Found – an art catalogue from 1990 of an exhibition at the Michael Parkin Gallery in Belgravia, London. Rognon de la Flèche was the name by which Lady Cara Harris was known in her role as an artist. Parkin’s intro explains: Rognon de la Flèche was the pseudonym of Lady Cara Harris and literally means ’ the tale of the arrow’ or more to the point ‘the sting in the tale’…To mention her name to old friends like John Betjeman, John Sutro, Adrian Daintry, Cecil Beaton and David Herbert would bring forth a knowing smile, almost instantaneous laughter and the inevitable hilarious story. I personally love the one of her daughters wedding date when she forced the somewhat reluctant bride-to-be to accompany her to Harrods to choose some new bath taps..having wasted the Harrod’s assistants time for several hours not to mention her by know somewhat agitated daughter’s – she apologized serenely remarking that she was suffering from the severe problem of ‘bidet fixée.’
The only daughter of the redoubtable Mabel Batten, known as ‘Ladye’ who was a ‘close friend’ of both Edward VII and Johnnie Radclyffe Hall, author of The Well of Loneliness, Cara Harris was also the mother-in-law of Osbert Lancaster. The art of Rognon de la Flèche 1865 to 1931 (Lady Cara Harris continued until 1952) was first shown in December 1933, at the Warren Gallery, in Bond Street. Now some 57 years we are showing not only repeated this eccentric exhibition but also a collection of homemade dolls whose births, marriages and social activities became regular features in the pages of The Times and Tatler. Also showing during the exhibition will be one of her remarkable films Treasons Bargain (1937). Described as having five acts and 106 scenes it stars an elderly aristocrat (Lady Cara) who successfully outwits the ‘baddie’ Catptain Desmond Sneyke (Osbert Lancaster) and features performances by Lord Berners, Sybil Colefax, Lord Donegal, Victor Cunard, John Betjeman and and Cecil Beaton…’Continue reading →
Found - a folding 6 page art catalogue/ booklet for an exhibition in wartime Leicester June 1942. Artists included John Tunnard (who provides the image on the cover) John Piper, Ivor Hitchens, Graham Sutherland, Frances Hodgkins, Edward Wadsworth, Ben Nicholson, Naum Gabo, Barbara Hepworth, Hans Erni, Paul Nash, Kurt Schwitters, Eileen Agar, Ithell Colquhoun, Ceri Richards, Michael Ayrton, John Buckland Wright ,Cecil Collins, Leslie Hurry. Top price was £150 for Two Serpents by Paul Nash. The 3 Schwitters were all less than £30..The curator and writer of the introduction (below) was Trevor Thomas - the subject of another Jot entry, as 21 years later he was the last person to see Sylvia Plath alive. He wrote a slim book on this called Sylvia Plath: Last Encounters (Privately Published, Bedford 1989.)
New Movements in art exhibition: 23 May to 21 June 1942: Leicester Museum and Art Gallery
Trevor Thomas, Curator.
By way of introduction.
The contention that "every picture tells a story" is now recognised as a popular fallacy, just as, Hollywood excepted, nobody now believes that "every story makes a picture." In this way free from the necessity for literary associations, we can approach such an exhibition as this with unfettered intelligence and liberated imagination.
The death in 2005 at the age of 82 of aged hippy and anarchist Simon Watson Taylor went almost unnoticed in the Arts pages and it was left to his friend and former house-mate George Melly to supply an obituary in the Independent in which he pointed out the major contributions of the writer and translator of Alfred Jarry to the Surrealist and Pataphysics movements in Europe during the fifties and sixties. On a personal level, Melly also alluded to his friend’s ‘acid humour ‘, his delight in confronting and dispatching the pretensions of the bourgeoisie, and a determination to remain free of encumbrances. At one point in his early life we are told that he took a job as an airline cabin steward in order to travel the world.Indeed, among all his friends who had some way embraced aspects of the bourgeois life- style, Melly claimed that Watson Taylor stood out as a man ‘truly free’.
A book dealer I knew mentioned in passing that the author of The Naked Ape and Manwatching was a passionate collector. But no-one had prepared me for what I encountered when I rang his doorbell in leafy North Oxford.
This zoologist was not a collector—he was a bibliomaniac! He admitted to visiting book fairs, second-hand bookshops, junk shops and auctions. At one time he mistakenly bought copies of books he already owned, but remedied this error by always carrying around a laptop containing a disk that listed all the books in his library. And what a library ! He had had it built as an annexe to his large Victorian house and it was absolutely crammed with books, floor to ceiling, and a few of his own paintings were also displayed. He, of course, was a sort of Abstract Surrealist, strongly influenced by Miro. There was a lot of ethnographical art too—mainly pots and animal inspired pieces.
We talked for over three hours—some of the conversation was off the record. He told me that he came from a village near Swindon and as a youth had gone out with Diana Dors, whose real name was Diana Fluck. Books were part of his DNA. Morris’s great great grandfather had been a bookseller in old-town Swindon, while his great-grandfather, one William Morris, was a well known local historian and naturalist in Wiltshire. It was a book, Grew’s Comparative Anatomy of Stomach and Guts, which the zoologist later inherited from his library, that inspired him to study animals. From such an eclectic pedigree of learning arose Morris’s extraordinary range of knowledge—which encompasses a range of art-related disciplines, of which Surrealism and ethnography was two, and a variety of scientific subjects, the most prominent being zoology. Whole stacks were devoted to two main interests—dogs and primates, but human psychology was strongly represented too. There was also a fair-sized section on English poetry and here Morris revealed that in the late 1940s he had met Dylan Thomas, who had shown a strong interest in one of the younger man’s own paintings that he happened to be carrying. Thomas offered to strike a deal. He would swap a manuscript of a poem he had recently written for this painting. It must have been a good painting (or a poor poem), because Morris declined the deal. Thomas died just a few years later at the height of his fame and Morris told me that he has regretted that mistake ever since.[RR]