Wednesday, November 15, 2017

329. A Memorial Headstone for Oscar Wilde's Bibliographer

Yesterday, I received a new issue of Intentions (No. 104) containing an account of that contains a reportage of the installation and blessing (for what it's worth) of a headstone on the grave of Oscar Wilde's bibliographer, Christopher Sclater Millard (see blog No 163 for a review of a biography of Millard also known as Stuart Mason).


Intentions published by The Oscar Wilde Society (November 2017)
Millard's bibliography needs to be newly edited for it is - even a century later - an important document of Wilde's publishing endeavours. The stone was erected in St Mary's Catholic Cemetery, Kensal Green, London, and designed by Lois Anderson who runs a letter-carving workshop in London.

Details can be found in the new issue of Intentions, published by The Oscar Wilde Society.

The celebration on 23 September was witnessed by representatives of the society, the family, and others, such as Timothy d'Arch Smith.


From Intentions published by The Oscar Wilde Society (November 2017)

Wednesday, November 8, 2017

328. A Price for The Picture of Dorian Gray

Last week's blog was about a copy in dust-jacket of The Picture of Dorian Gray

Spine (detail) of Oscar Wilde,
The Picture of Dorian Gray (1891),
designed by Charles Ricketts
This copy belonged to The Library of an English Bibliophile Part VII, auctioned by Sotheby's of London on 7 November. 

Dust-jacket (detail) for Oscar Wilde, The Picture of Dorian Gray (1891),
designed by Charles Ricketts
As to be expected, it fetched more than the modest estimate of £5.000-£7.000. The book was sold for £31,250 (hammer price with buyer's premium).

Wednesday, November 1, 2017

327. A Picture of The Picture of Dorian Gray

Some books by Oscar Wilde with designs by Charles Ricketts, or in case of the plays, by Charles Shannon, are the darling of cameras. Photos of The Sphinx have not been scarce since the 1960s, and the Internet has multiplied the number of images of this book. Of course, images of Salomé with designs by Aubrey Beardsley have far outnumbered them.


Oscar Wilde, The Picture of Dorian Gray (1891), designed by Charles Ricketts
Images of The Picture of Dorian Gray belong to my favourites. The almost empty spine with the title, author's name and flower decoration at the bottom end is as modern as it was in its days. Most copies show damage, or have a discoloured vellum spine. 

However, in their 7 November sale, The Library of an English Bibliophile Part VII, Sotheby's of London offer a pristine copy of this book.

What's more, a large part of the original dust-jacket is present. Copies like this one are of a great rarity. The estimate is c. £5.000-£7.000.

Oscar Wilde, The Picture of Dorian Gray (1891), designed by Charles Ricketts
This is a low estimate, as a similar copy - well, according to the images, this is probably the same copy - was sold for over $40.000 in 2014.

Wednesday, October 25, 2017

326. The Pageant & The Dial

Two weeks ago I wrote about the digital edition of The Pageant (1896-1897) prepared by Frederick D. King (The University of Western Ontario). King spoke about the change of the Aesthetic Movement around the time of publication of the two volumes of this magazine that was edited by Charles Shannon and Gleeson White, while Ricketts was deeply involved.

King talked about The Pageant at the North American Victorian Studies Association's supernumerary conference in Florence (17 May 2017). He kindly sent me the text.

According to King, by 1895, the Aesthetic Movement emphasized Decadence and 'evocations of sexual dissidence', but for The Pageant the editors settled for 'art history and the material production of British Aestheticism'. Their selection of essays and artists placed the Aestheticism in a historical frame, comparing contemporary art to that of the Pre-Raphaelites, the French Symbolist movement, and the bookmakers and wood-engravers of the Renaissance.

King analyzed four essays on art, one of which is by Gleeson White, who, in his essay about Ricketts wrote that Ricketts's designs are 'subtle, and do not seek to shock the reader in the manner of a Beardsley illustration'. However, their sensuality and eroticism should be considered to be part of a long tradition starting with the Italian woodcuts of the Renaissance. This way, the importance of the contribution of the Aesthetic Movement to print culture was emphasized. Theoretically, the movement was linked to Walter Pater's theory of the Renaissance.

The Pageant, I would like to add, was not the only magazine that explored these new connections for the Aesthetic Movement. Ricketts's and Shannon's The Dial that had appeared since 1889 was an infrequent witness of their ideas. The last issues were published in 1895 and 1897, and show, not surprisingly, the same shift in focus from Symbolism and Decadent poetry to a broader history of art, especially the Renaissance.


