flames swirl up, reaching left to top and surrounding the bird on various sides. In other words: Ricketts did not draw thorny branches; the vignette depicts the bird Phoenix rising from its ashes. 

The vignette must be the previously unused vignette: it fits seamlessly with the bird devices and it already uses elements from the star-over-sea vignette. It has all the subtlety we would expect from a Ricketts design.

But this adds to the mystery: Ricketts must have lent an earlier sketch (the later one being 'crossed out') to Mason/Millard, perhaps through the intervention of Robert Ross. From 1906 Ross had supported Millard (who had been imprisoned for homosexuality), and Millard had helped him prepare the collected works of Wilde, and later, between 1910 and 1913, he was Ross's personal secretary, only to be fired after he became embroiled in court cases again. 

This explains why Mason could not borrow the other vignettes, and used clumsy imitations for the Bibliography of Oscar Wilde. Originally, when negotiations about the Collected Works of Wilde were opened by Robert Ross, Methuen considered issuing the bibliography separately, but uniform to the de-luxe edition, on a royalty basis, and Millard/Mason and his friend Walter Ledger were requested to make their own arrangements with Methuen. It seems, these were not even started before Millard was arrested at Iffley in April 1906. The 1908 edition of the Collected Works did not include the bibliography, and when it was finally published in 1914, Methuen, the owner of the original blocks for Ricketts's decorations, did not lend them to the publisher T. Werner Laurie.

The question remains as to why Ricketts initially rejected this very fine Phoenix vignette. The explanation may lie precisely in the great affinity with the other two bird vignettes, the escaping bird and the free bird. These two symbolise the soul of Oscar Wilde who, still in prison, was already thinking ahead to his freedom, and was in fact freed from earlier pre-occupations by focusing on the essence of human existence (as Wilde wrote in De Profundis). Ricketts thus drew the unfree and the free soul, and an image of the resurrected phoenix was in fact duplicitous. 

However, it does mean that we can add a new title to the list of books decorated or designed by Charles Ricketts: Stuart Mason's Oscar Wilde: Art & Morality (1912).

505. The Designs on the Cover of 'Bibliography of Oscar Wilde' (5)

The three vignettes Ricketts designed for the deluxe editions of Oscar Wilde's De Profundis did not originally include that of the star over the ocean. First there was another third vignette, which I will deal with next week. So the vignette best known by its frequent later use is an afterthought, a replacement.

Oscar Wilde, The Duchess of Padua (1908)
Vignette designed by Charles Ricketts,
originally used for the deluxe editions of De Profundis

It is the only vignette derived directly from the text, as I wrote in blog 503 (17 March 2021) and perhaps that is because of the need to come up with a new design. There is an older vignette that may have served as an example. Looking for inspiration, Ricketts may have thought of a circular vignette used for the cover of William Allingham's Evil May-Day that was published in 1882. The title poem is about growing up in an age of science after the death of god, but Allingham opposes atheism and science's 'rigid formulae':

The rose, the primrose, and the hawthorn-flow'r,

The colours of the dawn or evening air,

The woodlands, and the mountains, and the meads,

Lakes, rivers, rivulets and rocky springs,

The varying ocean and the starry night,

Have in their beauty more significance

Than tabulated light-waves which impinge

On optic nerves and yield the brain a sense

Of red, blue, yellow - Science knows not how.

The vignette seems to be an illustration of that line: 'The varying ocean and the starry night'.

William Allingham, Evil May-Day (1882)

The appeal of this vignette was its connection with the Pre-Raphaelites, especially Dante Gabriel Rossetti, who probably had the greatest influence on Ricketts's early views on art and book design, along with James McNeill Whistler. Several of Ricketts's designs for bookbindings from the early 1890s can be seen as responses to Rossetti's decorations. Allingham brought Rossetti very close; he was a long-time friend of his and Rossetti designed some illustrations for his work. Only a watercolour remains of a design for a binding of Allingham's Day and Night Songs; it was not used for the binding in 1854 (it was used for a later book, but by then Rossetti was already dead).

