Wyndham Lewis: Paintings and Drawings [Reprint 2020 ed.] 9780520351684

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WYNDHAM

LEWIS

Paintings and Drawings

WYNDHAM Paintings and

WALTER

LEWIS

Drawings

MICHEL

with an introductory

essay by

HUGH KENNER

U N I V E R S I T Y OF CALIFORNIA PRESS BERKELEY

AND

LOS ANGELES • I 9 7 I

In memory of Vernon van Sickle

Frontispiece. W y n d h a m Lewis, photographed by A l v i n L a n g d o n C o b u r n in February 1 9 1 6 . In the background is one of the artist's lost Vorticist canvases.

University o f California Press Berkeley and Los Angeles, California

ISBN: 0 - 5 2 0 - 0 1 6 1 2 - 2

Library of Congress Catalog C a r d N u m b e r : 6 9 - 1 1 6 1 6 All Rights Reserved. All previously uncollected and/or unpublished material including letters by Ezra Pound, C o p y r i g h t 1 9 7 1 by Ezra Pound, and used by permission of D o r o t h y Pound, C o m m i t t e e for Ezra Pound. Printed and bound in Holland and West G e r m a n y .

Contents Preface and Acknowledgments

THE VISUAL WORLD by Hugh Kenner

I

OF W Y N D H A M

LEWIS

P A I N T I N G S A N D D R A W I N G S (1900-1915) The Early Years ( 1 9 0 0 - 1 9 1 1 ) The 'Wild B o d y ' Abstraction and Representation Paintings and Murals ( 1 9 1 2 - 1 9 1 5 )

43

THE GREAT ENGLISH VORTEX Blast and Vorticism The Vorticist Movement Influences

61

III

W A R A N D P O S T - W A R (1916-1924) War Artist Fifteen Drawings and the Portraits of the Early Twenties Oil Portraits Experimentation: 'Tyros', Figures and Abstractions

81

IV

M A N O F T H E W O R L D (1923-1932) Compositions Designs Portraits and Drawings from Nature (1930-1932)

103

THE THIRTIES Paintings Drawings Portraits

115

THE FORTIES 'Creation Myths' and Tragedies Fantasies and Visions, Bathers and Actors

134

POSTSCRIPT:

147

II

V

VI

VII

Notes on the text

REPUTATION

150

THE PLATES

159

THE C A T A L O G U E Paintings Drawings and Watercolours Pictures of Unknown Medium Addenda Appendix I : Exhibitions Appendix II : Documents, Portfolios, Sales

329 333 347 426 427 429 447

Chronology

431

Select bibliography

453

Sources of illustrations

455

Preface Discussions o f the painting o f W y n d h a m L e w i s h a v e been c o n d u c t e d in a l i m b o o f v e r y sketchy k n o w l e d g e . F e w w h o w r i t e a b o u t it h a v e seen m o r e than the small fraction o f his w o r k s h o w n in the retrospective exhibitions o f 1949 and 1956, or had access to m a n y m o r e than the f i f t y reproductions in Charles H a n d l e y - R e a d ' s 1951 m o n o g r a p h . Critics, suspecting that a w o r t h w h i l e appraisal o f L e w i s w o u l d h a v e to await fuller documentation, h a v e b e g g e d o f f , or limited themselves to b r i e f essays. T o deal w i t h the painting as a w h o l e has been almost impossible, y e t such an overall v i e w is the k e y to this astonishingly varied œuvre. T h e critical climate has been one in w h i c h references to L e w i s ' s painting could be w i d e o f the m a r k w i t h o u t b e i n g easily challenged. Discussions o f such artists as G a u d i e r - B r z e s k a and the early Epstein, o f T . E. H u l m e as critic, o f C u b i s m and Futurism in L o n d o n , o f V o r t i c i s m and British painting in general in the first h a l f o f the century, h a v e been hampered because L e w i s ' s role c o u l d n o t b e adequately defined. E v e n certain v i e w s o f L e w i s ' s w r i t i n g and artistic personality m a y be f o u n d to need some revision, in the light o f a fuller acquaintance w i t h his œuvre as a painter. T h i s b o o k ' s nearly eight hundred reproductions g i v e a v i e w o f all phases o f Lewis's w o r k . Each chapter has an i n t r o d u c t o r y section outlining the circumstances o f the artist's career, as they affected his painting. O n l y chapter II, describing the Blast period, w h e n L e w i s was almost constantly in the public eye, consists entirely o f such descriptive material. In it I attempt to clarify Lewis's role in V o r t i c i s m , and in so d o i n g take a l o o k at his relationships w i t h T . E. H u l m e and Marinetti. T h e sections dealing w i t h the painting take the reader o n a j o u r n e y t h r o u g h the plates. T h e y m a y point here and there to features discovered in a leisurely examination o f the w o r k , m a k e comparisons, o r adduce pertinent quotations f r o m the w r i t i n g s o f L e w i s or others. T h e b o o k ' s purpose is to let those interested see f o r themselves w h a t k i n d o f painter L e w i s was, and to m a k e available a f o u n d a t i o n o f material as a starting point and reference for further investigations. Studies are needed o f all phases o f L e w i s ' s d r a w i n g and painting, o f his w o r k seen in the light o f other artists, and o f his dual activity as painter and writer. Professor Kenner's essay is one such contribution w h i c h w i l l , I hope, be f o l l o w e d b y others. ACKNOWLEDGMENTS

Permission to r e p r o d u c e paintings and drawings, g i v e n b y the estate o f W y n d h a m L e w i s and b y other o w n e r s , b o t h public and private, is gratefully a c k n o w l e d g e d .

7

Special thanks are also due to the Lewis estate for permission to quote from the artist's writings, and to Mrs Anne Wyndham Lewis for her constant and generous support. 1 would like to thank the many private collectors who have helped in the preparation of this book, often with an enthusiasm that greatly encouraged me, and those w h o knew Lewis personally for answering enquiries and giving of their time in interviews. I am grateful, also, to the London private galleries, some much imposed on by me, notably the Leicester, Piccadilly, Mayor and Brook Street Galleries, A. Z w e m m e r and Anthony d'Offay. T o most of the public galleries and institutions possessing works by Lewis I am obliged for particular courtesies, most especially to the British Museum, the Victoria and Albert Museum, the Tate Gallery, Manchester City Art Galleries, the Contemporary Art Society, the Slade School of Fine Art, the Manuscript Division of the N e w Y o r k Public Library, the Yale University Library and the Poetry R o o m of the State University of N e w Y o r k at Buffalo. T o the Department of Rare Books, Cornell University I am indebted for much help and for permission to quote from manuscripts in the collection. Michael Ayrton, in a number of discussions and by commenting on the manuscript, has given the book the benefit of his wide knowledge of Lewis and of painting. C . Fox has been a constant support. The book, particularly the Catalogue and Appendices, owes much to the devoted labours of its editor, John Wheelwright. Among many others, Joseph Alsop, the late Agnes Bedford, the late Douglas Duncan, the late T . S. Eliot, Mrs Marjorie McLean Hemming, D r T . J . Honeyman, Professor R. S. Hutton, Sigmund Laufer, The Hon. Paul Martin, Miss Kate Lechmere, Mrs H. Lessore, W . C . Lipke, Naomi Mitchison, Helen Peppin, Hugh Gordon Porteus, Ben L. Reid, Lore Robinson, the late W . K. Rose, Raymond Rosenthal, the late Helen Saunders, Sheila Watson and W . C. Wees have been particularly helpful. I thank Ezra Pound for permission to quote from his works and for other kindnesses. Denys Sutton, by asking me in i960 to write on Vorticism for Apollo, sparked the book. Permission from Apollo to reprint parts of a later article is gratefully acknowledged. Charles Handley-Read generously put at my disposal his notes on the Redfern Gallery Retrospective Exhibition and other material and was most helpful in answering a number of questions. I thank the estate of Alvin Langdon Coburn for their permission to reproduce the frontispiece, from Men of Mark; J . Brodzky for permission to reproduce his father's etching 'Viewing Kermesse'; and Beaverbrook Newspapers Ltd for permission to reprint 'Dean Swift with a Brush' from the Daily Express of 1 1 April 1921. Finally, the publishers deserve much credit for their enterprise in sponsoring this slightly unorthodox venture. W.M.

8

HUGH

KENNER

The Visual World of Wyndham Lewis

We must reform and have a new creation Of state and government, and on our Chaos Will I sit brooding up another world. Chapman

'The thought of the modern,' wrote Eliot of W y n d h a m Lewis, 'and the energy of the cave m a n ' ; the viewer of Lewis's pictures must come to terms with both qualities, that thought and that energy. He called the artist 'older than the fish', and expounded a w a y of being primitive which people sometimes find frigid and call neo-classical; meanwhile he excoriated what critics call primitivism as a w a y o f playing at art. His w a y commenced with the will and with the hand, not with an idea or an aesthetic or an effect; the will and the hand, he thought, were answerable to no one's notions of congeniality or of taste. Y e t he was no Van G o g h but a maker of suave boundinglines, and his volcanic energy served the eye and judgment of incomparably his time's best portrait painter. Will and energy being elusive, w e had best commence with the hand. Imagine a world into which no pictures whatever have survived but Lewis's the pictures in this book - and imagine a savant called on to account for the fact that they were ever brought into existence. N o Titians remain, no Botticellis, no Sargents; the savant has never seen a representational line; very likely he does not write but speaks into a microphone. So thoroughly does f o r m follow function in his environment that not a shred or a shard of ornamentation has ever impinged upon his sensibility. He understands that the sky derives its colour f r o m the atmospheric absorption of longer wave-lengths, and the butterfly its shape f r o m the aerodynamics of insect flight. There are no Pollocks in his world, no Klees; no colour isolated by functionless chemistry and arranged within a rectangle for inspection, no line gone curving or crackling, to zone and energize arbitrary spaces. His g o d (a pure vector) demands of men neither ikons nor arabesques, only equations. He is not unrecognizable ; w e all trend toward his state, in a time, which Lewis foresaw, of M e n Without Art. A n d n o w , in ideal conditions of lighting and ventilation, the light not of the sun but its colour temperature exactly held at an optimal 6800° Kelvin, he paces in frantic cogitation between walls hung and before tables strewn with some thousand artifacts stemmed f r o m what rumour calls the Great English Vortex. He pays their

11

least details a fierce attention unequalled since their maker's: the concentration archaeologists have brought to bear on the tool-marks that shaped a flint. And his first conclusion? If he is intelligent, almost certainly that their mannerisms are referable to the human arm and hand, which when set in motion naturally describe curves. The wrist swinging laterally with a stylus gripped in the fingers; the thumb and forefinger arching toward the palm; the entire arm pivoting both at elbow and at shoulder, tracing a composite locus; the hand swung with the little finger for fulcrum, an outward thrust of the forearm modifying the radius: such compositions of forces plainly govern the forms described on these surfaces. Large swinging lines, short swinging lines, tight stabbing involuted lines, four at a time, thirty at a time, three hundred at a time, have built up the shapes within which colour is sometimes applied and sometimes not. In certain areas on the paper or the canvas they are enormously concentrated, a jungle labyrinth of intersecting detail; or they open out to bound large plain areas asserted by pigment only. Their intersections create sharp vertices, and these vertices are intersections, not places where a line has turned a corner. They are places where two lines meet, and generally cross one another just a little. A shoulder, an arm, a hand, five fingers, these have left traces of their complex movements, answerable to the interacting geometry of some dozens of articulated bones, and generated by an interplay of tensions among supinator and pronator, biceps, triceps, adductors, abductors. The lines are driven by the will which drives the body's geometry; the body in turn is never more machine-like than when it is executing the actions of which a Lewis drawing records the traces. A certain pervading chill is the sign of that human mechanism operating: not of human withdrawal, therefore, but of human presence. The pictures are human products, executed on a human scale; on the larger canvases the areas of detailed work mark a transfer of control from the forearm to the fingers. And the line is always under tension, apt to curve in sharply, apt to be confined by the scope of a wrist's arc or a tendon's reach. 'I hang in its midst, operating it with detachment', wrote a Lewis protagonist of his body. Suitably schooled and operated, it can make designs. It makes, of course, scribbles, when in the third year of its life it is permitted to hold a crayon, and there was a fashion during Lewis's lifetime of exclaiming over the 'spontaneity' of these scribbles, detecting in them the very foundations of art. This fashion Lewis rebuked repeatedly. The foundation of art he took instead to be the capacity to generate form, a capacity that ideas about children and savages will either counterfeit or corrupt. For the generating of forms comes out of schooled intensity, an intensity comparable to the one which edged and closed and tensed the very forms of nature. 'The creation of a work of art,' Lewis wrote in 1919, 'is an act of the same description as the evolution of wings on the side of a fish, the feathering of its fins; or the invention of a weapon within the body of a hymenopter to enable it to meet the terrible needs of its life.' Such forces, working within the artist, are not to be synthesized out of a fashionable taste for African sculpture: 'The few centuries that separate the artist from the savage are a mere flea-bite to the distance his memory 12

must stretch if it is to strike the f u n d a m e n t a l slime of creation. A n d it is this condition, the very first gusto of creation in this scale of life in which w e are set, that he must reach before he, in his turn, can create!' Yeats talked in the same w a y of so arranging his soul that the Spiritus Mundi should grant it revelations. It was hyperbolic talk; the hyperboles of intelligent m e n are purposeful. W h e n Yeats wrote, of an epigram he had just concocted, Where got I that truth ? Out of a medium's mouth, Out of nothing it came, Out of the forest loam, Out of dark night where lay The crowns of Nineveh, he did not need to be reminded that his epigram ('Locke sank into a swoon . . .') came out of his reading of the Bible and Blake and Landor, that the formal neatness it posits and digresses f r o m is Jonsonian and, before Jonson, R o m a n , or that its diction d r e w on the speech of educated twentieth-century men. B u t n o n e of these, he t h o u g h t it i m p o r t a n t to insist, will account for the mysterious impulses to utterance, or for the Delphic resonance of g n o m i c utterance, or for the talismanic p o w e r of seventeen words, t w o of t h e m r h y m i n g , over our understanding of centuries of history. A m e d i u m and the forest loam and the night that enshrouds N i n e v e h will serve to sketch these mysteries and irradiate a little quatrain w i t h intimations of Delphi. A t b o t t o m , articulate language dissolves into mystery. Lewis in the same w a y , k n o w i n g perfectly well that a painter stands before his easel in a rented studio, his m i n d stocked with technical wizardry and with the idioms of f o r m e r painters, chose to offset this k n o w l e d g e with hyperbolic intimations that the painter had better acknowledge h o w m u c h m o r e he is doing than that: h o w mysterious is his impulse, and his p o w e r . N o one feels sure, even n o w , w h a t the draughtsmen w e r e doing by torchlight at the hidden rock-face of Lascaux, t h o u g h it is obvious that they w e r e applying pigment.