From The Dial (No. 1, 1889)
The Dial No 1 (1889) included two essays on French symbolism: (1) 'Puvis de Chavannes' and (2) 'Les Goncourt'.
The Dial No 2 (1892), again, included an essay on Puvis de Chavannes, and contained poems by two decadent French poets: Verlaine and Rimbaud.
The Dial No 3 (1893) presented pieces on symbolist painting ('Gustave Moreau'), decadent poetry (Rimbaud), but also to early Victorian art ('Garth Wilkinson'), and to French Renaissance poetry (Ronsard) and Italian literature ('St Francis of Assisi').
The Dial No 4 (1895) discussed another Decadent French artist (Huysmans), but also contained a poem by Michael Field on Tintoretto.
The Dial No 5 (1897) included a translation from a work by Maurice de Guérin, and contained an essay on nineteenth-century Japanese art by Utamaro.


From The Dial (No. 5, 1897)
The shift from Decadent and Symbolist work to a wider perspective including Italian and Japanese art was already manifest in The Dial from 1893 onwards, suggesting that King's interpretation of The Pageant's course was in accordance with Ricketts's and Shannon's artistic development. 

Around the same time, Shannon started to work on his Renaissance inspired portraits  and paintings, aspiring to become the Titian of the early 1900s, while Ricketts took examples from continental printing (especially French and Italian Renaissance type, initial letters and decorations) for his Vale Press designs. 

Wednesday, October 18, 2017

325. Gay Pride

There are quite a few websites posting information on Charles Ricketts and Charles Shannon as a gay couple, which, historically and factually, poses a few problems of interpretation. Presumption, projection, and suggestion may blossom as there is a lack of evidence. Ricketts was a gay man, and although he never talked about his sexual orientation in public, there is enough evidence of his activities and his preferences. Shannon may have been gay in his early years, but eventually turned out to be a heterosexual, and his lithographs testify of that. 

Michael Field, Wild Honey (1908): cover designed by Charles Ricketts
In June, for Pride Month in New York, the Fales Library & Special Collections posted some images of book covers designed by Charles Ricketts.

The introduction to this posting argued their gay identity by using concepts as 'partner', 'lived together', and 'queer luminaries' in order to emphasize their gayness as a couple. However, no collaborative works by Ricketts and Shannon were chosen to illustrate this. The images were of cover designs for books by Ricketts for Oscar Wilde, Thomas Hardy, and Michael Field:

'Ricketts founded the literary journal The Dial in 1889 with his partner Charles Shannon. Shannon and Ricketts lived together at Ricketts’s Chelsea home, The Vale, after which Ricketts’s press took its name. Ricketts associated and worked with late-nineteenth and early-twentieth century queer luminaries of the Aesthetic movement such as Aubrey Beardsley and Oscar Wilde; Beardsley and Ricketts both designed and/or illustrated editions of Wilde works.'

The phrase 'Ricketts's Chelsea home' suggests that he was the main inhabitant, while, in truth both artists had rented the home, and other occupants and fellow artists needed to live there in order for them to afford the rent.

It is good to honour one's heroes, but it is hard to acknowledge facts. In general, the intentions of the introductory text are quite sympathetic even if almost every sentence contains a slip of the pen.

Wednesday, October 11, 2017

324. The Pageant Online

Earlier this year, Frederick D. King (Huron University College) wrote about his preparations for a digital edition of the periodical The Pageant. See his blog 'The Pageant, Aestheticism, and Print Culture' on The Floating Academy.

King's 2014 dissertation, called The Book Beautiful: Aestheticism, Materiality, and Queer Books, contains much about Charles Ricketts and Charles Shannon. His blog about The Pageant reveals that he discovered the work of Ricketts through his study of Oscar Wilde, John Gray, and other Aesthetes and Decadents of the 1890s.

Charles Ricketts, Dove design for The Pageant (1896)
The Pageant, according to King, 'repositions British Aestheticism outside of its own brief moment of influence in the 1890s, and into conversation with the history of European print culture with roots in the Italian Renaissance.' King argues that the influence of Early Modern Italian illustrators 'helped to differentiate the Aesthetes from the nationalist interests of their Pre-Raphaelite predecessors'. King links this cosmopolitan approach to condemnations of Wilde's homosexuality: 'By historicizing the movement and bringing attention to Ricketts's Renaissance influences, The Pageant serves as a comment on the philistinism that condemned Wilde and Aestheticism. It accomplishes that feat by demanding that readers also connect Aestheticism's controversies to the broader history of literature, of art, and of print culture.'