Rossetti had designed circular devices for several bindings such as Algernon Charles Swinburne's Atalanta in Calydon (1865) and Songs Before Sunrise (1871).

The friendship between Rossetti and Allingham had cooled by 1867 and it is therefore not likely that the vignette of Evil May-Day was designed by Rossetti, although it has been suggested from time to time (frankly only by antiquarian booksellers who have a certain interest in it - see footnote). Apart from that, Rossetti had died on 9 April 1882 and Allingham received his first copies of Evil May-Day in the first half of December of that year. 

That said, for a fan like Ricketts, even the meagre association with Rossetti may have helped, and, in any case, the similarities between the vignettes are striking: a lone star above an endless sea. Ricketts's rendering of the turbulent water is less realistic and shows traces of Art Nouveau.

Footnote:

Neither William E. Fredeman - in his Pre-Raphaelitism. A Bibliocritical Study (1965) - nor Mark Samuels Lasner - in William Allingham. A Bibliographical Study (1993) - have identified the  designer of the vignette.

504. The Designs on the Cover of 'Bibliography of Oscar Wilde' (4)

A fourth instalment about a vignette on the Ricketts-designed bookbinding of the two deluxe editions of De Profundis by Oscar Wilde (1905) and Stuart Mason's Bibliography of Oscar Wilde (1915) may come as some surprise, as there are only three vignettes. However, there are several reasons for a sequel: the reuse of the first vignette in the 1940s (the escaping dove), the inspiration for the third vignette (the star over the sea) and a fourth vignette not used for this book but designed at the same time as the other three.

Oscar Wilde, The Ballad of Reading Goal (1910):
dust wrapper with Charles Ricketts's vignette

Let's start with the reuse of the vignette that shows the dove flying out from between the bars. Methuen, who issued De Profundis in 1905, published a separate, sewn-in edition of The Ballad Of Reading Gaol in 1910. This was the first separate printing since the author's death, and it included a shorter version 'for the benefit of reciters and their audiences who have found the entire poem too long for declamation', as Robert Ross explained in his editorial note.

The cover was adorned with Charles Ricketts's vignette of the escaping dove. (See blog No. 501.) 

Toward the end of World War II, The Unicorn Press, a publishing house in London, began reprinting the works of Oscar Wilde and other decadent authors. Apparently these editions were not sent to the English copyright libraries; not all of them are included in the British Library collection. There were several publishing houses in London called the Unicorn Press. The first was the publisher of the magazine The Dome (1897-1900). Ernest J. Oldmeadow was the manager of the firm that was based at 26, Paternoster Square, and later at 7, Cecil Court. Founded in 1895 (as far as I know), it stopped publishing in 1908, and was probably dissolved around 1916. The second firm with this name began publishing in 1931 and existed until about 1938. This probably was not the same firm: it was owned by John Heritage, who also owned The Union Press. (By the way, Oldmeadow was still alive at the time, he died in 1949).

Frederick Gwynn, Sturge Moore and the Life of Art (1952):
advertisement for Wilde publications

The third Unicorn Press began publishing in 1944 with an edition of Oscar Wilde and existed until the early 1960s. Its director was Martin Secker (1882-1978). 

According to John Trevitt, writer of the article about Secker in the Oxford Dictionary of National Biography, Secker's original firm was sold in 1936, and continued under the name Secker and Warburg, and Secker stayed on to oversee production until 1938. Trevitt states: 'Secker then created the Unicorn Press, which published Arthur Symons's book on Aubrey Beardsley, Robert Hichens's The Green Carnation, and a collected edition of Oscar Wilde. He bought the Richards Press in 1937, formerly run by Grant Richards, his only close friend in British publishing [...]' It seems the chronology here is wrong, as the Unicorn Press books mentioned in his text were all issued after 1944. (Due to the lockdown, I have had no access to D. W. Collins's biography, published in British Literary Publishing Houses, 1881–1965 [1991]).