T h e utterly mysterious thing, E. H . G o m b r i c h has taught us, is likeness: the illusion of a familiar appearance, there on the canvas. H e r e any portrait b y Lewis is instructive. T u r n to the 1921 Portrait of the Artist, and examine the shape w e designate its ear. T h r e e b o u n d i n g curves, the longest concave w i t h its radius shortening t o w a r d the b o t t o m , the others of slightly unequal length and convex, intersecting it and each other to enclose a sector-shaped space. (And the l o w e r of these convex lines swings past that space, on and d o w n , becoming simultaneously the concave jawline.) W i t h i n this space, an equilateral triangle, also m a d e of three curves, one concave, tipped w i t h respect to the larger sector and shaded. T o u c h i n g its upper vertex, a short heavy stroke, parallel to the upper b o u n d i n g line. Impinging on it at an angle barely acute, the heaviest and shortest stroke of all, refusing parallelism but intersecting the longest b o u n d a r y . A tidy little geometrical asymmetry, all of it, implying and evading 13

PL 66

Pis 43-4

PL 132

three triangular motifs, which echo to the right and left larger and darker triangles, all with curved sides. And it is simultaneously an ear. And the left-hand darker triangle is hair, and the right is hat-brim. And the Byzantine eyes: what do they owe to anatomy? Far less, it would seem, than to design. And the whole is a likeness. The whole is a likeness; and how does this come about? This is not the same as asking how a portrait by Rembrandt or Velazquez comes to be a likeness, because it is difficult to see a Rembrandt or a Velazquez as anything else. W e can force ourselves to see it as 'paint', but w e are not comfortable in this knowledge as we are comfortable in the knowledge that a Pollock is 'paint'. Rembrandt or Velazquez applied the paint as a means of producing the likeness. But they were also composing the picture? Yes, of course; a broad, stark geometry of balance and imbalance is discernible in its gross outlines, for the lecturer to diagram. Lewis, however, rendered that hard-edged geometry explicitly, and carried it down into minute details; he is interested simultaneously in the likeness of an ear, and in the shapes out of which he can fabricate that likeness. So three classes of experience intersect: an experience of interlocked shapes; an experience of simulated nature; and thirdly, the interlocked shapes bespeaking the unmistakable mannerisms of Wyndham Lewis's draughtsmanship, as consistent and individual as El Greco's, through which, however, the likeness retains its authority. B y contrast, no such authority of the actual dominates a portrait of, for instance, Augustus John's. W e recognize not the sitter but John's handling of paint; subsequently w e persuade ourselves that we can glimpse, through the interstices, a resemblance to the sitter. There is much more to be said about the Lewis portraits, to which w e shall be returning. But consider first, to keep our present topic quite clear, one of the chairs from his drawings of the early 1920s. If you proposed to draw a chair, you might set about it in one of three ways. Y o u might obey the chair: might let its contours simply guide your hand, as though you were tracing its shadow. Or you might contrive, with 'values', to fabricate the illusion of the chair's appearance, sturdily reminding yourself, as you arranged your patches of light and shade, that nature presents no outlines (there are none in a photograph). Or finally, you might set your hand moving through its repertory of natural cyclic gestures, assembling lines which, in combination, will wittily approximate a chair. This latter, more or less, was Lewis's method, and at its best it generates an eerie tension: a drawing and yet an appearance, the chair having guided but not obligated the hand, the hand having played a hand's game and yet implied a chair. And the person sitting in the chair has been created out of lines in the same way, out of lines too severe to permit him human freedom. W e shall be asking later what this means. All across the surface of a Lewis portrait nature and line are locked in this way in tension. In the centre, where the sitter is located, nature's forms assert themselves Anadyomene-like. Elsewhere, in extraordinary passages of tight geometric detail, often asserted by hot browns and purples, Euclidean profusion riots, a local abstract jungle. W e see two panels of such ominous luxuriance on either side of the plane of hospital green before which, in the 1938 portrait ( P 8 O ) , T . S. Eliot sits in uneasy

14

PLATE

I :

p 50 One of the Stations of the Dead, 1933

Colour pi. I Pi. 107

Pi. 111 Colour pi XIII

composure, and against which his shadow is thrown. Closer inspection of these rich, sombre jungles yields little birds, in nests, with their eyes shut: birds as if generated by the exuberant geometry, coy poet-emblems that have rather sprung from the logic of the tight design than been placed there. Always, in this way, in the best Lewis depictions, nature emerges from lines and falls back into them, line conducting all the time its own equivocal life. Its life is like logic, a logic of design; in other pictures - for instance One of the Stations of the Dead and Departure of a Princess from Chaos - it yields the 'race of visually logical beings' with spherical heads and slashed eyes that, like taut, gesturing vegetation, people the abstractions of the 1930s. What kind of reality do such beings have? For we come, as so often in the visual or verbal Lewis universe, to a question like a question of metaphysics, and an interesting question, not a trivial one. (It is trivial to remark that all paintings have the reality of paint.) What kind of reality have these? Plainly the pure design is one limiting case, and the iconic presence of T. S. Eliot, unmistakably identifiable, is another. The Princess is somewhere between them, with the Players upon a Stage and the mysterious beings that drift through the Creation Myths. They have all the same kind of reality, which is - there seems to be no other word - magical. They are made of outlines - the outline is always in evidence, not so much bounding the forms as constituting them. And the paint within those outlined shapes does not stand for a surface in some 'real' world but is simply an area of colour, like Cezanne's areas of colour. Yet the paint as such seems not to interest Lewis; impasto is rare. The canvas before us is not a place where impingements of pigment have occurred, as in Abstract Expressionism, nor where a skill as empty as accident has left its record, as at the Royal Academy; instead, like the wall of Lascaux, it is where the icons are. The cave-painters' painted bulls and painted deer are the closest analogy w e are likely to find: magical presences in a magic place. W e are told many things of the cave-paintings; what w e are told constitutes a set of attempts to rationalize their magic by supplying it with a point of view from which to emanate. They were pure tachisme; or they were painted creatures, wounded by painted arrows to aid by sympathetic magic the hunters who stalked creatures of flesh and blood; or they were animal gods to venerate; or they were made in profusion, and sometimes depicted in pregnancy, as a way to make human beings fertile. So to speculate is to imagine their draughtsman as a Paleolithic Descartes in the grip of an idea: an idea, moreover, that we, in our seminars, are capable of reconstituting, clearly and distinctly. Men have made the similar assumption that our best chance of communicating with Mars is to prove the theorem of Pythagoras on the sands of the Sahara, on a scale large enough to be resolved by Martian telescopes; for surely a Martian as intelligent as w e will share our mathematics? So we make a pat inventory of possible reasons, for the scholar - or the Martian, or cave-painter - to select from. But it is not clear that this will do. For 'in amongst the figurative paintings on the rock-walls' - I quote from the exposition nearest to hand, Roxane Cuvay's Cave Painting - 'there are also curious creatures like the "unicorn" in Lascaux, or the en16

graved "praying w o m a n " in Altamira, or the bears with wolves' heads and the reindeer with webbed feet in Trois Frères (département o f Ariège) - and above all the anthropozoomorphous figures (made up o f human and animal constituents) and, related to them, the famous " m a g i c i a n " , a man disguising himself by assuming the posture and mask o f an animal. . . . They cannot be explained rationalistically, but it may be assumed that they belong to a mythical world.' 1 But one need not go on to postulate a Paleolithic mapping o f the supernatural; these are 'visually logical beings', which the sheer momentum o f draughtsmanship could have created. Torchlight made flickering shadows ; at least once (at Lascaux) a rock ledge suggested an animal's back; the hand swung, amid shifting illusions o f shadow and surface, generating forms, to be contemplated - again by torchlight with we can only guess what bemused intensity. Such wonders recur and recur : forms made o f pigment on rock, forms made o f pigment on wood or cloth, forms made o f the strips o f lead that support bits o f polychrome glass, erected in stone frames to transfigure the sunlight streaming on Christian worshippers. W e have ways o f coming to an understanding o f the last : the divine in man served God. This explains not how the craftsman generated his artifact, but how he knew it would be understood and used. O u t o f great familiarity with this mode o f understanding we read it back into cave paintings, though we have no real knowledge o f the use to which they were put. B u t let us ask similar questions o f a modern painting. H o w are we to understand a picture sold through a dealer to someone who will hang it on a wall o f his house, as testimony to his affluence, taste, and compatibility with fashion? For Lewis's pictures, as much as the cave man's or Fra Angelico's, arc inseparable from the world in which they were executed and the patrons for w h o m he had to imagine himself working. He lived through a period, for instance, when the Sitwells recruited his chief support. Recalling that the artist once served God, we perceive one reason why the folk whose life-style included a modish interest in art came to be called by Lewis the Apes o f God. And what is the purchaser o f a painting paying for? W h a t underlies a milliondollar Rembrandt, confected o f materials worth perhaps a fifty-thousandth o f such an amount? W h a t does someone buy who pays many thousands o f pounds for a painting signed by Picasso? Something to his taste? B u t we do not expect him to mobilize his taste, in the presence o f the transfiguring name. Can he really forget that it is, for better or worse, a specimen Picasso, one instance o f a genre known to exude enigmatic value? (Contrariwise, when the cave-paintings were discovered they were first dismissed for fakes, and later, when their authenticity was established, discounted as art; it is difficult for taste to come to grips with what is not supposed to be there. That is partly why many tastes have difficulty in coming to grips with W y n d h a m Lewis.) W h a t our purchaser buys is 'a Picasso', just that; the very high price is created neither by the work that went into the canvas he carries away with him ; nor by its testimony to a unique confluence o f powers, such as will occur no oftener than five or six times in an artist's career ; nor, certainly, by its rarity (Proteus is Picasso's role, and in defiance o f all normal economics he raises the price o f his pictures by creating so many o f them). T h e money is paid for fame: a product o f genius, but also o f shrewd publicity 17

and luck. It follows that the painter's identity, and preferably his signature, is indispensable to the system. T h e minute someone 'authenticates' a Vermeer, its value escalates beyond reason without a molecule o f its pigment having changed, or a line of its design. In Lewis's 1 9 3 7 novel The Revenge for Love, the proprietors of the Van G o g h factory try to soothe a reluctant recruit b y assuring him that he w o n ' t have to forge the signatures, only the pictures; and 'all ideas,' Lewis later wrote, outlining the theme of that novel, 'must speedily become mixed up with the void' : 'the void which is an essential part o f everything.'

Colour pl. III

A n d all pictures - to transpose this statement into the key of Lewis's chief predilection - must become, when they e x e m p l i f y their makers' reputations, exemplars o f void congealed: skill and magic lent status by (lucrative) irrelevance. A n d his o w n pictures, b y the time this discovery had begun to sink in, not long after the 1 9 1 4 war, began to concern themselves directly w i t h this fact: began to be about, as it were, their o w n equivocal reality. T h e y are only line, they say, only traced gestures and visual tensions, and these lines enclose and state unreality, visible and hence a little more than unreal: semi-real. A very large number o f them, f r o m 1920 on, are satires of the w o r l d inhabited b y conceivable purchasers, and one over which he took enormous trouble, the Edith Sitwell portrait n o w in the Tate Gallery, depicts, sightless, masked, recumbent amid metamorphic paraphernalia, an A p e o f G o d seen directly.

Cubism, of which the Vorticist m o v e m e n t was an English analogue, derived f r o m Cézanne the convention that planes in a picture are planes o f paint, not flesh or fur or fabric. A n d the Cubists disassembled into planes with linear boundaries - what? W h y , apples, mandolins, carafes: the elements o f the still-life. A typical B r a q u e or Picasso of that period depicts a bourgeois table-top, and dissects with minimal criticism bourgeois sentiments. B u t to rebuild art f r o m the material o f art-school exercises, or else to i m p l y that subject is indifferent and so may as well be stable and banal, were manoeuvres never acceptable to Lewis. Something - some aspect of presented nature - is before the painter's eyes, or on his mind, and even if his business is not to manufacture an illusion of its presence, it remains a 'subject', something with which the act of painting is intimately involved. T h e picture, if not a statement about the subject's appearance, is a meditation on the subject's nature, a meditation conducted with the hand.

