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 →
Found -in a reprint copy of Bewick’s A History of British Birds (Newcastle, 1809) a handwritten note pasted at the front endpapers from George Gulliver (anatomist 1804- 1882) stating that the book contains ‘.. 9 proofs of wood cuts of birds, an illustrated receipt, and an autograph letter of Thomas Bewick, dated April 14, 1823 (Newcastle) to Mr L .Edmonston: all inserted at the end of this volume.’ He continues- ‘They were given to me by Mrs Edmonston. Her husband, Dr Laurence Edmondston, has now (1862) been a medical practitioner upwards of 40 years at Bolton Sound, Shetland, which place he is a native. He knew and corresponded with Bewick about birds and the cuts were sent at different times by Bewick to Dr Evanston with the writing on them. George Gulliver. Bewick’s letter is present and reads:
‘Newcastle 14 April 1823. Dear Sir, I received your kind letter of the 10th and have ever since been in anxious expectation of receiving the Ivory Gull, as it’s not yet come to hand. I fear the box may have been detained or else forwarded to Newcastle under Line by mistake as Wednesday is the date which you have limited me for its return. I thought it necessary to apprize you of its non arrival, that an enquiry if necessary might be set on foot without further delay– I have only to thank you for your very great kindness and attention endeavouring to procure from me so many specimens of rare birds which will always be most acceptable to me.I am dear sir your obliged and obedient Thomas Bewick.’ Continue reading →
Found - a curious and very rare spiritualist book The Spirit of Irene Speaks published in Bournemouth in 1923. The title refers to a notorious murder in 1922 of a young cook, Irene Wilkins, who had travelled down to Bournemouth to London in response to a potential employer from an advertisement she had placed in a local paper. She had been met at the station in a large Mercedes and her body was found in a field the next day battered to death. Eventually a chauffeur was arrested, one Thomas Henry Allaway. An astute car designer had noted the car's registration number at the station and he was also recognised by a telegram clerk… The book claims that through 'psychometrics' (in this case the psychic tracing of the murderer through clairvoyant communications from an object from the murder scene) a medium had solved the case and there is a weight of convincing evidence in the book and suggestion of police co-operation. No account of the case found online mentions this aspect of the case.
However the book is notable for other reasons. It has a long plea at the beginning by Dr Abraham Wallace for the repeal of capital punishment as being irrational and unchristian and a further article on 'The Futility of Capital Punishment.' The endpapers of the books are designed by the cult outsider artist Madge Gill. She is mentioned in the text as having produced these 'automatic drawings'. She is called Madge E. Gill from London ('this lady through her mediumship obtains gorgeous oriental designs in marvellous colour schemes, and quite unusual in conception. She also, under control, does the most beautiful embroidery and needlework…)
Madge Gill (1882- 1961) was a prolific outsider and visionary artist. She was introduced to Spiritualism by an aunt when she was in her teens in East London. Later when she was about 40 she began creating thousands of mediumistic most done with ink in black and white. She claimed to be guided by a spirit she called "Myrninerest" (my inner rest) and often signed her works in this name. Many feature a young woman in intricate dress often thought to be a representation of herself or her lost (stillborn) daughter, and female subjects dominate her work. Her drawings are characterised by geometric chequered patterns and organic ornamentation, with the blank staring eyes of female faces and their flowing clothing interweaving into the surrounding complex patterns.These endpaper drawings, different at both ends (rear endpapers pictured) do not have the female face…a book on her came out in 2013 by the musician and occultist David Tibet.
Speculation on whether there is life on Mars and what form it might take has been going on since the planet began to be seriously studied. Writers of fiction have let their imaginations run riot, with ludicrous results, but even scientists have been guilty of groundless speculation. Two items from the Peter Haining archive —an incomplete clipping dated 1924 from the Daily Express and a chapter from The Universe in Space and Time of 1935 throw interesting light on the subject.
Back in 1924 the Daily Express published a report by a certain Monsieur Camille Flammarion, ‘the famous French astronomer’, that ‘ the people of the earth will be both shocked and disillusioned if ever they become acquainted with the Martians’. “First of all”, he states, “there will be no beautiful women there. They may be beautiful according to Martian standards, but to us they will probably look frightfully hideous.” It’s all to with the ‘rarer’ atmosphere of the planet, apparently.