Ricketts designed the binding for both volumes of The Pageant (1896-1897) [published 1895-1896], and although he was not mentioned as an editor, he was very much involved in the compilation of both volumes. The art editor was his partner Charles Shannon, the literary editor was their friend J.W. Gleeson White. From their contributions - particularly Gleeson White's study of Ricketts's work published in the first volume - a shared appreciation of Italian art can be deduced.



Charles Ricketts, Dove designs for The Pageant (1896)

Ricketts designed two small devices for the binding of The Pageant. Both were repeated three times, the one in lower right corner bears his monogram 'CR'.

Meanwhile, the online edition of The Pageant has been launched, and is in open access at The Yellow Nineties Online. The images are based on a withdrawn copy from Huron College Library. The covers of those copies are in bad shape, and show traces of a misguided  restoration effort with tape. The spine has not been reproduced in the online edition, the pages have been cut and do not show the edges of the paper. One would have hoped that better copies could have been digitized.

There is no introductory essay about The Pageant. I hear that will be published later. 

The addition of The Pageant to The Yellow Nineties Online is a step forward in disclosing 1890s material to scholars and students.


Cover for The Pageant 1896 (The Yellow Nineties Online)

Wednesday, October 4, 2017

323. Dedicated to T. Sturge Moore

Last Saturday and Sunday, the Amsterdam International Antiquarian Book & Map Fair hosted an international company of antiquarian booksellers. One of the exhibitors was Sophie Schneideman from London.


Charles Ricketts, Beyond the Threshold (1929)
Among the treasures on view on her shelves were several Ricketts related books. One of those was a copy of Beyond the Threshold that Ricketts dedicated to Thomas Sturge Moore: 'To T. Sturge Moore from his old friend C. Ricketts.'

A touching dedication from Ricketts's later years, including a phrase that he used for several other friends of long standing. The 'old friends' possibly became even dearer to him when Charles Shannon became disabled after a fall in 1928, a year before the publication of Beyond the Threshold. Due to Shannon's amnesia, Ricketts lost his companion who sometimes even acted hostile towards him. Lonely years followed, and Ricketts died a few years later, in 1931.

Wednesday, September 27, 2017

322. Numbers and Letters for Gordon Bottomley

Charles Ricketts designed several bindings for plays by Gordon Bottomley (1874-1948). In November 1921, Constable & Company Limited published a volume containing two of Bottomley's plays, Gruach and Britain's Daughter.

The cover design by Ricketts looked like a stage design with a building, towers, a stable with a horse, steps, a door and the silhouette of a draped person. Ricketts's intention had been to have the design in gold on white buckram, but due to the cost of gold after the Great War, most copies were bound in red buckram having the design in yellow. Only sixty copies were bound in white cloth with the design in gold. 


Charles Ricketts, design for Gordon Bottomley,
Gruach and Britain's Daughter (1921) (detail)
As customary with deluxe editions, the limitation statement only appeared in the deluxe copies. The ordinary copies in red buckram mentioned the binding design and the copyright statement.


Gordon Bottomley, Gruach and Britain's Daughter (1921)
For the deluxe edition of sixty numbered copies four text lines were added stating:

Of this edition have been issued fifty numbered copies for sale, and ten (lettered A-J) not for sale. No. 


Gordon Bottomley, Gruach and Britain's Daughter (1921)
Bottomley numbered and signed the copies in brown ink, and he (or his publisher) added a line of dots on which Bottomley (or the publisher) placed the written number (the dots were not printed).

The ten lettered copies were individually lettered on the press.


Gordon Bottomley, Gruach and Britain's Daughter (1921)

Wednesday, September 20, 2017

321. The 2017 Alphabet: O

O is for On.

On Hellespont, guilty of true love's blood,
In view and opposite two cities stood,
Seaborderes, disjoined by Neptune's might;
The one Abydos, the other Sestos hight.

Christopher Marlowe and George Chapman, Hero and Leander,
decorated by Charles Ricketts and Charles Shannon (1894)
In June 1894, the Bodley Head in London published an edition of Christopher Marlowe's and George Chapman's poem Hero and Leander. The book contained 7 wood-engravings, a border, and seven decorated initials.

Only four initials needed to be drawn, as one could be used four times: 'B' (page 26), 'C' (opposite page 5), 'N' (pages 41, 59, 75, 97), and 'O' (page 5). The letters 'B', 'N', and 'O' belonged to one family (29x29 mm), the 'C' is much smaller (13x20 mm), and somewhat different in design. These were not used in any other book by Ricketts and Shannon. There were two prospectuses for Hero and Leander, and the earliest of these contained an initial 'I' that had been used before, and would not occur in the book.