Pis 17—20 PL IQ

Hence Lewis's most spectacular dissent f r o m C u b i s m ; he preoccupied himself with stark and energetic subjects, making f o r instance the remarkable series o f designs in the portfolio Timon of Athens. These crystallize tonic vigours, vigours conveyed b y the slash and slant of line, b y hints of grimacing faces, by motifs o f radiation, convergence, kinesis, stasis. In the most elaborate o f these compositions, Alcibiades, posturing courtiers and men-at-arms inhabit with precarious insouciance a continuous explosion of blocks, clouds, and j a g g e d lightning; a design no one could have made at that date in Paris, because Paris was still content with slack iconography, and because Cubism had not learned to bring under control so m a n y visual elements at 18

once. When Picasso confronted violence as subject-matter more than two decades later, he made, with enormous trouble and many false starts, a huge monochromc billboard arrayed with motifs of suffering as mindless as headlines. Guernica, compared with Timon, is newspaper-violence; in the violence of Timon the energy of the cave man serves, in Eliot's exact phrase, the thought of the modern, an inquisitive and sophisticated thought. Inevitably, Lewis's thought and w o r k ran parallel to those of his time; his individuality was a matter of distinctions and inflections which he took great pains to emphasize. Much of the polemic, therefore, of Blast (i 9 1 4 - 1 5 ) and The Tyro (1921-22) is directed at Impressionism and its descendant Cubism, rather than at the public taste which apologists for these movements were at pains to assail. For the public taste that nettled Lewis was the taste of the avant-garde public that took satisfaction in Cubism, not the taste of, for instance, the legendary visitor to the 1 9 1 0 PostImpressionist show who was seized by a laughter so uncontrollable that he had to be taken outside and walked. His response was at least visceral ('Laughter is the Wild Body's Song of Triumph'), but there was less hope for Roger Fry. The assaults on Cubism in Blast take issue continually with its subject-matter, cosy bric-à-brac, or with Impressionism's subject-matter, biological Nature. Biological Nature, in Lewis's view, should be left to her own business, which she minds very well ('We could not make an elephant'). She will give you 'grass enough for a cow or sheep. . . . One thing she is unable to give, that that is peculiar to men. Such stranger stuff men must get out of themselves.' As for Cubism's bric-à-brac, it was gathered from Bouvard and Pécuchet's sitting-room and set forth in faux-primitif visual idioms, perspectives tilted, outlines squared. Already, so early in Picasso's protean career, it was plain to Lewis's eye that his method was to paraphrase other pictures, governed not by energy but by taste and being archly witty about taste. When the Cubists adopted, however equivocally, le douanier Rousseau, they celebrated an odd parody of their own formulae; Rousseau's taste was hilariously bourgeois, but his technique rather different from that of an official artist. He seemed untroubled by his technical peculiarities, and was thankful for the gifts that enabled him to make such beautiful pictures. Should Picasso himself have felt otherwise? T o repudiate one wing of modernity because the subjects of its choice seemed fusty and trivial was to back unintentionally into an opposing camp: the Futurist headquarters of energy and up-to-dateness, with its cult of machines and of speed. When Lewis drew up the advertisement for Blast that appears in the 1 April 1 9 1 4 Egoist, the word 'Vortex' was still to be invented, and the Futurists are mentioned as though hospitably. And Signor Marinetti would have found little to disquiet him in some of the Blast manifestos : Our Vortex is fed up with your dispersals, reasonable chicken-men. Our Vortex is proud of its polished sides. Our Vortex will not hear of anything but its disastrous polished dance. Our Vortex desires the immobile rhythm of its swiftness. Our Vortex rushes out like an angry dog at your Impressionist fuss. Our Vortex is white and abstract with its red-hot swiftness. 19

T h i s seems p e r f e c t l y c o m p a t i b l e w i t h a machine-aesthetic, and unpractised eyes w e r e l i k e l y to discern in Futurist representations o f speed the same s w i f t lines and steely f o r m s that inhabit Vorticist designs. B u t v e r y soon L e w i s discerned that a Marinetti's p l u n g e into the f u t u r e o f machines d i s o w n e d the h u m a n past as an adolescent disowns his h o m e . It w a s precisely against such n a i v e rebelliousness that he a i m e d his 1 9 1 9 d i c t u m that the artist is older than the fish. H e discerned l i k e w i s e that the intercourse b e t w e e n the Futurist and the r a i l w a y train w a s a species o f R o m a n c e , a substitution o f trains f o r apples and m a n d o l i n s , an art still u n p u r g e d o f the m i m e t i c . W h e n P o u n d called F u t u r i s m 'accelerated I m p r e s s i o n i s m ' , h e put the relevant critique into a phrase. V o r t i c i s m w a s s o m e t h i n g else. L e w i s described years later h o w a V o r t i c i s t design w a s m a d e : 'a m e n t a l - e m o t i v e i m p u l s e - and b y this is m e a n t subjective intellection, like m a g i c or religion — is let loose u p o n a lot o f blocks and lines o f v a r i o u s dimensions, and e n c o u r a g e d to push t h e m a r o u n d and to arrange them at w i l l . It is o f course n o t an accidental, isolated m o o d : but it is recurrent g r o u p s o f e m o t i o n s a n d coagulations o f t h i n k i n g that are i n v o l v e d . ' Here, in the v e r y pictures that are apt to l o o k m o s t 'Futurist', the p r i m a r y dissociation f r o m Futurism is e x p l i c i t : the t h e m e o f L e w i s ' s w h o l l y abstract designs is not speed or r o m a n c e but i m m e n s e l y p r i m i t i v e W i l l . J u s t w h e r e the Futurists w e r e d e r i v i n g their m o t i f s f r o m the public w o r l d , L e w i s w a s d e r i v i n g his f r o m the interior w o r l d . O n the other hand, j u s t w h e r e the Impressionists and Cubists c l a i m e d to be p r o d u c i n g exercises in pure style, the r e c o g n i z a b l e subject so banal as to b e discarded b y the p e r c e i v i n g e y e , L e w i s w a s selecting subjects w i t h schooled i d i o s y n c r a s y , and i n v o l v i n g his m i n d and e m o t i o n s w h o l l y w i t h their contours. S o his quarrel w i t h b o t h these camps, l o u d l y prosecuted out o f the practical necessity o f helping a p u b l i c distinguish his p r o d u c t i o n s f r o m theirs, b e c a m e as he pursued it an analysis o f the relation b e t w e e n painting and the reality that exists b e f o r e the painting does. I f the Futurists advertised their o p p o s i t i o n to the S c h o o l o f Paris, opposites b e l o n g to the same species; they shared a passivity b e f o r e the g i v e n . L e w i s d e v e l o p e d instead a visual i d i o m to serve as a critique o f the g i v e n , and g r a d u a l l y as his pictures learn to c o m m e n t on their o w n a n o m a l o u s m o d e o f existing — the m y s t e r i o u s existence o f f o r m s that are real and y e t are but lines - their system o f c o m m e n t appropriates the g i v e n , the protean f o r m s o f the f a m i l i a r w o r l d , the f a c e and hands o f the sitter in the portrait, a n d accords to it - in a picture, confers o n it - an a n o m a l o u s m o d e o f reality likewise.

F o r the pictures are quiet: that is their first l a w . T h e i r s is a static w o r l d , supernally e m p t i e d o f sound. It is usual, o f course, f o r pictures neither to m o v e n o r to m a k e a noise, but m u c h W e s t e r n painting is inhibited in these respects o n l y b y technical insufficiency. A f t e r the aesthetic o f c o m m o n p l a c e nineteenth-century

naturalism,

there is n o logical discontinuity b e f o r e the m o v i n g picture and then the talking picture (in wide-screen t e c h n i c o l o u r ) ; in f a c t naturalist painting created the appetite such technologies w e r e soon to g r a t i f y . L e w i s o n the other h a n d , turning the nature o f painting back in u p o n itself, presents us w i t h pictures w h i c h are about their necessary

20

condition of silence and immobility. Commentators have more than once called their painted world 'lunar', not because they show black skies and ashen volcanoes (they do not), but in response to their implacable half-familiar otherness. In that other-world, a world that (Lewis has reminded us) exists only in pictures, the hand's repertory of forms coincides with certain forms of nature's. Hence an anthology of half-penetrable reminiscence: leaf-forms, grass-forms, the curve that defines the glassy plane of a breaking wave, cranial and ocular shapes, stances of intricate line like paraphrased skeletons, but emptied of all suggestion of the macabre; lines like the contours of twigs and like the curl of horns; forms like stones polished by an eternity of persistent water; forms derived from the architectural details that sculptors in turn derived from the forms of trees and leaves. Though the logic of machines pleased him, he did not draw machine-parts; he drew the outlines which in nature are determined by a corresponding mathematic. During a lifetime that ran parallel with Lewis's, the biologist D ' A r c y W. Thompson (1860-1948) was exploring in rigorous detail the w a y structural necessity sets limits for natural shapes; his mind, like Lewis's, extracted from the blooming confusion with which Impressionist senses were sluiced a mathematic common to fish and snailshells and trees and insect armour, and the vision and delight that sustain On Growth and Form2 complement, in a book as extrinsic to the taste of contemporary biologists as Lewis's work has been to contemporary painting, the diligent abstraction by Lewis's eye and hand of exact repeated shapes from indolent nature. 'In any synthesis of the universe,' Lewis wrote in 1919, 'the harsh, the hirsute, the enemies of the rose, must be built in for the purpose as much of a fine aesthetic, as of a fine logical structure.' Thorns, scales, spikes, phalanges, natural forms shaped not like clouds by the caress of air, nor like soft shadows by specular illumination, but by the structural economies D ' A r c y Thompson's equations define, such shapes provide the vocabulary of forms out of which Lewis constructed his 'visually logical' beings, equivocal because they look as if nature might have produced them. What are they doing, in these 'magical' pictures, whatever they may be? Waiting, existing, the way a thing exists within the logic of the picture-space. Bird and Figure, which the eye cannot quite disentangle though a bird-beak and a quasi-human recumbency can be collected from its interrelated forms, hangs in a mysterious stasis, inseparable from the paper on which it is created. The denizens of One oj the Stations of the Dead seem fashioned with Euclidean decisiveness from some extra-terrestrial matter; they wait in a line that moves nowhere, before fenestrated cliffs that screen off a néant which exists, precisely, just behind the canvas. And in what universe do so many ships and fragments of ships' hulls take form amid seas where there is no water? In the universe of these pictures, where the same stresses shape ships that shape scales and bones, and where any spatial relation which design exacts may obtain among forms structurally congruent. If w e lived in that world (but no one can live there), these would be familiar scenes : that is the premise of these pictures. In 1928 The Childermass attempted to detain readers for several hours in such a world, while events ran, thoughts were gestated, and apparitions moved, according to what would be, by that world's laws, sequences as

21

PI. 82

Colour pl. I

ordinary and familiar as is a chat at the post-office in the w o r l d w e understand: T h e y stagger f o r w a r d , t w o intoxicated silhouettes, at ten yards cut out red in the mist. T h e mist is thickened round their knees with a cloudy gossamer that has begun to arrive f r o m inland, m o v i n g north b y east. O n l y trunks and thighs of human figures are henceforth visible. There are torsos m o v i n g with bemused slowness on all sides; their helmet-capped testudinate heads j u t this w a y and that. In thin clock-work cadence the exhausted splash o f the waves is a sound that is a cold ribbon just existing in the massive heat. T h e delicate surf falls with the abrupt clash of glass, section b y section. T h e convention that governs this book also governs m a n y o f the pictures: what is, is; habitués understand it; and tourists (ourselves) can try to. W . B . Yeats (whose generous respect f o r Lewis is a matter o f record) pursued in his plays for dancers a comparable aesthetic. T h e plays for dancers - At the Hawk's Well, for instance, and The Dreaming of the Bones — derive f r o m the Japanese Noh, but do not rely on the audience k n o w i n g the Noh for their licence to exist. T h e conventions of the Noh are never presupposed, nor are those o f the Yeats play explained. T h e plays deal in an Irish m y t h o l o g y which the audience k n o w s imperfectly not, certainly, as Aeschylus' audience k n e w the genealogies o f Atreus - and decline to expound it at all. T h e characters speak v e r y strangely to one another . . . as though a flute of bone Taken from a heron's thigh, A heron crazed by the moon, Were cleverly, softly played . . . and appear to understand one another perfectly, though h o w for instance the manner in which the heron was crazed will affect the tone of that hypothetical flute must pass the normal understanding of the audience. T h e y behave with equal strangeness, dancing f o r instance the Dance o f the Guardian of the Well, and accept this behaviour so casually that w e are intimidated into accepting it too. Their presence is unaccountable also. In the performances Yeats envisaged they do not avail themselves o f a stage, which normally assists such goings-on b y creating an expectation of the para-normal, but simply perform at one end o f the r o o m in which w e are sitting, lit b y the same lamps, breathing the same air. There, b y a gesture o f an arm, w r o t e Yeats, an actor can 'recede f r o m us into some m o r e p o w e r f u l life.' A n d they wear great stylized masks. T h e y belong to no society with which w e are familiar, and seem not to feel deprived, and behave according to no system o f motives w e can diagram, though one o f their psychologists, contained like them within the w o r l d o f the play, w o u l d find nothing to puzzle him. T h e separation between 'art' and 'life' is absolute, and it is pertinent to reflect on the number of masked figures in the Lewis paintings. Sixyears before his first dance-play, in a 1 9 1 0 essay on ' T h e Tragic Theatre', Yeats described its w o r l d as though he w e r e describing Lewis's: If the real w o r l d is not altogether rejected, it is but touched here and there, and into the places w e have left empty w e can summon rhythm, balance, pattern, images