‘The Keeper of the prints showing A.E.C. how the Balcony scene should be performed' (Pen and ink drawing by Edward Chalon)
One of the most famous Keepers of Prints at the British Museum was John Thomas Smith (1760 - 1833), who was also a gifted amateur artist, an antiquary, and a writer on art and artists, whose two most acclaimed books were the scurrilous Nollekens and his Times (1828) and the exceedingly scarce and sought after Vagabondiana (1817), which contains forty or more etchings of well known mendicants in the metropolis based on his own sketches.
But in his early days Smith had hopes of becoming an actor, and in 1787 was promised an engagement with the Royalty Theatre in London. Unfortunately, this fell through and he set up as a drawing master instead. But if the portraitist Alfred Edward Chalon (1780 – 1860) is to be believed, Smith retained an interest in performing throughout his life. Here we have a pen and ink drawing by Chalon of the Keeper as a distinctly middle aged and podgy Hamlet. It may have been sketched following the publication of the sitter’s biography of the brilliant sculptor Nollekens, which portrayed him (possibly with truth) as a miserly curmudgeon. It has been said that Smith decided to write the book--dubbed ‘the most candid biography in English literature’--after the disappointment of not receiving the generous bequest he had been led to expect from his friend.
Smith died in harness aged just 66 in 1833. A Book for a Rainy Day, which contained his largely unpublished writings appeared posthumously.
Found - a rare 1916 first edition of Mendel, A Story of Youth by Gilbert Cannan. The novel is a roman a clef about the artist Mark Gertler and has much on his disastrous affair with Bloomsbury Goddess Dora Carrington. The verse dedication is to her:
To D.C. Shall tears be shed because the blossoms fall, Because the cloudy cherry slips away, And leaves its branches in a leafy thrall Till ruddy fruits do hang upon the spray Shall tears be shed because the youthful bloom
And all th'excess of early life must fade For larger wealth of joy in smaller room To dwell contained in love of man and maid? Nay, rather leap, O heart, to see fulfilled In certain joy th'uncertain promised glee, To have so many mountain torrents spilled For one fair river moving to the sea.
Gilbert Cannan entertained Mark Gertler, Katherine Mansfield and D H Lawrence among others to a famous 1914 Christmas party at Cholesbury Mill in Buckinghamshire and between 1914 and 1916 Gertler was a frequent visitor. Gertler used Cannan’s shed as a studio and his painting of Gilbert Cannan at his Mill now hangs in the Ashmolean Museum, Oxford (for which much thanks).
Between 1914-15 Gertler pursued a frustrating love affair at Cannan's Mill and elsewhere with Dora Carrington, who eventually left him to live with Lytton Strachey. Their relationship is the subject of the 1995 film Carrington*. After Strachey’s death in 1932 Carrington committed suicide.
*Rufus Sewell played a fiery Mark Gertler in the movie. Below is a sample from Christopher Hampton's script - Gertler is very annoyed that Carrington is in love with Strachey:
Mark Gertler: Haven't you any self-respect? Dora Carrington: Not much. Mark Gertler: But he's a disgusting pervert! Dora Carrington: You always have to put up with something.
Found in the Peter Haining archives this long piece from 1995 about the great Flower Fairy illustrator Cicely Mary Barker. It is likely to be the fruit of research by PH's good friend the amazing W.O.G. 'Bill' Lofts. Cicely Mary Barker's beautiful illustrations are still much loved and have become something of an industry. She also produced some deeply religious illustrations which are also of very high quality.
CICELY MARY BARKER
Wander into almost any stationers', gift or book shop, and you will see them - on cards and calendars, notelets and writing pads, diaries and address books, pencil tins and wrapping paper - even on tins of tea and Wedgwood china collectors' plates! The Flower Fairies suddenly seem to be everywhere.
They never really went away, of course - since they first appeared over 70 years ago, they have continued to work their magic on generations of children and adults alike. If all at once they seem more popular than ever before, it is because 1995 marks the 100th anniversary of the birthday of their creator, Cicely Mary Barker. To celebrate the centenary in June, and hand-in-hand with a big marketing campaign, Warnes are due to publish the first ever study of the artist: “Cicely Mary Barker and her Art” by Jane Laing. This superbly produced book, lavishly illustrated with colour plates of the artist's work and family photographs, is an absolute "must" for any collector of Barker's work, and guaranteed to add to her ever-increasing circle of admirers world-wide.
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.
