Found in Beresford Egan’s Epitaph, a Double-Bedside Book for Singular People (Fortune Press 1943) this piece by him on Aubrey Beardsley. Beresford Egan was always compared to Beardsley and was probably a little fed up with it. In appearance and temperament he was nothing like the 1890s aesthete. His technique was also somewhat different, as he explains. Apart from his illustrations and books he also worked as a film actor and he can be glimpsed in Powell and Pressberger’s masterpiece A Canterbury Tale.
But poor, dear Aubrey! What of him? His shadow has overcast my life, as it has overcast the lives of others in the realm of black and white. Aubrey Beardsley died in the “arms of the church” and fell into the claws of the literary vultures. His bones have been picked bare, but his legendary spirit will continue to haunt us, until a critic is born who can see further than ‘The Yellow Book’.
Beardsley – that name has become a critical cliche. Who, among the black ink brotherhood, has not been compared with him? – except, of course, the followers of the “crosshatch” school still performing in ‘Punch’. There appears to be no overshadowing master of this technique: not even Tenniel, Charles Keene, nor Lindley Sambourne. The “crosshatchers” are never charged with plagiarism, although I have seen many an exponent whom one might justifiably accuse of being cast in the Harry Furniss (forgive the pun).Continue reading →
Thus begins the front page article published in the January 19th 1951 issue of John O’London’s Weekly. In it the art critic F.M.Godfrey recounts the campaign of Anthony Emery, a mature undergraduate at Pembroke College, Oxford, to supply examples of modern art for the Common rooms, hostels and Unions used by every undergraduate in Britain.
The crusade to inspire students with the right attitude to ‘ the good, the beautiful and true’ had begun just after the war at Emery’s own college, where, shocked by the ignorance of modern art shown by serving officers, he ( a wartime officer ) and some like-minded friends had pledge to subscribe a £1 each to established a small collection for their common room. Inspired by the guidance of Sir Kenneth Clark, who had chosen for them a painting each by John Minton, John Piper and Duncan Grant, they had gone on to choose their own pictures.
As Godfrey remarks, Emery’s manifesto, which he called ‘A New Oxford Movement’ had the spirit of the reformer about it. And Godfrey himself echoed his sentiments.
‘Our appalling ignorance towards modern art must be eradicated when we are at the impressionable …age of under twenty, and we must conquer the schools to secure a lasting influence upon our manhood. If we had a ministry of culture and in it a department for the dissemination of modern art, here are the brains and the will to conduct it. For already half of Oxford has succumbed: Pembroke, Worcester, Brasenose, Exeter and New College, Magdalen and St Edmund’s Hall are outbidding one another in the effort to acquire the largest collection of modern painting in the United Kingdom ‘.Continue reading →
Found in a collection of other examples, this is rather dull little bookplate, considering it came from the library of Laurence Ambrose Waldron (1858 – 1923), one of Ireland’s great and good in the first two decades of the twentieth century-- a patron of the Arts, a Nationalist politician, public benefactor, and ardent book collector with a library of several thousand volumes.
The conventional design of the bookplate is even more bewildering when we consider that Waldron was such an Arts and Crafts enthusiast, that in the early 1900s he built a mansion, which he christened ‘Marino’ in this style at Ballybrack, just outside Dublin. He later commissioned the Beardsley-influenced cult illustrator Harry Clarke to create nine exquisite stained glass illustration of Synge’s Queens (below) for his new library there. In 1998, after having not been seen since 1928, these were sold by Christies for over £300,000.
The only possible explanation seems to be that Waldron had the bookplate printed some time before his enthusiasm for Arts and Crafts and Clarke took off. As he succeeded his much more conservative father (also called Laurence) at the age of 17 in 1875, the design was probably made between this date and the building of ‘Marino’. [RH]
Bookplate of Waldron's father *
*Many thanks Mullen Books
The exhibition catalogue recently posted on Jot 101 just scratches the surface of Edna Clarke-Hall’s remarkable career. A gifted artist, whose work in many media has always been in demand, was the friend of so many colourful artists in the early years of the twentieth century—notably Gwen and Augustus John. She died in 1978 aged one hundred and may have lived even longer had the shock of being moved from Upminster Common, where she had lived for more than seventy years, to a retirement home, not played its part.
Some unpublished letters addressed to her from Augustus John just before the First World War, which a friend who knew her well, managed to acquire, reveal much about her relationship with the older artist who, like many other men, was captivated by her beauty. They also reveal John to be a deep thinker on art and society whose was capable of decidedly Lawrentian rants against convention. Two of these letters are worth quoting in full:-