22

that remind us of vast passions, the vagueness of past times, all the chimeras that haunt the edge of trance ; and if w e are painters, w e shall express personal emotion through ideal form, a symbolism handled by the generations, a mask from whose eyes the disembodied looks, a style that remembers many masters that it may escape contemporary suggestion; or we shall leave out some element of reality as in Byzantine painting, where there is no mass, nothing in relief; and so it is that in the supreme moment of tragic art there comes upon one that strange sensation as though the hair of one's head stood up. 3 A world with its own laws, then, which are not disclosed, presented as though we knew what those laws were (and that is also how chance has presented the cavepaintings to us) ; a theatrical world for Yeats, a visual world for Lewis. Each man was dealing very intelligently with the aftermath of a destruction : Yeats, the destruction of the theatre of sociology and psychology, which sitting in our seats w e can explain; Lewis, the destruction of an aesthetic of representation, our response to which proceeds from recognizing things. Drama after Ibsen, in less accomplished hands than those of Yeats, dribbled off through fantasy into whimsy (Maeterlinck, Peter Pan). Painting after Cézanne, with a prodigality of executive talent, passed through a transfiguration of bourgeois table-tops into the neurasthenia of Dali. (I mention only the fashionable metamorphoses.) Yeats and Lewis confronted directly the necessity to replace the art which began by representing with an art which retains all the confidence of the representational, showing us things internally coherent quite as if we understood them. When Lewis began to write fiction, he derived it on similar principles from the fiction of Russia, which assumes a psychology perfectly familiar to Russians but so alien to readers of George Eliot as to seem rooted in the customs of another planet. A model for coherence was what he sought, but a strange coherence. When he made the implacable designs of 1 9 1 2 , he drew in a similar fashion on Shakespeare's Timon (a nearly unknown play). Dostoyevski does not 'explain' Tarr, and Timon of Athens does not 'explain' the drawings in the portfolio ; nor, even, do the Noh plays 'explain' Yeats. W e feel no more comfortable if w e know about these sources than if we do not, but each provided the indispensable paradigm of coherence to steady the artist's judgment and fletch his will.

T o confront, now, the 'magic' paintings. As w e look at these pictures of an unreal, real world, strange configurations stir, 'massive as laws', in response to knowledge w e normally do not know w e possess. The paradigm of coherence provided, for instance, by a title (useful to the gallery manager and a comfort to the viewer) bids us acknowledge a purely visual Tightness w e can recognize but not easily discuss. Once more, the same is true of cave-paintings, in the presence of which we recognize our itch to 'explain'. Framing our anthropological hypotheses, w e acknowledge an order which w e formulate as a question so that w e can try out answers. Once the investigator has an answer that fits the question, he is appeased so long as he ignores the elusive fact that it was not the picture that asked the question but he. Pictures do not ask, they confront. Fragments of frescoes at Knossos showing great bulls, 23

against whose momentum fragile girls poise agilities that carry them spinning up and over the horns, these ruined ikons confront us with mysteries we have chosen to neutralize by deciding that they were drawn from the life to record Cretan goingson. The discursive mind is now happy with its question, what did the bull-jumping ritual signify? But it was the discursive mind, evading a picture, that chose (it may be, correctly) to posit that ritual. And w e have already glanced at the discursive mind's dealings with what it finds limned on Paleolithic rock. The discursive mind is determined that something other than a picture shall explain the picture: something perhaps no less puzzling than the picture, but better adapted to discursive categories. This fact itself should put us on the alert, as should the obscure need that is appeased by a title. Three mistaken words, 'The Night Watch', once seemed to explain a very dark painting, and the word 'Primavera' still helps us collect our attention in front of an enigmatic allegory of Botticelli's. But once w e are clear of the illustrative, once, as in Lewis's darkly totemic designs, there has ceased to be any possibility of the illustrative, once, moreover, we are deprived of an extra-pictorial motif such as the label 'Timon of Athens' supplies, then the mysterious inner coherence our intimation of which prevents our dismissing them as scribbles becomes, itself, an object of uneasy attention. What, beyond art-school principles of symmetry, is that coherence of lines, motifs, reminiscences, which proves almost to be the subject of such pictures? Lewis in 1914 found a brilliant analogy in the geomancy of China. 'Geomancy is the art by which the favourable influence of the shape of trees, weight of neighbouring water and its colour, height of surrounding houses, is determined.' Before Chinese civilization was Mao-ized, one did not build a house without the geomancer's advice. 'I do not suppose that good Geomancers are more frequent than good artists. But their functions and intellectual equipment should be very alike.' For geomantic perception as Lewis understood it extends from the wind and the water to the repertory of beings and colours on which a painter's vision draws: A certain position of the eyes, their fires crossing; black (as a sort of red) as sinister; white the mourning colour of China; white flowers in the West, signifying death - white, the radium among colours, and the colour that comes from farthest off: 1 3 , a terrible number. Such are much more important discoveries than gravitation. They are important because they characterize the environment with which our psyches are at all times in tension. When in 1 9 1 9 Lewis cried 'Architects, where is your Vortex?', he alluded to the power of surroundings over the equilibrium of the spirit: a theme now so commonplace, and resolved in modern surroundings by so implacable a Bauhaus asepsis, that we must make an effort to appreciate the urgency of Lewis's concern and the evasiveness of two generations' dealings with what was there to be concerned about. Amid the stupid forms that still envelop us, easelpaintings o f ' a world that will never be seen anywhere but in pictures' concentrate a skill that remains allied to the geomancer's: Sensitiveness to the volume, to the life and passion of lines, the meaning of water, the hurried conversation of the sky, or the silence of same; impossible 24

PLATE

II:

787

AÖANATON,

1933

propinquity of endless clay which nothing will counter-balance - a mountain that is a genius (good or evil) or a simple bore - such things make the artist. 4

Colour pl. II

M o n t Sainte-Victoire, a presence, helped make Cézanne; and it is said that Piet Mondrian was surrounded in childhood b y just such bare rectilinearities of road and field as his austere designs transfigure. Something more than design, then, something comparable to 'the hurried conversation o f the sky' or 'white, the radium a m o n g colours', invites, in Lewis's 'magic' pictures, the constant reminiscence of familiar half-identifiable beings. Arrangements even occur that look as if they were meant to be programmatic. Thus in the 1933 composition A Q A N A T O N elements to which w e can give names suggest by their arrangement such an exposition as was customarily supplied in the seventeenth century for 'emblematic' pictures. Figures on the left, opulently female but i m personal as generation's pure forces, m o v e in a perspective proper to the familiar realms o f biology d o w n an unsettling corridor w h e r e masklike eyes preside. C o l u m n s on the right, bright and rectilinear, offset generation and death with Euclidean stabilities. It is as though the Yeatsian ferment of 'Whatever is begotten, born and dies' w e r e being set opposite that other Yeatsian pole, 'the artifice of eternity'. A n d connecting them, is that a ship on w h i c h to sail to B y z a n t i u m ? A ship-form undoubtedly, with planking and a hint of a mast. A n d out o f the ship-form's element, water, rise more motifs f r o m naval architecture, details o f ships, cross-sections of ships, cunningly metamorphosed into a grinning totem that resembles the ' T y r o ' designs of a decade earlier. A n d hard against this black totem its blanched double, featureless and in profile, suggests some soul-body dichotomy to r h y m e with the large dichotomy b y which the picture is flanked. Its whiteness is touched with hints of the colour of flesh. A n d all these elements are arranged round a black patch amid which, like a nebula in distant space, stark white stippling coalesces into cold luminousness : perhaps the primeval chaos itself asserted amid all those sharply delineated emblems. A mysterious picture, yet its technique tells against mystery. T h e elements are f i r m l y stated, bounded, individuated, flat on a picture plane through which the corridor that the female shapes are entering makes only a gesture of penetration, and behind which the central blackness seems to recede only because black gives a prehensile eye no purchase. N o romantic indistinctness blurs the mysteries; no shades, no modelling, no cloudy forms compromise the starkness. T h e picture asserts that it is what it is: a flat if richly variegated design, devoid o f illusion, hinting at an iconography. N o one warms to such a w o r k ; it is no h o m e f o r the casual imagination. T o the geomancing faculties of W y n d h a m Lewis, h o w e v e r , it was 'right', and the Tightness, though suited to a sensibility w e do not quite understand, carries conviction. Had Yeats not been Irish (and w e r e such a mutation conceivable) he w o u l d have been at h o m e there. 'Beauty,' w r o t e Lewis, 'is a universe for one organism.' B e a u t y is an icy douche of ease and happiness at something suggesting perfect conditions for an organism : it remains suggestion. A stormy landscape, and a pigment consisting of a lake of hard, yet florid waves ; delight in each brilliant 26

scoop or ragged burst, was J o h n Constable's beauty. Leonardo's consisted in a red rain on the shadowed side of heads, and heads of massive female aesthetes. Uccello accumulated pale parallels, and delighted in cold architecture of distinct colour. Korin f o u n d in the symmetrical gushing of water, in waves like h u g e vegetable insects, traced and w o r k e d faintly, on a golden pâte, his business. Cézanne liked cumbrous, democratic slabs of life, slightly leaning, transfixed in vegetable intensity. 5

Lewis w r o t e as he painted, setting into passages alternately tight and open arrays of imagery derived f r o m nature b u t n o t f o u n d in combination there. 'Waves like h u g e vegetable insects, traced and w o r k e d faintly, on a golden pâte' - a paraphrase of Korin's 6 universe, it may be, but unmistakably paraphrased by W y n d h a m Lewis, and arranged in the line of prose f r o m the kind of elements his pictures arrange in space. N o t the least baffling feature of his genius is its nearly interchangeable expression in w o r d s and on drawing-paper. H e w r o t e , in posterity's probable view, too m u c h , and painted too little, partly because he could m o r e easily get paid for writing, and w r o t e pot-boilers t h o u g h he seldom d r e w t h e m . B u t such passages as the one on painters just quoted, or the brilliant visionary sections of The Childermass, or the opening of The Apes of God, so interested h i m that he t o o k immense pains over t h e m ; the Apes opening w e n t t h r o u g h at least five drafts. A n d w h e n his deepest gifts w e r e mobilized, the 'finely sculptured surface of sheer words' engages our attention w i t h an impasto his smoothly surfaced pictures always deny us ; a certain attack, a daemonic roughness encountering and battering at resistance, w h i c h f o u n d expression n o t in paint b u t only in prose, and a prose like n o one else's, n o t ear-prose, like Joyce's, n o r even, as he often asserted, eye-prose, b u t muscle-prose, shaped b y the tactile needs of his sensorium. Impasto is paint flirting w i t h a third dimension; such writing, p r o m p t i n g the comparison with impasto, flirts w i t h sculpture. T h e 'veteran gossip-star' whose 'grimly paralytic toddle' w e read about in the overture to the Apes, has been clearly seen, but m o r e is going on than seeing; She lowered her b o d y into the appointed cavity, in the theatrical illumination, ounce by ounce - back first, grappled to Bridget, bulldog grit all-out - at last riveted as t h o u g h by suction within its elastic crater, corseted b y its mattresses of silk f r o m waist to b o t t o m , one large feeble arm riding the billows of its substantial fluted brim. These phrases are alive w i t h kinesthetic identification — 'riveted as t h o u g h by suction' ; 'elastic crater'; the a r m 'riding the billows; the chair's 'substantial fluted b r i m ' . Lewis's imagination is experiencing t h r o u g h fingers and muscles, and simultaneously seeing : like a sculptor's. T h a t the kinesthetic elements o f h i s 'universe for one organism' emerged in language rather than in w o o d or stone is a most striking fact ; t h o u g h demonstrably an impulse sometimes like Epstein's, sometimes like Brancusi's, was alive within h i m , he never 27

so far as is k n o w n touched a chisel o r a l u m p o f clay. T h e r e are one or t w o o b v i o u s explanations. N o tradition o f sculpture w a s active in England, and v e r y little active a n y w h e r e ; the period 1910-25 w a s a g o l d e n age o f paint, n o t o f m o d e l l i n g . A n d there w a s small likelihood o f a n y o n e b u y i n g sculpture, still less than o f pictures being w a n t e d ; o n l y in v e r y recent years h a v e collectors been taught the appeal o f abstract three-dimensional pieces. B u t these are trivial barriers to a p o w e r f u l i m p u l s e ; analogous and o n l y slightly w e a k e r i m p e d i m e n t s did n o t prevent L e w i s f r o m painting. W e c o m e closer, and close to a t h e m e o f exegetic interest, w h e n w e notice his nearly Manichaean distaste f o r matter. C o n t o u r s , boundaries, light absorbed and reflected, these his faculties w e l c o m e d , b u t n e v e r the prospect o f generating dense t h i n g h o o d . His hands did n o t close gratefully o n the real: o n l y his m i n d . For L e w i s the palpable and the absurd are close t o g e t h e r ; w e read o f S n o o t y Baronet's eye, in the presence o f his 'favourite piece o f n u d i t y ' , 'flashing a b o u t all o v e r her and then s w e e p i n g o f f into the apartment and s w o o p i n g b a c k top-speed, to dash itself against a cliff o f peach-lit marble, or thud d o w n u p o n a nipple, s m a c k ! ' , and w e n o t e that the great unfinished w o r k b y w h i c h he set so m u c h store f o r thirty years, the b o o k w h i c h b e g a n as The Childermass and ended as The Human Age, is set in an a f t e r w o r l d w h e r e the nature o f material experience is e q u i v o c a l , and a black quasi-hysteria attends presentations o f female tactility. T h e r e is a p a t h o l o g y here, rarely o b t r u d e d and uninteresting. W h a t L e w i s could do is m o r e arresting than w h a t he chose n o t to, and one o f the things he c o u l d do Pis 74—6

supremely w e l l , w a s design a t o t e m - l i k e figure. T h e ' T y r o s ' b e l o n g to this c a t e g o r y ; so does the dark assemblage o f ship-forms that grins just to the right o f centre in