Another manifesto from Jot-- this one still relevant given the atrocities of early this year at Charlie Hebdo in Paris. We found it in La Caricature: Art et Manifeste Du XVI siecle a nos Jours (Skira, Geneva 1974) which was produced by Ronald Searle, Claude Roy and Bernd Bornemann. At the beginning Searle contributes a piece ('Quelques Reflexions Authentiques..') that is a cross beneath a credo and a manifesto. It has not been translated before (to our knowledge) and our friend Tom A has done a sterling job. There is a pun about a hound's tooth which Tom says works better in French than English. Searle was much admired in France and lived there for the last 50 years of his life. Rave on...
La caricature est un art mineur qui comporte des responsibilites majeures. Caricature is a minor art which carries major responsibilities.
L'humour c'est quelque chose qui met les gens en colere quand on leur dit qu'ils n'en ont pas. Humour is something which makes people angry when you tell them they don’t have a sense of it.
La satire est la plus haute forme de la basse intention. Satire is the highest form of a low instinct.
From the files of Peter Haining this draft of a piece by W.O.G. ('Bill') Lofts on the great Sexton Blake illustrator Eric Parker (1898 - 1974). It was published in the early 1980s in the Australian magazine Collector's Digest.
The Eric Parker Story.
By W.O.G. Lofts.
For over twenty years, it was my good fortune and privilege to meet many Directors, Editors, sub-editors, authors, and artists, not only down Fleet Street, but in the home of it all at Fleetway House in Farringdon Street, the home of the mighty Amalgamated Press. I use the expression 'fortune' in the sense, that living in London, it was quite easy for me to make these short trips.
Always firmly believing in sharing information with others not so fortunate, I used to write up many of these events in the various magazines circulating at the time. Nearly all personalities I'm glad to say, freely gave me information not only about themselves, but about the papers they were connected with in pre-war days. Papers that gave so much pleasure to us, as they do even today in some cases over a half a century later. Indeed, in time by so many meetings, many became good friends, when they probably gave me real inside information, that they would not have revealed to the ordinary interviewer. The very sad fact today, is that with all of them considerably older than myself-practically the majority of them have now passed on.
Found in the Jimmy Kanga hoard These Thy Gods (Longman, Green and Co., London, 1949) by William Purcell, illustrated by Arthur Wragg. The artist and illustrator Arthur Wragg is slightly forgotten, although there was a good art book on him by Judith Brook a former pupil Arthur Wragg: Twentieth-century Prophet and Jester (Sansom 2001). He was collected by Jimmy Kanga and also another eccentric hoarder the great Baron Corvo scholar Donald Weeks. Wragg's style is stark, apocalyptic and symbolic. The frontispiece and d/w image neatly sums up the addictive 'Gods' of the time with a sort of totem pole. It appears to depict - (from the top) -- Television, jet travel (war?) sex/ entertainment/ parties/glamour then gambling, smoking, drinking, money, work (the thumbs?) and drugs and medicine. The 'blurb' on the back panel of the jacket reads:
A struggle for survival now challenges the people of the United Kingdom, a struggle only to be won by stern qualities of personal morale. Are these qualities being produced? Is there a solution to the urgent problems of our uneasy peace? 'These Thy Gods' ruthlessly anatomises life today and points towards a firm and practical Christianity as our final chance.
Indifference, selfishness, materialism and cynicism are shown here as they actually appear in people's lives. From the man who believes in nothing, the worker who "couldn't care less" to the girl with the film-world's scale of values and the couple lost like babies in the matrimonial wood, the people in this book are all types we know - types in whom we may recognise ourselves.
This book is to help us to judge, and to care while there is yet time.
Some of these short essays with their illustrations were originally published in the magazine 'John Bull', where they attracted considerable attention. The Rev. W. E. Purcell will be known to many for articles written in an easy style, free from pedantry and "pulpit terminology", and he also rites successful short stories under a pseudonym. The brilliant illustrations, designed to add to rather than repeat the text, recall Storm Jameson's remark about Arthur Wragg's earlier drawings for 'Jesus Wept', "I wish every comfortable person in the country had a copy put into their hands".
This original artwork was one of three covers created for a number of 1940s pulp magazines published by a British company. The series was called the ‘Headline series’ because each story was built around a newspaper headline-- to be found sketchily depicted at the bottom left hand corner of each cover. The other two pieces of artwork were for Road to Nowhere and Road to Revenge—both stories by someone called Max Foster. There seem to have been at least 20 tales in this particular series.