The publishing house was located at number 8, Charles Street near St James Square in London. June 1944 saw the first of a series of Wilde editions published by The Unicorn Press: Lady Windermere's Fan, A Woman of No Importance, An Ideal Husband, The Importance of Being Earnest. Four Plays by Oscar Wilde. For the cover, the decorations designed by Charles Shannon for the first edition of the latter play were used. It was very successful and six reprints appeared. The same year, The Ballad  of Reading Gaol was also produced. It was followed by Intentions (February 1945), The Picture of Dorian Gray (November 1945), The Profundis (probably also 1945), Salomé (1947), Lord Arthur Savile's  Crime and Other Stories (1948) and A House of Pomegranates (1949). In 1951, an edition of Poems was in preparation, but it seems never to have appeared. 

Oscar Wilde, De Profundis (left: 1905; right: 1945)

Of these books, The Picture of Dorian Gray and Intentions imitated Ricketts' s original binding designs. The same applied to The Profundis, which brought about the reappearance of the escaped dove, the vignette Ricketts designed for the first regular edition and its subsequent reprints. 

And here we encounter the renegade design again. This is quite puzzling, as the designs of The Picture of Dorian Gray and Intentions do appear to be neat reproductions of the original covers. Here, however, the publisher did not take notice of the first printing of De Profundis; instead, he relied on Stuart Mason's bibliography of Oscar Wilde (1915). This is also evident from the advertisement on the back of a Richards Press/Unicorn Press collaboration with the University of Kansas Press: Frederick L. Gwynn's monograph Sturge Moore and the Life of Art (1951). The back of the dust wrapper advertised "The Unicorn Press Edition of the Works of Oscar Wilde". The text was surrounded by the three imitation vignettes on the binding of Mason's book. The same advertisement appeared on the cover of Charles Richard Cammell's Aleister Crowley. The Man, The Mage, the Poet (1951).

Oscar Wilde, De Profundis (1905: above; 1945: below)

However, a 'Note' at the front of the book states: 'The small device on the cover, taken from the first edition, is the work of the late Charles Ricketts, R.A.' Although that vignette was the inspirational source, this device is the recreated version by an anonymous craftsman.

The blocks for these vignettes must have been transferred from the publisher of Mason's bibliography, T. Werner Laurie to The Unicorn Press, or new ones may have been made. They have the identical format, but the one of the free bird has been cleaned: the drop of 'blood' (bottom centre) has been removed.

503. The Designs on the Cover of 'Bibliography of Oscar Wilde' (3)

The third vignette on the deluxe editions of De Profundis, published in 1905, depicts a tempestuous sea with six high waves; above, in the centre, is a bright star in the sky.

Charles Ricketts, vignette for Oscar Wilde, De Profundis
(deluxe editions, 1905)

The combination of three vignettes (see blog 501 and 502) was reused in 1908 for the "First Collected Edition" of the works of Oscar Wilde.

Oscar Wilde, The Duchess of Padua (1908)
(deluxe edition)

Whereas the other two vignettes were related to Wilde's imprisonment and release, the latter refers to the concluding paragraph of De Produndis:

Society, as we have constituted it, will have no place for me, has none to offer; but Nature, whose sweet rains fall on unjust and just alike, will have clefts in the rocks where I may hide, and secret valleys in whose silence I may weep undisturbed. She will hang the night with stars so that I may walk abroad in the darkness without stumbling, and send the wind over my footprints so that none may track me to my hurt: she will cleanse me in great waters, and with better herbs make me whole. 
(Oscar Wilde, De Profundis, 1905, pp. 150-151).