Colour pis II, I,

AQANATON; so, too, do the Players upon a Stage, the figures in One of the Stations of the

pis 111, 77

Dead, the Roman Actors, a hundred other linear inventions. A l l o f t h e m are like pictures o f pieces o f sculpture, fully i m a g i n e d three-dimensional f o r m s , and occasionally a p h o t o g r a p h o f some piece o f sculpture — I recall especially one b y N a u m G a b o bears a striking resemblance to a W y n d h a m L e w i s picture. Y e t L e w i s designed t h e m o n l y on paper, and k e p t t h e m there. H e kept t h e m there, w e m a y guess, to satisfy his fascination w i t h the e q u i v o c a l l y real: the fascination that also generated his m o s t difficult prose, for instance ' T h e Physics o f the N o t - S e l f ' . W e are n o w perhaps m o r e fully prepared than w h e n w e first touched o n it to understand h o w w h a t exists o n l y in pictures, o n l y at the p r o m p ting o f line and shade and colour, has a p u z z l i n g h o l d o n existence, assertive b u t unreachable. In this artifice o f eternity, w h e r e n o thief can break t h r o u g h and steal, things are not o n l y r e m o t e f r o m w h a t e v e r is b e g o t t e n , b o r n and dies, but also r e m o t e f r o m substantiality: being. This subject w o u l d lack point w e r e it n o t related intimately to our experience o f the pictures, a central element o f w h i c h is their p r o c l a m a t i o n o f their o w n unreality. O f t e n the lines w h i c h b o u n d a three-dimensional f o r m w i l l m e r g e w i t h a system o f lines that lie flat o n the picture plane: f o r m returning to its matrix, pure design, that posits first o f all the delicate imperious strokes o f the artist's hand. O r , in the opposite direction, pure design as if accidentally encloses f o r m , as the birds in the 1938

PI. 132

Eliot portrait (P 80) casually e m e r g e f r o m the j u n g l e passages to left and right o f the 28

head. A n d are those birds flat o r m o d e l l e d ? A n d is the j u n g l e three-dimensional or is it not, and i f not, are w e meant to i m a g i n e it as a painted b a c k d r o p o n the same plane w i t h the painted green w a l l it flanks? O n the right side o f the picture the eye m o v i n g d o w n w a r d is d r a w n into a blue space in w h i c h it seems impossible that the poet can be cradled, t h o u g h it seems equally difficult to read it as a painted b a c k cloth. T h e Players upon a Stage w i t h their b o x - l i k e heads and m e g a p h o n e - l i k e m o u t h s are like designs for sculpture, y e t w e are not l o o k i n g at a picture o f f o u r pieces o f sculpture: w e are l o o k i n g at flat canvas w h e r e an illusion c o m m e n t s o n its o w n illusoriness, the f o r m s being repeated b e l o w like inverted reflections, a m o n g w h i c h there has appeared a reflection n o t accounted f o r b y the forms. S u c h illusions are not, as in M a g r i t t e o r Escher, at the centre o f attention, u n e q u i v o c a l l y offered f o r our p o n d e r i n g ; they are confined to isolated passages, o c c u r r i n g at the peripheries o f the picture and yet infecting its centre w i t h e q u i v o c a t i o n . D a l i and D e C h i r i c o , b y contrast, painted impossible w o r l d s as t h o u g h these w o r l d s had been m o d e l l e d in p o l y c h r o m e w a x and set u p in l i g h t b o x e s b e f o r e a c o l o u r c a m e r a ; since Dali's technique apes the camera's, the painter's hand cannot be held responsible i f there is a n y t h i n g o d d a b o u t w h a t w e are l o o k i n g at. A D a l i l i m p w a t c h belongs to the same order o f reality as a garden toad, and i f w e did n o t h a v e the assurance that toads exist in nature, then a toad painted b y D a l i m i g h t affect us as do his watches. For D a l i is content to appear b e f o r e us as c o n s u m m a t e executant, b r i n g i n g to bear on insect-infested w a t c h w o r k s the same technique he devotes to a lace curtain ; and w e can see at this point the relevance o f the p o l e m i c L e w i s e x p e n d e d , in his literary and visual criticism, on artists w h o are content w i t h the role o f executant. Far f r o m being a primordial w i l l , older than the fish, such a m a n is a set o f

fingers,

trained yesterday, and the i m a g i n a t i o n those m a r v e l l o u s fingers serve, c o n f i n e d as it is to deformations o f Pécuchet's w o r l d , is incapable o f transcending Pécuchet. Flaubert describes for us the f o r m a l garden o f B o u v a r d and P é c u c h e t — In the half-light it w a s s o m e h o w terrible. T h e r o c k e r y , like a m o u n t a i n ,

filled

u p the l a w n , the t o m b f o r m e d a c u b e amidst the spinach, the V e n e t i a n b r i d g e a c i r c u m f l e x accent o v e r the kidney-beans, and the s u m m e r house a great black s m u d g e b e y o n d , f o r they had fired its thatch to m a k e it m o r e poetic. T h e y e w s , shaped like stags or armchairs, led to the blasted tree, fallen crosswise f r o m the e l m - r o w to the arbour, w h e r e tomatoes h u n g like stalactites. . . . - an unintended surrealist painting, w h i c h t w o boobies h a v e achieved b y disrupting the relations o f v u l g a r things, and specifying the light f o r v i e w i n g them. T h e m o t i f s — kidney-beans, spinach, a r o c k e r y , armchairs - are as banal as those L e w i s had e x coriated in C u b i s m . T h e y h a v e s i m p l y been d e f o r m e d in nature, n o t on canvas; one can i m a g i n e a picture being painted o f the result, w i t h m e t i c u l o u s technique into w h i c h n o imagination need enter at all. ' O u r u n i m a g i n a t i v e arts are content to set a piece o f the w o r l d as w e k n o w it in a place b y itself, to put their p h o t o g r a p h s as it w e r e in a plush or plain f r a m e ; b u t the arts w h i c h interest m e ' - it w a s Y e a t s w h o w r o t e this, t h o u g h L e w i s m i g h t h a v e countersigned it - ' w h i l e seeming to separate f r o m the w o r l d and us a g r o u p o f figures, images, symbols, enable us to pass

29

PL

111

PI. 89

for a few moments into a deep of the mind that had hitherto been too subtle for our habitation.' 7 The impulse of Lewis's writing, w e have noted, coincides over much of its area with the impulse of his painting, assembling strange images strangely. In writing, however, he permitted himself one release, the indulgence of the tactile instincts, to which there is no correspondence in his visual world because he never made sculpture. Correspondingly, one area of his visual activities has no literary correspondence, because language will not consent to be wholly abstract. Being stubborn, he discovered this limit of language only by experiment. 'In writing Tarr,' he recalled some forty years later, 'I wanted at the same time for it to be a novel, and to do a piece of writing worthy of the hand of the abstractist innovator (which was an impossible combination). A n y h o w it was m y object to eliminate anything less essential than a noun or a verb. Prepositions, pronouns, articles - the small fry - as far as might be, I would abolish.' Nouns and verbs, however, are the least abstract elements in language, and Tarr's world came to resemble not that of the 'abstractist innovator' but that of the man w h o painted emphatic semi-realities, the brooding world of'visually logical beings'. The impulse Tarr did not succeed in satisfying, the impulse toward an abstraction that has some points of commerce with the mental world where characters in novels exist, was to satisfy itself at last on the visual plane, in some of Lewis's most characteristic productions: the black and white designs of the late 1920s and early 1930s, of which Magellan is one of the most elaborate, and the decorations for several of his books the most extensive. Each chapter of The Apes of God, each section of One-Way Song, is prefixed by one of these equivocal emblems; the title-page of Time and Western Man offers an especially fine specimen (640). They are quite small drawings - at most four or five inches high: the w o r k of wrist and fingers, not of forearm. They are bounded by tight curves and filled with passages of incredible elaboration, stippled, hatched, chequered, undulant. Juxtaposed areas of white and solid black give their surfaces a flickering life, and suggest, while clinging to the flatness of the paper, renditions of some shiny convoluted stuff, catching highlights yet retreating under inspection to the domain of ink. Bounding-lines frequently cross, as the meeting edges of surfaces would not cross, in cheerful acknowledgment of how the trick is being done, with a darting pen. The forms seem human, and always intricately costumed. Their anatomy is obscure, their posturing transvestite, their deepest impulses furtive. These are like no other drawn designs in the world: vigorous, wholly abstract, secure in their accomplishment, satisfying to the eye that inspects them merely as arabesques of the draughtsman's hand, but capable, as Lewis indicated in distributing a number of them through The Apes of God, of implying a human world devoted to becoming inhuman, reconstituted in the satirist's mind. Their aesthetic is like that of masks, which deny character and yet assert individuation. The human world on which they touch is masked, compressed into pretentious social roles. A line suggests the posture of a foot, another the tensed musculature that turns a head backward, aware that it is perceived. They are all perfectly distinct from one another: one indolent, one vain, one slack, one vapid, one aggressively 30

sexual t h o u g h sexually equivocal. T h e y are sometimes carapaced like great insects b u t never a r m o u r e d : a r m o u r , like the surfaces o f robots, belongs in Lewis's visual v o c a b u l a r y to less r o m a n t i c beings. T h e i r suggestions o f c o s t u m e are n o r m a l l y oriental, rich, ornate, b e w i l d e r i n g , stylish, mindless. T h e triangular f i g u r e ( 6 4 0 ) w h o incarnates Bergsonian p h i l o s o p h y o n the threshold o f Time and Western Man can serve us as a p r o t o t y p e . H e m a y b e e n t h r o n e d , w i t h feet t o g e t h e r and divided knees, or h e m a y b e in rapid m o t i o n t o w a r d the r i g h t : lines o f m o v e m e n t swing across the design, and w h a t j u t s like a chair-leg t o w a r d the l o w e r l e f t - h a n d corner has the thrust of a r u n n i n g ankle. T h i s a m b i g u o u s , restless stability pervades the d r a w i n g , the lights a n d blacks austerely k e p t in balance, b u t a busy balance o n w h i c h the eye c a n n o t repose, c a u g h t as it is and carried a r o u n d and u p and in and a b o u t b y intricate v i g o r o u s lines, b y suggestions of surfaces w h o s e identities and w h o s e very planes are elusive, b y variegations of shading w h i c h indicate textures and d e n y materials. D o e s a h u g e phallus p r o t r u d e , o r a filched scroll? ( M r Michel sees the Child-cult b a b y being rocked.) A n d is that a t i n y bird-like head aloft, o r the p r o u d crest o n a mask-like h u m a n h e a d d r a w n d o w n in secrecy o n t o the chest and facing nervously b a c k w a r d ? A f r i c a n sculpture overlies the semi-face, to e m blematize the 'primitive' repertory of B l o o m s b u r y c u b i s m ; b u t it is n o t placed quite w h e r e w e expect a face. A n d slung across the f i g u r e like a r e c u m b e n t d w a r f , the m o s t v i g o r o u s passages of all suggest simultaneously h u g e v o l u t e d sleeves, d r u m s , birds, e b o n y cylinders, k i d n a p p e d splendours, a clenched fist, an obscene flower. E v e r y line is firm. T h e occasional trespass o f h a t c h i n g across the outline and the j u m b l e o f h e a v y strokes across the b o t t o m casually assert the t w o - d i m e n s i o n a l i t y o f an illusion created b y a magician. T h e w o r k is j u s t o v e r three inches high, o n a scrap of p a p e r less than five inches square. These beings define an order of reality, e m b l e m a t i c , v i g o r o u s , limited, brilliant, flat. It is the o r d e r o f reality to w h i c h d r a w n things belong, and to w h i c h , in their a m b i t i o n to b e c o m e Art, the Apes o f G o d aspire. W h e n T a r r e x p o u n d e d f o r Anastasya the contrast b e t w e e n A r t and Life, h e d r e w his line b e t w e e n the dead and the living. ' A h i p p o p o t a m u s ' a r m o u r e d hide, a turtle's shell, feathers o r m a c h i n e r y o n the o n e h a n d ; that opposed to n a k e d pulsing and m o v i n g of the soft inside of life, along w i t h infinite elasticity and consciousness o f m o v e m e n t , o n t h e o t h e r . ' These abstract designs of the late 1 9 2 0 s depict t h e a m b i t i o n of t h e soft inside o f life, h u n g in Chinese robes, to b r e a k into the artifice o f eternity. ' T h e lines and masses of the statue are its soul,' T a r r ' s exposition continues. ' N o restless, quick flame-like e g o is i m a g i n e d f o r the inside o f it. T h a t is a n o t h e r c o n d i t i o n of a r t ; to have no inside, n o t h i n g y o u c a n n o t see. Instead, then, o f b e i n g s o m e t h i n g impelled like an i n d e p e n d e n t m a c h i n e b y a little egoistic fire inside, it lives soullessly and deadly b y its f r o n t a l lines and masses.' A n d i n t o a w o r l d like that o f E g y p t i a n sculpture Lewis late in the 1930s transposed h u m a n beings w h o s e a m b i t i o n , unlike that of the Apes, is confined to this w o r l d . T h e y d o n o t , t h e subjects o f the great 1937-9 portraits, desire aesthetic s t a r d o m ; they simply consent that the painter shall i m m o b i l i z e t h e m . T h e resulting pictures, hieratic, grave, u n c o m p r o m i s e d , are W y n d h a m Lewis's most r e m a r k a b l e w o r k s . 3i