Christopher Marlowe and George Chapman, Hero and Leander,
decorated by Charles Ricketts and Charles Shannon (1894)
The initials depict leaves and stems of laurel, one of Ricketts's favourite design elements; he used it for several borders. The larger ones have a peculiar propeller pattern, especially the 'N' and 'O'.






Charles Ricketts, initials 'B', 'N', and 'O' (1894)
The 'O' is the first one to appear in the book, and the small black leaves are not very different from those in the smaller initial 'C'. However, the larger, white leaves form a centrifugal pattern, suggesting rotation, referring to whirling waters, the waves that will form the graves of Leander and Hero in this version of the poem.

Wednesday, September 13, 2017

320. The 2017 Alphabet: N

N is for Noli me tangere.

And graven with diamonds in letters plain,
There is written her fair neck, round about;
Noli me tangere; for CAESAR's I am,
And wild for to hold though I seem tame.

Thomas Wyatt, sonnet decorated by Charles Ricketts (1892)
The initial 'N' appears in the 13th line of the sonnet by Thomas Wyatt, spelled Wyat by Ricketts in his rendering of the text for The Magazine of Art of September 1892. His calligraphy of the poem accompanied a large illustration, showing Anne Boleyn in The Tower of London before her execution.


Thomas Wyatt, sonnet decorated by Charles Ricketts (1892)
The sonnet is said to have been written by Thomas Wyatt (1503-1542) for Anne Boleyn (1501?-1536). The phrase 'Noli ne tangere', meaning, Don't touch me, being a biblical reference, can also be read in association with King Henry VIII, whose deer one was not allowed to hunt. Wyatt compares his beloved to a hind, because although one can love the deer, the deer will not be aware of one's love for it. Best to give up.

The important message - don't touch the lady - appears only in the last lines of the poem, but Ricketts added the phrase to the initial at the beginning of the poem.

Thomas Wyatt, sonnet decorated by Charles Ricketts (1892)
Charles Ricketts, initial 'W' for a sonnet by Thomas Wyatt (1892)

The initial 'W' (13x12 mm) at the beginning of the sonnet illustrates the 'deer' (line 6). The initial 'N' is smaller (8x7 mm), and contains the illustration of a poppy.

The original drawing is in the collection of the William Andrew Clark Memorial Library, Los Angeles, a gift of the Ricketts collector Albert Sperison (1908-1999). 

Wednesday, September 6, 2017

319. Celebrating the Mark Samuels Lasner Collection

On 17 and 18 March this year, a conference at the University of Delaware celebrated the Mark Samuels Lasner Collection in Newark. Alas, I couldn't attend the conference at the time. However, the talks have been recorded. Here is a link to the university's repository. The importance of the Mark Samuel Lasner collection is immense. I had the pleasure of visiting the library some years ago, see my 2013 blog No. 82.


Oscar Wilde, A House of Pomegranates (1891): cover design by Charles Ricketts
One of the talks at the conference was given by Joseph Bristow, professor of English at UCLA. His talk focussed on Wilde's fairy tales from the first book editions in the 1880s and 1890s until about 30 years after the death of the author in 1900.

Here is a link to his presentation: 'Oscar Wilde, the Fairy Tale, and the Illustrated Book, 1888-1928'.


Listening to the audio presentation, a few comments touched base. The early editions of the fairy tales were, perhaps, intended for an audience of children, but they expressed a sexual undertone and demonstrated an adult 'impression of desire', as Bristow had it. Wilde's works were associated with insubordinate desire during his lifetime, years before he was convicted of 'gross indecency'.


Oscar Wilde, A House of Pomegranates (1891): cover design by Charles Ricketts (detail)
Bristow's talk mentioned the 1891 edition of Oscar Wilde's A House of Pomegranates, designed by Ricketts, and illustrated by Ricketts and Charles Shannon. The symbolism of the cover design that was criticized harshly by contemporary critics, was explained by Bristow as a sort of summary of the stories in the book. The peacock, the basket containing pomegranates, and the fountain, are related to themes in the stories. He wasn't the first to point this out, of course.



Oscar Wilde,
A House of Pomegranates(1891): cover design by Charles Ricketts
(detail)
Bristow went on to argue that the artist was attached to his independence, and didn't merely illustrate the stories. This too, has become commonplace among Wilde and Ricketts commentators.

Interestingly, his main point was about the much discussed title page of A House of Pomegranates. In his view, this page addressed the issue of sexual desire in a way that the author hadn't done himself. However, this was exactly as his art was seen by his contemporaries, as belonging to the French decadent movement.