In the ultimately futile three hundred year old debate that has raged regarding ‘high ‘ and ‘ low art’, such ‘ low’ art as these pulp fiction covers, is often derided for the poor quality of the draughtsmanship, whereas the simple truth is that for pure draughtsmanship, as opposed to piercing originality or ‘ vision’, this art is often more impressive than that of many ‘ high’ artists. Next time you visit Tate Britain wander around the many rooms devoted to Turner and study the groups of figures that inhabit the foregrounds of his huge oil landscapes. You might be surprised at how inept our greatest painter could be at depicting the human figure.
Then return to the work of ‘low’ book illustrators and marvel at how well most of them could draw. [RMH]
Co-editors Anthony Dickins and Tambimuttu, who Geoffrey Grigson appropriately nicknamed ‘Tutti-Frutti’, made an unusual choice when they asked the thirty-four old Hector Whistler to illustrate the debut issue of Poetry early in 1939. Trained at the Slade and the Architectural Association schools, the multi-talented Whistler, who was related to American genius James McNeill Whistler and was cousin to both Rex and Laurence, was better known as a muralist, having, five years earlier, executed some rather unusual wall paintings at the council-owned Aero Café on the Marine Esplanade in Ramsgate.
Alas, the murals, which were supposed to be temporary anyway, were obliterated along with the whole Lido complex on Ramsgate’s waterfront, some time ago, and unlike the more celebrated Vorticist wall decorations by Wyndham Lewis in La Tour Eiffel restaurant, off the Tottenham Court Road, which also disappeared, there doesn’t seem to be any record of what they looked like. The curious art lover will just have to look up Whistler’s other decorations for books to imagine what holidaymakers and the residents of Thanet lost when the despoilers moved in. [RMH]
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]
A local dealer has this graphic artist's illustration for a lurid book cover. He thinks he may have bought it from someone selling a quantity of book cover illustrations on card (gouache, watercolour etc.,) by the railings on Bayswater Road about 30 years ago. Art (now mostly kitsch and worse) is still sold there every Sunday. Often these illustrations have lettering so you can see the title, but not in this case, and no artist had signed either.
By sheer chance he found the actual book that had used the illustration - in a box of SF, fantasy and horror paperbacks. The book was Horror in the Night, a short story collection by Richard Macgregor published by Digit in London in 1963. Not a lot is known about Macgregor, these were 5 short horror stories and he seems to have written 5 other books between 1963 and 1964 for Digit. Titles like The Deadly Sun, Creeping Plague, The Day a Village Died --- a category that came to be known as Doom Watch fiction, possibly post apocalyptic in content. A further book Taste of the Temptress came out in Sydney in the mid 1960s published by Eclipse, so he could have been Australian -this was also published by Digit so possibly not (also it seems he was from Essex - see the excellent Bear Alley.) As for the artist it could be one R.A. Osborne (1923 - 1973) art director of Digit at the time and responsible for many of their covers including Macgregor's Day a Village Died, the story of a village plagued by killer ants.
This piece first appeared at our old site Bookride and since then new information has come to light via dealer Cold Tonnage and the IMDB database. It seems that his real name was MacGregor Urquhart. IMDB's short biography says he 'was a writer and actor, known for The Powder Monkey (1951), John of the Fair (1951) and The Malory Secret (1951). He died on March 17, 1967.' His first work of fiction appeared in the early 1960s so it seems that his writing career followed his spell in movies. Further investigation shows he was also a playwright with at least one published play Investigation. A Pay in Three Acts (Evans, London 1958.)
Found - a loose bookplate by Paul Nash for the industrialist and art collector Samuel Courtauld. Produced around 1930, it measures a sizeable 13 by 9.5 cms, probably intended mainly for art books and livres d'artistes. The writer and broadcaster Lance Sieveking writes in his autobiography The Eye of the Beholder (Hulton Press, London, 1957) -'Sam Courtauld and Paul met at a dinner party I gave at Number 15 The Street, and Courtauld persuaded Paul to design a book plate for him. The result was one of the most charming he ever made.' The engraving is said to be the only one initialled by Paul Nash on the block. The bookplate is quite scarce as, presumably, it is mostly found in books held at the Courtauld Institute; few have entered the used book trade.
The woodcut is British Surrealist in style with an echo of Cubism and Vorticism - both movements had earlier attracted Nash. Samuel Courtauld's family fortune came from the textile industry (rayon), hence the bobbin and threads. The French flag refers to the origins of the name Courtauld, a French Huguenot family whose early descendant was the celebrated goldsmith Augustine Courtauld. The Courtauld textile industry was based in Braintree and Halstead in Essex. The view through the frame shows what appears to be a Martello Tower - these are closely associated with the East Anglian Coast.