PI. 89

Colour pis VII, XIV,pis 1 2 3 ~3> x35~7

Pis 42, 44, 45

Pis 104-5

Colour pi. Ill

Lewis had made portrait drawings for many years; among the ones that have been preserved are several of Ezra Pound that date from Pound's last years in England just after World War I, and the well-known sketch of James Joyce, a few sharp penstrokes. Pound's head appealed to him, evidently; he could do things with the jutting beard, the high sloping forehead, the straight nose restating the forehead's slope and length. The massive calm of its lines, interacting with the fervour of the personality it served, had already elicited Gaudier-Brzeska's one large marble sculpture, a paraphrase of Egyptian motifs that so eludes considerations of scale that w e can perfectly well imagine it thirty times its present size, a towering hieratic presence. (Amid the disintegration of Italy in the mid-forties a partisan's admiration of his splendid cranial lines is said to have saved Pound from summary execution.) What engaged Lewis's attention about 1919 was a bony structure of no casual interest. Nature had already carried unusually far the transformation toward abstract intensity, so Lewis could make powerful designs without getting much involved in his response to his friend's personality. These are hardly portrait drawings; they are linear variations on a magnificent piece of sculpture. In the same w a y the drawing of Joyce is a notation of a head's unusual configuration, not a statement about a great writer; in the introduction to the portfolio Thirty Personalities and a Self-portrait Lewis called that Irish head a 'hollow hatchet'. Later, from the remarkable line-drawings of the 1920s, external evidence can occasionally recover a sitter's identity, but the artist's interest is in the quality of his pencil strokes. The face, sharply bounded, turns mask-like; the focal passages of the picture are frequently elsewhere, where fingers intertwine or tense arms, crossed legs, the taut members of chairs, all rendered in similar lines with similar intentness, suggest a tense, intricate immobility. People, in these pictures, are visual stuff for the arch-Vorticist to feed on, and refusing to respond to some 'restless, quick flame-like ego' he transfers them to exactly the same plane of interest as insect-forms or totems or suits of armour. The flesh, the clothes, the chair, all constitute an austere exoskeleton; these are 'visually logical beings' whose logic for once, at the cost of their very lives, approximates that of Nature. In the portfolio Thirty Personalities and a Self-portrait of 1932 a few of the sitters Rebecca West, for instance, and Mrs Harmsworth, and Wing Commander Orlebar, whose head he fancied was like Dante's - obviously interested Lewis the draughtsman, and a great many of them did not. Being by definition 'personalities', however, the less interesting heads had the value of sociological testimony: their possessors were touched by celebrity, which confers a kind of empty power. The fact that power, if only the power to be heard about, should comport with banal facial modelling, could hold Lewis's attention long enough for him to finish a drawing, sometimes a tight little exercise in frigidity. The technique, unusual for him, of elaborate pencil shading permits the acknowledgment that these heads wear modelled flesh, and this, a few of the drawings imply, is the chief thing to be said about them. The major oil portrait of the early time between the wars, the Edith Sitwell which he began in 1922 and finished twelve years later, is essentially a monumental exercise in satire. Its principal strategy is to cause Miss Sitwell to disappear into a mirror-

32

PLATE III:

P 3 6 Edith Sitwell, 1923

maze of accessories. Though the face is present and accounted for, its blank expression, minimally modelled, leaves her nearly faceless: attention moves centrifugally to the turban above the face, to the intricate robes below it, to the books and the globe of a romantic Renaissance, to the decorative passages with which the painter's hand, minimally obligated by actual details in front of him, has filled plane after plane of the picture space. She sits like an invalid, as if propped up amid bright objects; she seems handless, as if half transformed into an abstraction - though, amid much detail not clearly identifiable, that fact may also be read as a casual disposition of the gown. Hands, in Lewis's iconography, assert tension, presence; to obliterate the hands was to leave ambiguous his sitter's degree of nervous force. 'The chemistry of personality,' he had written in 'Inferior Religions', '(subterranean in a sort of cemetery, whose decompositions are our lives) puffs up in frigid balls, soapy Snowmen, arctic carnival masks, which w e can photograph and fix. Upwards from the surface of existence a lurid and dramatic scum oozes and accumulates into the characters w e see.' Miss Sitwell's 'carnival mask' in this picture is flaccid; like a coloured version of one o f the Apes of God designs, the picture accumulates abstract elements which suggest a human figure, flickering and frigid. Its wittiest touch is the presence, in a sharply contrasted visual idiom, of that recognizable naturalistic face, pallid, somnambulist. It is a little as though the elements of Picasso's Demoiselles d'Avignon were reversed: not African abstractions clapped on naturalistic bodies, but the opposite. This is one way of letting 'life' know its place in a Vorticist universe, but hardly a procedure for making portraits. Because he discerned in Miss Sitwell a kind of monumental triviality, the picture is majestic, comprehensive, and also curiously final. For once the coincidence between vision and subject had been ideal, but unless Nature could produce more Edith Sitwells the vision need expect no further employment on that scale. And it seemed clearly not the vision of a portrait painter. Y e t within a few years of finishing the Edith Sitwell, Lewis was describing a habit of 'rapt contemplation' under which a human person becomes 'an object of amazing interest', and validating its claims by painting, in a period of unparalleled activity, some of the twentieth century's most remarkable formal portraits. He had undergone, mid-way through the 1930s, a radical mutation, far more radical than a shift of visual idiom. What caused it w e can only guess. Illness had something to do with it, and so had his response to the state of Europe, where a war was threatening millions of people with whose plight he found himself in uncharacteristic sympathy. He was writing Left Wings Over Europe: or How to Make a War About Nothing and Count Your Dead: They Are Alive - two indignant political tracts - at the same time as The Revenge for Love, the first Wyndham Lewis novel in which compassion for the plight of the characters is admitted to the fictional design. And he was in his mid-fifties, and no longer able to sustain his old enthusiasm for Vorticism's 'disastrous polished dance'. N o t that he now disowned the linear vigours he had made so thoroughly his own. Though appearances absorbed his attention as never before, there was no corresponding neglect of 'those underlying conceptual truths that are inherent in all appearances. But I leave them now where I find them, instead of isolating them 34

in conceptual arabesques.' The painter's hand is now 'burying Euclid deep in the living flesh', abstract design is now made to express that system of tensions and preoccupations the subject carries with him all his life. Hence the symbiosis w e have already discussed, whereby a lively structure of draughtsman's mannerisms coexists with a likeness of a sitter. N o longer is the sitter an occasion for making a drawing, his head, as Pound's had been about 1920, an object to extract motifs from. Nor, on the other hand, is the draughtsmanship, as in some of the Thirty Personalities, a sullen comment on the appearance it has been called on to reproduce. Again and again, instead, w e find a likeness coalescing out of manual gestures prompted by Lewis's new interest in his subjects' fate: in how 'the chemistry of personality' has shaped just this configuration of flesh, this arch of the wrist, this balance of the head. The person coheres, says the picture, in the w a y this drawing coheres, this geomantic exercise conducted in and responsive to the person's presence. And by w a y of validation, so to speak, the drawing looks like the person. The eye Lewis turned on T . S. Eliot, in the great 'first' Eliot portrait of 1938 (p 80), discerned with astringent, minute PI. 132 attention a human being doomed to be a poet, and discovered a painted equivalent for this phenomenon the interest of which centres on the appearance of the human being. There ensued, ironically, a fuss reminiscent of the middle-class furore twentyfive years earlier about Post-Impressionism. The Royal Academy declined to exhibit the portrait; Augustus John resigned from the Academy for two years; Winston Churchill made a speech commending the Academy's common sense; Lewis, his eyes alight with old wars, rushed Wyndham Lewis the Artist into print; and the picture was sold and hung as far from England as it was practicable for it to travel, in the Municipal Gallery of Durban, South Africa, from which it was briefly returned in 1956 for a retrospective exhibition to honour its painter, by then quite blind. What on earth, w e may ask three decades later, can have so upset the academicians? N o doubt the hard exactness of the design. A n R . A . does not set about portraying a. man of distinction in that idiom, even assuming the impossible, his command of the idiom. A formal portrait is produced, every tyro knows, by placing the head high up in the picture space, a little to one side; next performing a little paraphrasing of Sargent — the flesh modelled with healthy tints and no such hardness as may bespeak an underlying skull, the eyes and mouth smoothed into idealized benignity; then blurring and darkening the lower areas of the canvas to suggest a body, a collar and tie, discreet tailoring. The undertaker's formula is not radically different; like 'the dead', 'the living' command a formularized respect. Tensions, emotions, expressed in such details as a droop of the head or an interlocking of hands, these are not 'gone into'. The Eliot portrait, w e may easily conclude, seemed improper, and not, as the rhetoric of that summer suggested, incompetent. It was as though an eminent man of letters had been portrayed naked. For Lewis portrayed him haunted. The head is not as high in the picture space as w e should expect. What has lowered it is an inconspicuous slouch, as though responsive to the pale green panel before and below which it is placed. This panel, an aggressive antithesis to the Rembrandtesque browns that normally surround 35

painted celebrities, is the central member of a tripartite iconography the presence of which, so close behind Eliot's head, seems connected with the hint of apprehension the averted eyes give to his otherwise calm face. L e f t and right are the j u n g l e panels w e have discussed already, with their coy nested birds: the l o a m y riot out o f which the poet o f The Waste Land was assailed b y the cry of Philomel and b y all the voices o f history's echo-chamber and b y the memories and desires o f the n o w well-tailored b o d y . A n d to the tailoring Lewis g a v e half the area o f the picture and his full attention, transforming the business suit — waistcoat, cuff buttons, lapels — into an integument o f planes and edges as formal as Renaissance armour. It is precisely here, of course, that an A c a d e m y portrait dissolves into apologetic brush-strokes; but Lewis saw no reason to suppose twentieth-century men's clothing any less iconographic than the costumes of the Medici. Savile R o w and Albemarle Street are epithets in the language b y which values are communicated. As p r o f o u n d a summation o f M r Eliot's aesthetic as has ever been formulated once came casually f r o m the L o n d o n tailor whose professional services he e m p l o y e d : 'Remarkable man, M r Eliot.' (Pause.) ' V e r y g o o d taste.' (Pause.) 'Nothing ever quite in excess.'

PL IJS

Costume, in these portraits, is iconography, like the accessories and backgrounds. It differs f r o m these, h o w e v e r , in representing the j u d g m e n t o f the subject, not the painter. T h e sum o f a long history o f predilections and choices, it is nearly, in Yeatsian terms, a B o d y o f Fate. O n one occasion, at B u f f a l o in 1939, Lewis painted an example o f a standard twentieth-century genre, often commissioned: a man in academic garb. Here again his boldness is instructive. T h e robes are not apologetically touched in, amid embarrassment over such fancy dress in the motor car age. T h e y dominate the huge composition, w h i c h looms the size and shape o f a house door, indeed they dictate its aggressive verticality. T w o long crimson panels run d o w n the picture; the square black mortar-board is asserted against them; in dead centre the hands that clasp it intertwine thumbs. Opulent b r o w n and gold arabesques in the l o w e r left relieve the severity, and resolve themselves into designs on the cloth of a table supporting books. A city skyline of book-shaped buildings, romantically d i m m e d , appears b y the Chancellor's shoulder. A n d his grave face, neatly goateed, constructed o f delicate wedge-shaped elements, dominates, w i t h quiet, unforced character, these splendid accessories, its system o f b r o w n s and yellows and its tightness o f design wrist- and f i n g e r - w o r k played against the forearm w o r k o f the rest o f the picture according it contrast and priority. 'I wanted,' Lewis told M r J o h n Reid o f T o r o n t o while the picture was in progress, 'to make it as academic as possible and still keep it a w o r k o f art.' It is academic in t w o senses, in subject and in treatment; and quite possibly the only academic portrait among thousands that hang in colleges all o v e r the w o r l d that is w o r t h one's j o u r n e y to see. Behind such achievements lies not only Lewis's visual sense but his critical intelligence; no other painter had given such thought to what costume might signify,

PLATE I V :