Oscar Wilde, A House of Pomegranates (1891):
title page designed by Charles Ricketts (detail)
Comments from other Wilde and Ricketts critics spring to mind.

The illustration is complicated by the two figures depicted in it. There is a woman at her embroidery, but she is asleep. In 1970, Michael Brooks wrote: 'Ricketts’ Pre-Raphaelite maiden [...] lives only partly in the world of real time and real objects; her thoughts are in some infinitely distant, infinitely more enchanting universe.' The same goes for the other figure, a seated satyr playing the flute. The two don't seem to notice each other.

The embroidered roundels show scenes from Wilde's stories. The one at the top refers to the story of 'The Fisherman and his Soul'. The second roundel is about the story of 'The Young King', while the third one symbolizes the story about 'The Star-Child'. 

A fourth design is pinned to the frame. This one depicts a heart, a rose and thistles. A similar design is printed in the margin of 'The Birthday of the Infanta'.

Bristow focusses on other details. He argues that the togetherness of the faun and the woman suggests love, or, rather, lust. The satyr has her in mind, and her dreams are about the lust he represents, the unheard song of his flute, one might say.

The interpretation is partly based on criticisms after publication, and our modern interpretations of nineteenth-century imagery, but Bristow convinced his audience that contemporary readers would have understood the page's sexual innuendoes, and, as Oscar Wilde had not yet been convicted, they would not have felt threatened. Excited, perhaps, but not disgusted. A few years later, all that changed.

Wednesday, August 30, 2017

318. Charles Ricketts and More Adey

Michael Seeney's book More Adey, Oscar Wilde's Forgotten Friend mentions the names of Ricketts and Shannon a few times. The link between these men was Oscar Wilde, or rather, Robert Ross, who acted as Wilde's 'literary executor, and administrator of his estate' (as the 'Note' in the first volume of the collected works in 1908 stated).

Ross and Adey came to Ricketts and Shannon 'to grub' as Ricketts writes in his diary. Ross and Adey often shared an address. Another time, Ricketts, Shannon, and Adey met at a dinner party given by Ross to celebrate Vyvyan Holland's twenty-first birthday. Both of Wilde's sons were present, as were the painter William Richmond, Reginald Turner, William Rothenstein, Coleridge Kennard, Ronald Firbank, and Henry James.  

Seeney compares Ricketts and Shannon's sexual identities with those of Ross and Adey (p. 25), mentions Adey's and Ricketts's beards in comparison to the beard that Ross kept for about a week (p. 45), Adey's black cloak is linked to those of several artists including Ricketts (p. 98), Ricketts's visit to Wilde in prison (a failure), and his and Shannon's subsequent donation towards a fund for Wilde (the large sum of £100) are mentioned, quoting from a letter by Ricketts to Adey (pp. 51-53), Adey's review of stage designs by Ricketts (p. 63) and Ricketts's and Shannon's exhibitions at the Carfax Gallery are mentioned (p. 64, 70). Both Adey and Ricketts published reviews and articles in The Burlington Magazine,  and sometimes Adey found himself in a difficult position between opposing parties, such as those on the post-impressionists (pro: Roger Fry; contra: Ricketts) (p. 83). 
The Beacon, April 1922
Both Adey and Ricketts were asked to collaborate on a new magazine in 1922, The Beacon, edited by E.R. Appleton. Seeney (p. 99) mentions that several friends of Adey contributed to the magazine: 'Selwyn Image, Charles Ricketts and Sturge Moore'.

Image was the only one who actually published an article, a lecture in fact, in The Beacon. It appeared in the March 1924 issue, but it had been written as a speech: 'Church Art. An Address to the Zenith Society'. (The Zenith Society was founded to assist clergy in maintaining the spiritual life of London in 1923 and 1924.)

The Beacon, April 1922
Ricketts can not really be seen as a collaborator to The Beacon. In 1922 he allowed the magazine to reproduce a wood-engraving from The Parables from the Gospels (facing page lvi in the book). It had been published almost twenty years before. Other illustrations by the artists of The Dial in that issue are said to be the work of T. Sturge Moore and Reginald Savage, but the attribution to Savage is incorrect. Both illustrations are by Sturge Moore. These wood-engravings were also done years before - 'Pan Island' dated from 1897, the one called 'Behemoth' was another illustration of Pan, published by Ricketts and Shannon in a portfolio of Sturge Moore's woodcuts in the early 1890s ('Metamorphoses of Pan and other woodcuts').

Allowing a reprint of an old wood engraving was the kind of support that Ricketts often granted initiatives by younger artists and authors.