WB Yeats' preface to an illustrated edition of William Blake's Songs of Innocence (Medici Society 1927.) The illustrator was a young English girl called Jacynth Parsons*. It is an interesting piece about the illustrator but also about the Ireland of the time. The joke of doing the thing you are refusing to do (i.e. write a preface) is reminiscent of another Irish writer -George Bernard Shaw. GBS would reply to requests for his signature with notes such as 'Sir, I never give autographs! George Bernard Shaw.' There is very little about Jacynth Parsons online and no Wikipedia page.
Found in a small book from 1831 this analysis of 'The Oligarch.' The word has now come to signify 'Russian billionaire' but there are (and were) other resonances. The Characters of Theophrastus Illustrated by Physiognomical Sketches to Which Are Subjoined Hints on the Individual Varieties of Human Nature (A J Valpy, London, 1831.) The ancient Greek classic of psychology and character study, updated to incorporate the findings of modern science, (including the new science of phrenology, although it is not named as such.) The plates are in the vein of Hogarth, Hieronymus Bosch, and the grotesque drawings in the Notebooks of da Vinci.
THE OLIGARCH: OR, THE ADVOCATE OF DESPOTISM
An arrogant desire to dominate over his fellows, appears in the opinions, the conduct, and the manners of this partisan of despotism. When the people are about to elect colleagues to the Archons for the direction of some public solemnity, he stands up to maintain that the magistracy should on no occasion be shared. And when others are voting for ten, his voice is heard exclaiming 'One is enough.' Of all Homer's verses, he seems to have learned only this:
"…think not here allow'd/ That worst of tyrants, an usurping crowd.
He is often heard using expressions of this sort: 'It is advisable that we should withdraw to consult upon this business. Let us separate ourselves from the mob, and from these popular meetings. This access of the populace to the magistracy should be barred.' If he meets with any personal affront, he exclaims 'That they and I should live within the same walls is insufferable.'
At noon he stalks abroad, sprucely dressed and trimmed, and he drives the world before him with haughty defiances, as if he could not think the city habitable until the mass of the people should be expelled from it. He loudly complains of the outrages sustained by the higher classes from the crowd of litigants in the courts of justice;and he tells of his having been put to confusion in the assembly of the people, by the contact of a squalid, shabby fellow, who placed himself beside him. He inveighs against the popular leaders; whom he professes to hate heartily: 'It was Theseus', he adds, 'who was the author of all these evils in the State.' Such is the discourse which he holds with foreigners, and with the few citizens whose temper is like his own.
Found in an exhibition catalogue from the Hanover Gallery, London 1968 of Francis Picabia watercolours this unpublished essay on Dada by Picabia's widow Gabrièle Buffet Picabia (1884 - 1988). It is mostly quotations from important Dadaist manifestoes but the first part is by her (followed by Andre Breton.)
The intellectual world of Europe has been upset for several years by a strange sect which calls itself "Dada", and its followers Dadaists.
It is difficult to define Dada because Dada pretends to escape from everything that is common or ordinary or sensible. Dada does not recognise any traditions, any influences, or indeed and limits. Dada is a spontaneous product of life; a sort of cerebral mushroom which can appear and grow in every soil.
Dada cannot be defined; it reveals itself; and during the five years in which Dada manifestations have taken place all over the world, the public which comes en masse, in turn furious, amused, deceived, and nevertheless subjugated, has not succeeded in solving this problem:
Are the Dadas serious?
Are the Dadas curers?
Are the Dadas artist?
Are the Dadas dangerous?
Are the Dadas harmless idiots?
More from this article Unisex, 1910-Style found in a forgotten antiques bulletin The Four in Hand Letter from May 1970.
It was in 1962 that the work of a rather more bizarre artist, Nicholas Kalmakoff, was newly discovered in the Paris Flea Market. Kalmakoff was born in Russia in 1873 and the earliest influence on his life was a German governess who taught him to believe in the Devil -- a recurring theme in his paintings. He studied painting in Italy and returned to St. Petersburg in about 1903. He became immersed in all sorts of strange mystical and sexual cults and probably even attended the satanic meetings that Rasputin was holding at the time.
In 1908 he was commissioned to do the costumes and decor for Wilde's Salome and his interpretation was so shockingly extravagant (the interior of the theatre was designed to closely resemble the most unmentionable part of a woman!) that the production was taken off on the first night.