36

pòi The Surrender of Barcelona, 1936

PL 113, colour pi. IV

Pi. 132

Colour pi. VII

to the rituals of assertion and concealment in which twentieth-century appearances are immersed, to the relation between fashion and the small inflections of fashion, by taste, by posture, or by habitual gesture, that establish an incremental individuality. The armoured men in such pictures as The Armada and The Surrender of Barcelona have agreed to be all 'outside': mechanical joints and steel plates stylize to the point of ritual the 'restless, quick flame-like ego'. The 'visually logical' robots possess no ego: they correspond to his 1927 remark that the pattern of most lives is 'as circumscribed and complete as a theorem of Euclid'. The costumed men and women of the great portraits speak as richly through their appearances as through their language; it is for instance, clear w h y Stephen Spender appears in shirt-sleeves but T . S. Eliot in a business suit, and w h y two abstract drawings are pinned up behind M r Spender whereas a background of elemental luxuriance appears to coerce M r Eliot, and w h y Eliot's hands are loosely folded in his lap whereas Spender's express dangling tension, one forefinger self-consciously raised in a nervous bridge. (Try that pose. Feel the strain on the forefinger.) These people are no longer seen as Lewis saw people previously, machines that 'twist and puff in the air, in our legitimate and liveried masquerade'. Their feelings, their consciousness of their own selfhood, blend with intuited subtlety into the appearances they present. For they present these appearances; they are pictured sitting being looked at by Wyndham Lewis, a formidable craftsman practising a mystery, and the fact that this experience makes them self-conscious only heightens the eloquence of the resulting portraits. Lewis never pretends he is not there; these are not keyhole glimpses but products, w e are meant to understand, of the studio ritual. The hand that made the picture w e cannot forget, nor the presence that kept the sitter from being quite at ease. But Ezra Pound is at ease; he seems asleep. The death of Mrs Pound's mother, Olivia Shakespear, had brought him to London just when Lewis was at the height of his powers, a piece of fortune to which w e owe perhaps the most remarkable of all the great portraits. The face was fleshier than when it had occupied Lewis's pencil twenty years previously, but his intimate knowledge of its ossature, knowledge gained in studies made for the sake of the forms when no definitive portrait was envisaged, underlies the surest modelling of any of his painted heads. There is no trace of a mask; the head is solid, understood in three dimensions and stated without simplification. The iconography is casual and exact: a folded newspaper on the table beside the poet w h o had grown so concerned with newspaper events; three objets d'art - unused ash-trays - one crystalline, one with a dragon emblem, implying glazes and translucencies of vision and language, polarized toward the Orient; in the background, Odysseus' vast sea, but a painted sea; not only painted but represented as being a painting, since the nailheads that hold the canvas to its stretcher run metrically down its left side. And amid artifacts - nothing but an art-world is visible — the man before us dreams, drawn into what he once called 'the obscure reveries of the inward gaze', the posture relaxed, the face at ease but intent. There are many ways for a face to be at ease, and this face's w a y is neither congealed nor vapid. The massive body runs diagonally across the canvas (imagine Dante being painted so!); the hands are quiet. There is nothing that need be said. Caught in his dream ('a 38

man in love with the past', wrote Lewis eleven years before) he is clearly more concentrated, more to be reckoned with, than other men awake. The pose, as it happens, is utterly characteristic; a casual camera in Rapallo reproduced it twenty-five years later. The mounting hair, the majestic forehead, the nose, restate one another's contours; the beard is not a disguise but the face's final cachet of authority, trimmed and asserted on the nearly vertical plane of the lower face by as conscious an intention as that which donned the soft jacket, uniform of the last of the generation who aspired toward making out of living a Work of art. It is appropriate that the composition should carry a faint reminiscence of Whistler's Carlyle, another profiled arrangement, but far more fussily 'arranged'. Both Whistler and Carlyle, however remotely present, are appropriate analogues for the poet of The Cantos. On any formal occasion, such as being painted, Renaissance men stood; in the age of Lewis they sat. As much as the standard tailored jacket and trousers, the sitting posture is part of the time's life-style, and so to how people sat Lewis paid the disciplined attention of one w h o habitually reads in the disposition of limbs, as in the movements of his o w n hand, a statement from the deepest centres of personality. Compare, with an eye to their posture, the two Eliot portraits, the Pound, the Spender, PL 132, colour the John MacLeod, the Naomi Mitchison; then consult a snapshot of James Joyce />'1 in his Paris years and reflect on the loss inherent in Lewis's never having made a 33> x 35 formal portrait of the third of his great literary contemporaries. I am looking at a picture reproduced opposite page 100 of Constantine P. Curran's James Joyce Remembered,8 and seeing, schooled by Lewis, a compendium of early twentieth-century gestures. Joyce sits turned sideways in a deck-chair in casual defiance of its statodynamics, the trunk slouched, the head upturned, a straw hat apparently pushed backward by the bulge of his huge forehead. At the same time he seems all legs, and the legs are crossed, and one hand, fingers spread, is on the extended knee, the other turned inward toward his lap. He is both alert and withdrawn, sprawling like a dropped puppet still supported by its strings. Such a pose would have been a feast for Lewis's eye and hand; but, alas, before the period of the great portraits the two men had quarrelled over the philosophy of Time, and w e must make do with a couple of ink sketches from the early twenties. On the other hand, his genius was not squandered on politicians. It is much that a man as skilled and as profoundly intelligent as Lewis played Holbein to both T . S. Eliot and Ezra Pound, aware on each occasion of the occasion's magnitude, but not overawed. Lewis had it in him to make dozens of such portraits, but world history disposed otherwise. In 1939, sensing that his living was precarious and that wartime London would not be commissioning portraits, he sailed to North America, where he soon found that portraits were not being much commissioned either. The Buffalo academic Chancellor, D r Erlanger in St Louis, a few such other commissions, did not suffice; for two years he was holed up in a Toronto hotel, subject to the all-important fact that he had nothing to sell but his name in a country where no one seemed to know w h o he was. In the fall of 1943 he was in Windsor, Ontario, across the river from Detroit, lecturing on philosophy for the Basilian fathers at tiny Assumption College, and painting from photographs oils of past Superiors, each of which, like some 39

R e c o r d i n g A n g e l , he left unsigned. T h e corridors o f the college, n o w part o f the U n i v e r s i t y o f W i n d s o r , are lined w i t h the m o s t extensive collection o f a n o n y m o u s W y n d h a m Lewises in the w o r l d , each o n e tense, frigid, and bitter. H e reduced these dead priests to t w o - d i m e n s i o n a l linear f o r m u l a e , and painted t h e m rapidly. A n d his eyesight w a s t r o u b l i n g h i m . B a c k in L o n d o n , a t u m o u r pressing o n the chiasmus o f his optic nerves, he m a d e PI. 149

his last d r a w i n g , a j a c k e t f o r a re-issue o f Tarr, and his last portrait, T . S. Eliot once m o r e , to hang in a C a m b r i d g e hall. T h e y keep it there inconspicuously o n a b a l c o n y w h e r e one is unlikely to notice it and cannot stand back h a v i n g o n c e discovered it. O n e v i e w s it, therefore, at the distance f r o m w h i c h L e w i s c o u l d see it, alternately w a l k i n g u p to squint at his subject's e y e b r o w s , and b a c k to squint at the canvas as he m o v e d his brush. In the ten years since the portrait that startled the R o y a l A c a d e m y , Eliot seems to h a v e g r o w n m o r e y o u t h f u l , t h o u g h appearances can deceive and the face, to be sure, is mask-like. Eliot w a s b y n o w v e r y celebrated i n d e e d ; this last picture s h o w s the complaisant public persona. T h e s l o w deterioration o f Lewis's perception o f c o l o u r gives a p r o b a b l y unintended air o f caricature to the c h a l k y flesh and the aggressively steel-blue suit. T h e d r a w i n g , t h o u g h , remains sure, a remarkable achievement in a picture the artist w a s unable to l o o k at as a w h o l e . T h e ability to d r a w lay deep in his n e r v o u s system, s o m e w h e r e beneath the need f o r optical control. A n d the hand c o u l d still p i v o t a b o u t the little finger, and the f o r e a r m , b y miraculous compensations w i t h i n a system designed to generate curves, could d r a w the straight line that is Lewis's tensest gesture. A portrait o f a face he k n e w w e l l , executed w h e n , for m o s t purposes, he c o u l d n o l o n g e r see, is the appropriate finale to his career: the miraculous p a i n t i n g - m a c h i n e almost dismantled, but asserting to the last its neuro-muscular character, at the service o f a vision n e v e r essentially optical, ' b u r y i n g Euclid deep in the l i v i n g

40

flesh'.

I Paintings and Drawings (igoo

-igi5)

Wyndham Lewis was thirty years old when he first exhibited more than a token representation of his w o r k to the public. The year was 1 9 1 2 , from which later, in conversation with Charles Handley-Read, he dated his coming to maturity as a painter, and the first from which more than a handful of his drawings remain. He had left the Slade School in 1901, lived and studied painting in various art centres of the Continent, but produced nothing he thought worth preserving - until in 1909 he returned to London with the manuscript of a short story, 'The Pole', 1 impressive enough for Ford Madox Hueffer (later Ford) to accept it for publication in his English Review 'after reading the first three lines'. 2 The switch in medium was not the last for Lewis, w h o had already hesitated between painting and writing while he was still at the Slade. 3 But at this period his literary w o r k - 'The Pole' and other short stories published in the English Review and in Douglas Goldring's The Tramp — had a decisive effect upon his painting, for he found in 1 9 1 2 that the theme which he had gradually sharpened and elaborated in these writings could be transformed to become the longsought catalyst for his visual art. With this discovery, the pent-up visual ideas of years exploded in a dozen different directions, giving rise, within the next year or two, to a body of work of astonishing variety. This was the first of several creative upsurges, each lasting two or three years, which make up the high points of Lewis's career as a painter. Stylistically, the painter w h o made his début in 1 9 1 2 was near the radical end of the spectrum of the time. For a year and perhaps longer he had been, and had considered himself to be, a follower of the 'revolutionary' movement in art, by which he understood the painting that had begun with Cézanne, in the form developed by the Paris painters of the first decade of the century. He did not himself become a Cubist but, like Léger, Derain and others, took from Cubism what he could use: 'the creative line, structure, imagination untrammelled by any pedantry of form or naturalistic taboo, a more vigorous shaping of the work undertaken,' as he described it in 1919. 4 Though later he worked from nature as well, almost all of his painting in the years immediately preceding the war was from the imagination — 'experimental', as he called it - which meant, among other things, that he had to struggle against the incomprehension of the public. He joined with other London painters in the same position to publicize their work by means of propaganda and education. Lewis's genius for the poetic and provocative formulation of his ideas made out of this process itself an art, which in some ways surpassed the painting it was to serve. His statements in Blast, the chief vehicle of this campaign, present his position so well that some of 43

them will be quoted at the outset as the best possible introduction to his o w n w o r k , though an overall consideration of the review is reserved f o r the discussion of Vorticism in chapter II. Like a number o f artists at the time, Lewis was certain that the tremendous development that had taken place in painting w o u l d serve as the stimulus f o r an expansion of all the arts. He thought it could initiate a phase o f western civilization as vigorous and admirable as the great cultures o f the past. B u t as early as 1 9 1 3 - 1 4 , w h e n he first w r o t e upon the subject, he saw, in certain tendencies which had gained ground since about 1 9 1 0 , a danger to this grand aim. So, while he writes as a practitioner and advocate o f the revolutionary painting, he also points to factors representing a decline f r o m the original, 'sterner' vision as possessed, chiefly, b y Cézanne. H e asks what path the n e w art should pursue in order to fulfil its great promise. Blast, in one aspect, is the English answer to this question. T h e art which it announced w o u l d use the n e w language, modified in accordance w i t h each painter's temperament. B u t it w o u l d differ f r o m the other offshoots o f C u b i s m and Futurism, in taking its inspiration, as appropriate f o r English artists, f r o m a m o r e northern tradition. Blast rises to its most magnificent eloquence w h e n characterizing this heritage which, according to the 'Manifesto' in the first issue, encompasses the 'tragic h u m o u r ' and 'mysticism, madness and delicacy', peculiar to the north, which 'Shakespeare reflected in his imagination'; 'equal quantities o f C o m i c and T r a g i c ' ; and the qualities o f the sea which give rise to 'that unexpected universality . . . f o u n d in the completest English artists'. It offers the paradoxical yet deeply felt conclusion that England, 'that Siberia of the mind' (hence as yet unaffected by the Continental decline), the industrial (hence 'twentieth-century') country par excellence, whose 'steel trees where green ones w e r e lacking' could offer to the painter 'wilder intricacies than those o f nature', 5 was just the place most suited to the development o f a great twentiethcentury art. T h e vision was a magnificent one, not readily substantiated b y any m o v e m e n t o f the time, but Lewis, elaborating it in Blast, succeeded at least in making it plausible. His o w n art through forty years strove f o r its fulfilment, and his criticism, b y merely asking whether the painting he saw tended toward it, became possibly the most demanding of the time. In the t w o issues of Blast (published in J u n e 1 9 1 4 and J u l y 1 9 1 5 ) he offered the first major critical analysis o f the modern m o v e m e n t f r o m within. These articles deal extensively w i t h Picasso, in whose w o r k Lewis admired the period f r o m 1906 to sometime in 1 9 1 0 : f r o m the Gertrude Stein portrait to the beginning of the close w o r k i n g relationship with Braque. In the later w o r k he attacked not its idiom or style, but the ideas it expressed or implied, its intellectual and emotional basis, which he saw as a pis aller of cosmopolitan sentimentality and resigned irony, resulting in an all-embracing lassitude. Here another aspect o f Blast emerges, an emphasis on vigour, which often has an Elizabethan ring: the Paris painters were transforming only 'the débris o f their rooms', whereas art should be 'electric with a mastered and v i v i d vitality' and involved with the 'grand masses' and 'larger f o r m content' o f life. 6 T h e 'best art is not priggishly cut o f f f r o m the mass o f the people' 7 but is 'a result o f the life of to-day, of the appearance and vivacity 44

o f that life.' L e w i s deplored the 'imitative and static side o f C u b i s m ' , its tastefulness and nature-mortism ( ' D e a d arrangements b y the tasteful hand w i t h o u t ' ) . T h e artist should m u l t i p l y in himself Life's possibilities, 8 and 'synthesize [the] quality o f