In 1909, the first volumes of what has come to be called the Second Collected Edition were published. The first volume appeared in early September 1909, bound in green buckram: Lord Arthur Savile's Crime and Other Stories. These smaller format (foolscap) editions only used one of the three original vignettes by Ricketts, and bibliographer Stuart Mason asserted that the third vignette was used for these editions, that of the star over the sea. However, this is not entirely accurate.

Oscar Wilde, Lord Arthur Savile's Crime and Other Stories (1909)

The circumference of the circular vignette is now 25 mm instead of 23 mm due to the addition of an extra border. The image itself is unchanged: the star has a protruding point at bottom right, and swirls in several directions can be seen within the waves. 

Oscar Wilde, Salomé, La Sainte Courtisane, A Florentine Tragedy
(eight F'cap. 8vo Edition, 1927) (above)
Oscar Wilde, A Woman of No Importance
(Ninth Edition, 1920) (below)

Why was the block changed for the Second Collected Edition? Perhaps Ricketts felt it should have a more distinctive border, now that it was the only vignette decorating the binding? Subsequently, publisher Methuen used it for dozens of reprints through the early 1930s, and the vignette became the best known of the three. Buyers and readers of those editions will not have realized it was a Ricketts design, for his name was not mentioned. Possibly, several blocks may have been necessary for the later reprints.

The third vignette was also copied for Stuart Mason's Bibliography of Oscar Wilde in 1915.

Stuart Mason, Bibliography of Oscar Wilde (1915)

The large middle wave clearly has a different curve, as do the other waves around it. Of the star, only the outline remains. 

The vignette has an extra round border, compared to De Profundis, 1905, and similar to the 1909 vignette. 

In short: all three vignettes used for Mason's bibliography needed new drawings for the maker of the block. 

The main question is: why on earth did Stuart Mason claim in his introduction that Ricketts's vignettes were used for his bibliography, when all three were copies only. Those new blocks were certainly not Ricketts's doing, as they lack subtlety and are clearly copied, not carefully drawn again.

502. The Designs on the Cover of 'Bibliography of Oscar Wilde' (2)

The second vignette on the cover of Oscar Wilde's De Profundis (1905) - that is: the two deluxe editions, bound in buckram (200 copies) or vellum (50 copies) - depicts a free bird against the night sky. With its wings spread, the dove flies upwards, its beak open; on the left, a star stands above the landscape.

Charles Ricketts, vignette of free bird
front cover of Oscar Wilde, De Profundis (1905)

The copies bound in buckram show that the texture of the fabric does not do the image justice; Ricketts must have had a finer fabric in mind, or designed it for the vellum edition. For comparison, here are the images on vellum and on a wrapper of two volumes of Oscar Wilde's collected works from 1908.

Charles Ricketts, vignette for Oscar Wilde, The Duchess of Padua
(copy bound in vellum) and Intentions and The Soul of Man (wrapper) (1908) 

The replica of the block used for Stuart Mason's Bibliography of Oscar Wilde (1915) shows a different image.  

Stuart Mason, Bibliography of Oscar Wilde (1915):
wrapper (above) and buckram binding (deluxe edition)

There is an additional border framing the circular image. 

In the original image, the left wing (right for us) is depicted loosely, so that the bird's opened beak is clearly visible, the pigeon's head tilted backwards. The cry of joy for the regained freedom that is expressed in this way is absent from the copy. 

Ricketts drew the tail of the bird moving upward at the end. To separate the shape of the bird from the landscape that begins at the top left of the tail and continues right under the wing (using a kind of yin-yang image) he drew a clear gap between tail and landscape. In the copied drawing, the tail has disappeared; we no longer see a flowing line from the head to the tail of the bird.

Finally, in the landscape below the dove, there is damage to the block. It looks as if the dove is losing a drop of blood - contrary to what the image is meant to symbolise.

One might think that publisher Methuen had to make new blocks in the course of years, but that is not the case. When Ricketts's vignettes were used again in 1922, for a work that was wrongly attributed to Oscar Wilde, For Love of the King (1922), the original images from 1905 turned out to be intact.

Charles Ricketts, vignette for the wrapper of
For Love of the King (1922)

This second vignette, like the first (see blog 501), is a rough adaptation of Ricketts's subtle drawings.

[Thanks to Robbert-Jan Henkes for his astute comments.]

501. The Designs on the Cover of 'Bibliography of Oscar Wilde' (1)

In 1914, Stuart Mason (pseudonym of Christopher Sclater Millard, 1872-1927) published his Bibliography of Oscar Wilde in a regular one-volume edition and in a limited deluxe edition of one hundred numbered and signed copies. Publisher Thomas Werner Laurie had started his business in 1904, and issued the bibliography as if it belonged to the first edition of Oscar Wilde's collected works. The design of the books was almost identical, especially the deluxe edition whose white linen bindings with gold printing imitate those of the multi-volume collected edition. The calligraphy of the titles - designed by Charles Ricketts - is not copied, but replaced by a typeset title. Ricketts's three vignettes with doves, stars and the sea adorn the front cover, dust jacket and endpapers.

Stuart Mason, Bibliography of Oscar Wilde (1914):
deluxe edition, cover of volume 1

The collected works were published by Methuen and Co. in 1908. The design by Charles Ricketts was the same as the one he especially made for the first edition of De Profundis in 1905. The regular copies of that book were issued in blue cloth with one vignette, the two deluxe editions had three vignettes. 

Stuart Mason's 'Preface' acknowledges Methuen's rights to the design:

Thanks and acknowledgments, formal though none the less sincere, are due to [...] Messrs. Methuen & Co., for many courtesies, including permission to use the designs on the cover of this volume; [...].

Oscar Wilde, De Profundis (1905):
deluxe edition in buckram binding
with designs by Charles Ricketts

Methuen still used the designs for reprints, especially the star in the sky above the 'great waters', while the one with a dove escaping through prison bars was best known from the reprints of De Profundis. The third design (all were described by Mason in his bibliography) is 'the bird flying free'.

Stuart Mason, Bibliography of Oscar Wilde (1914):
deluxe edition, dustwrapper of volume 1

The dove escaping through prison bars 

Remarkably, Methuen's original binding tools have not been used. New, different stamps have been made that more or less resemble the earlier ones, but they lack all subtlety. They are, frankly, rather crude imitations.

Vignette 1, designed by Charles Ricketts:
a dove escaping through prison bars
on the front cover of the first edition of
Oscar Wilde, De Profundis (1905):
deluxe edition in buckram binding (above)
and deluxe edition in vellum binding (below)

The impression on the vellum binding of the most luxurious edition of De Profundis (1905) shows best what Ricketts meant. The impression on the paper wrapper of the deluxe edition of Mason's bibliography shows best what went wrong in reproduction.

Vignette 1, designed by Charles Ricketts:
a dove escaping through prison bars
on the front cover of the first volume of
Stuart Mason, Bibliography of Oscar Wilde (1914): 
deluxe edition in buckram binding (above)
and brown paper wrapper of the same volume (below)

The most striking difference is the drawing of the bars over the pigeon's body; they are much too thick in the new block, and have a crossbar that is not there in the original. As a result, there is actually no opening for the dove to fly through. 

The transition from the pigeon's breast to the right wing is also too thickly accentuated, so that it is no longer visible that the pigeon is opening its beak, in other words, gasping for breath.

Above the left wing, against the circle, Ricketts drew a larger open space in the original design than was done in the reproduction. There, just above the wing, a horizontal bar has been drawn.

All these changes show that the new block maker did not understand that the design depicts not a captured dove, but a dove escaping, symbolising freedom. All the modifications actually restrict the pigeon's freedom of movement to such an extent that its spread wings can no longer be understood. The image now resembles a bird that has been pinned to the bars.