LIFE

w i t h the significance or spiritual w e i g h t that is the m a r k o f all the greatest art'. 9 Instead, C u b i s m , in its p o s t - 1 9 1 0 phases, offered a calculated deadness, an 'acrobatics', m e r e l y , o f the visual intelligence, a v i e w o f the studio instead o f the w o r l d . T h e w h o l e m o d e r n m o v e m e n t , then, is, w e maintain, under a cloud. T h a t c l o u d is the exquisite and accomplished, b u t discouraged, sentimental and inactive, personality o f Picasso. W e

must disinculpate ourselves o f Picasso

at o n c e . 1 0 H e t h o u g h t the Futurists had in their idee fixe 'a great pull o v e r the sentimental and sluggish eclecticism, deadness and preciosity o f the artists w o r k i n g in Paris', 1 1 and f o u n d in some o f them, n o t a b l y Baila and Severini ( ' t w o o f the most amusing painters o f our t i m e ' ) , 1 2 the ' v i v a c i t y and h i g h spirits' that C u b i s m lacked. H e admired the 'quality o f

LIFE'

in Futurist painting b u t adds, w i t h the clarity and justness that makes

his w r i t i n g o n art such a pleasure to read, that 'their merit, v e r y often, consists in this and n o t h i n g e l s e . ' 1 3 In v i e w o f the popular confusion b e t w e e n Post-Impressionism, C u b i s m

and

Futurism, L e w i s a l l o w e d , in the first issue o f Blast, that ' o f a l l the tags g o i n g , " F u t u r i s t " , for general application, serves as w e l l as a n y f o r the active painters o f t o d a y ' . 1 4 B u t e v e n earlier he had taken care to m a r k o f f his distance f r o m the m o v e m e n t : 'Futurism,' he writes, ' w i l l n e v e r m e a n a n y t h i n g else, in painting, than the art practised b y f i v e o r six Italian painters g r o u p e d beneath Marinetti's i n f l u e n c e . ' 1 5 A n d in Blast he continues, in characteristic v e i n : T h e Futurists h a v e n o t b r o u g h t a f o r c e o f i n v e n t i o n and taste equal to the best o f the Paris g r o u p to bear o n their m o d i f i c a t i o n o f the C u b i s t formulas. . . . N o n e o f the Futurists h a v e got, or attempted, the grandness that

CUBISM

almost

postulated. . . . T o the great plastic qualities that the best C u b i s t pictures possess they never attain. 1 6 Expressionism, as m i g h t be expected, interested h i m less than either C u b i s m or Futurism. H e finds 'the E x p r e s s i o n i s t s . . . and m o s t particularly K a n d i n s k y . . . ethereal, lyrical and c l o u d - l i k e - their fluidity that o f the Blavatskyish soul'; and K a n d i n s k y h i m s e l f 'so careful to b e passive and m e d i u m - l i k e , and . . . [so] c o m m i t t e d , b y his t h e o r y , to a v o i d almost all p o w e r f u l and definite forms, that he is, at the best, w a n d e r i n g and slack.' 1 7 B u t again he is quite w i l l i n g to find certain aspects o f the m o v e m e n t m o r e congenial, and in 1914 writes w i t h enthusiasm a b o u t a L o n d o n exhibition o f w o o d c u t s b y Pechstein, M a r c and other G e r m a n Expressionists. 1 8 H e included in Blast a translation b y E d w a r d W a d s w o r t h o f a part o f K a n d i n s k y ' s Concerning

the

Spiritual in Art, and stated in 1921 that 'abstraction . . . is justified and at its best w h e n its d i v o r c e f r o m natural f o r m . . . is c o m p l e t e , as in K a n d i n s k y ' s expressionism o r in the experiments o f the 1914 Vorticists.' 1 9

45

In his o w n art, the vivacity and multiplication of 'Life's possibilities' which Lewis demanded of painting appears first in his writing. These qualities are embodied in the figures of his short stories, characters possessed of a vitality and animal strength of life so compelling as to make them its slaves. In a mixture of awe and laughter at these puppets which had emerged from his youthful imagination, he called them 'The Wild B o d y ' , 2 0 a concept which became one of the main themes of his art for twenty years, and which, in 1 9 1 0 - 1 1 , he is seen attempting to carry over into his painting. He first succeeded in the drawings of 'dancers' of 1912 - the same year in which the portfolio of drawings Timon of Athens first gives visual expression to another pervasive preoccupation of his art: a tragic, intellectual vision, also, like the 'Wild Body', already implicit in the short stories. Henceforth both these aspects of his artistic personality are encountered in his painting, either separately or, more often, merging in his particular form of satire. The interaction of writing and painting was stronger in these years than it was ever to be again in Lewis's work, but even then he painted the borrowed theme with so little of literary allusion as to make it appear almost abstract. In a 1935 essay he explained how the two arts, in him, 'have co-existed in peculiar harmony': It was the sun . . . that brought forth m y first short story - The Ankou I believe it was. . . . I was painting a blind Armorican beggar. The short story was the crystallization of what I had to keep out of my consciousness while painting. Otherwise the painting would have been a bad painting. That is how I began to write in earnest. A lot of discarded matter collected there, as I was painting or drawing, in the back of my mind - in the back of m y consciousness. As I squeezed out everything that smacked of literature from m y vision of the beggar, it collected at the back of my mind. It imposed itself upon me as a complementary creation.... There has been no mixing of the genres. The waste product of every painting, when it is a painter's painting, makes the most highly selective and ideal material for the pure writer. 2 1 Lewis's painting does, in general, avoid rhetoric, in the sense of this passage. In the work considered in this chapter, this abstention is assisted by a limitation to simple themes or abstract modes. The subsequent development consists in part in the accretion of ideas into the work, while maintaining as much as possible the original purity.

THE EARLY

YEARS

(19OO-I9II)

At the Slade School Lewis drew competently enough to win a scholarship, 22 but his life as an artist did not begin, he writes in Rude Assignment, until he went to the C o n tinent. 23 He spent eight years there, pursuing, it appears from letters to his mother 2 4 almost our sole source of information about his activities during this period — an erratic artistic training punctuated by a f e w love affairs. He drew a great deal from the model, undertook series of pictures dealing with such grand subjects as 'the Creation of the World' or themes from Milton and made caricatures for sale to newspapers. All these pictures are lost. In 1904 he appears pleased to exhibit a drawing at the 46

N e w English Art Club, 2 5 then still 'the revolutionary society, the scandal of the day', though in fact not offering much more than a 'rather prettified and anglicized Impressionism', as he wrote of it ten years later. 26 In 1905 he was anxious to see and 'try to profit by' a Whistler memorial exhibition. A t one time he had a 'prodigious' number of drawings, was copying Hals and hoped soon to do some paintings in oil. But three years later he had given away or destroyed the drawings, was only 'starting' on a folder of things to show to dealers, and felt not yet ready to attempt a painting. He read the poetry of Samuel Butler, Laurence Binyon and Sturge Moore and wrote poems of his own, of which one, 'Grignolles', was published. 27 He formed friendships with Spencer Gore, with w h o m he shared a studio in Madrid, 2 8 and with Augustus John, only four years older than Lewis and already a brilliant, self-assured figure, w h o awed him: 'Near John I can never paint, since his artistic personality is just too strong', he wrote his mother from a long stay with the Johns at Ste-Honorine des Perthes where, he recalled later, 'I wrote verse when not asleep in the sun'. 29 In Rude Assignment30 he assesses his personality of these years as possessed of 'a kind of cryptic immaturity'; but since from this 'almost saurianly-basking sloth' there erupted, to his astonishment, the great comic figures of Brotcotnaz, Bestre and 'the Pole' of the short stories, he was not inclined to question too much this seemingly inspired obtuseness. The whole period was one of absorption in milieux new to the sheltered English schoolboy and art-student: boarding houses and studios in Munich, Holland and Paris; villages in Brittany, with their 'bums, alcoholic fishermen, and penniless students'; and the Russian classics, notably Dostoyevski, whose Possessed was for long his favourite reading. Significantly, it was not the struggles of good and evil in these books which attracted him, but scenes of grand satire, such as that from 'The Gambler' to which he refers in Rude Assignment,31 of the 'ruined general wiltfing] before the glare of his aged mother, borne aloft like a carnival figure in an armchair', an image which could come from Lewis's own writings. What few drawings remain from the period immediately following his return to London show that during the years on the Continent Lewis had turned his natural skill into a controlled, primarily linear technique. The wit already implicit in Two Nudes of 1903 is developed, and an unexpected power of anatomical invention appears. The new mastery is apparent in the brilliant composition of baroque heads called The Theatre Manager, and in Anthony, which is made credible, against the odds of its distortion, by textural and sculptural effects achieved with ink. This picture shows a witty contrast between the jagged, blue-ink pincer on the right, greenishyellow background on the left, and face (of the same colour as the paper) in the middle. These figures, and even more those in Café and Dieppe Fishermen, are almost literal transcriptions of the 'Wild B o d y ' characters, but they are more caricaturesque and less subtle than their literary models; between caricature and the classical draughtsmanship of Baby's Head, Lewis had, by 1910, not yet found a style that could be the basis of a sustained effort. The pictures do demonstrate a lack of interest in the mild Impressionism of London's 'advanced' painters, w h o m he nevertheless joined in 1 9 1 1 as a founder-member of 47

PI. 1

Pis 2, 1

Pis 3-4

the Camden T o w n Group. The Theatre Manager does more and may in fact be the earliest work outside Paris to show a knowledge of Picasso's Demoiselles d'Avignon (1907). But this acknowledgment of early Cubism remains an isolated one in Lewis's work till, in 1 9 1 1 , the impact of the rccent Paris painting becomes clear and decisive. The pictures of that year 3 2 are almost programmatic displays of the elements which he had taken from the geometric, cubistic style that had conquered Europe: tightlycontrolled formal structure, compositional elements bounded by sharply-defined edges and the mixing of straight lines and curved geometric forms. What is remarkable in this assimilation is that, as was to become usual with Lewis, it appears all of a sudden, without apparent development, offering only a finished product bearing all the marks of his artistic personality. One recognizes features of his style of several years later. In Girl Asleep he gives an almost abstract aspect to the hair, pillow and hand, succeeds in foreshortening the arm in such a w a y as not to disturb the abstract quality of the design, and places an incipient vortex at the intersection of hair and pillow. In The Laughing Woman he uses the same cones and arcs which make up the blouse in the mouth, eyes, neck and hair as well. In Smiling Woman Ascending a Stair abstract background forms set off the figure with which, in the drawings grouped around Timon of Athens, they will merge. In these works Lewis succeeds in the triple task of announcing his borrowings, parodying the forms in which others were using them, and producing pictures which are masterpieces in their own right. These drawings link the caricaturesque figures of 1909-10 with the transformation to come in 1 9 1 2 and, in their scurrilous grins, announce the future creations to be named the ' T y r o ' and the 'Enemy'.

THE ' W I L D

BODY'

Squaring up a drawing of three naked youths sniffing the air, with rather worried Greek faces, and heavy nether limbs, he stuck it on the wall with pins. . . . B y the end of the afternoon he had got a witty pastiche on the way. T w o colours principally had been used, mixed in piles on two palettes: a smoky, bilious saffron, and a pale transparent lead. The significance of the thing depended first on the psychology of the pulpy limbs, strained dancers' attitudes and empty faces; secondly on the two colours, and the simple yet contorted curves. Tarr (New York, 1926, p. 209)

The formal language and freedom of design which Lewis adopted from Continental painting were so close to his o w n inclination that one feels he might almost have developed them himself. With the ideas, on the other hand, which by 1 9 1 0 had become firmly associated with the new style, he disagreed, as w e have seen, and this disagreement brought with it his major artistic problem of the years 1 9 0 9 - 1 1 . This was the difficulty of finding representational symbols or counters which had not been appropriated by the new painting, in what, for Lewis, amounted to a devaluation 48

of the common object. For, whether he wanted to represent rooftops, cafés, interiors, lakes, boulevards, or a man smoking a pipe, he would have to overcome the social or psychological associations which a particularly pervasive Zeitgeist had imposed upon such objects. Lewis's solution, which took him two years to w o r k out, was simple and effective. He denied himself almost entirely the iconographie props used by his contemporaries and introduced his figures, upon the stage thus bared, like sculptures in an empty space. He makes them performers of a simple dance movement outside of which their Pis existence is not defined: they are executants of a single ritual. If this abstraction of subject is very similar to that found in the short stories, Lewis's painting, in turn, now transformed his writing: while the stories are written in a manner Hugh Kenner can call 'a blend of Dickens and Chesterton', 33 a play, The Enemy of the Stars (written two years later in 1 9 1 3 - 1 4 ) is as radical an experiment as any of his abstract pictures of the time. He n o w looked upon his literary contemporaries as 'too bookish and not keeping pace with the visual revolution' : the play was 'my attempt to show them the w a y . ' 3 4 The 'Wild B o d y ' theme still reverberates in Lewis's later writings and pictures and grows faint only in the forties. Because of its importance in his oeuvre, it is worthwhile to look at the characters which were its first, literary, embodiment. In Rude Assignment Lewis describes these protagonists as 'primitive, . . . immersed in life, much as birds, or big, obsessed, sun-drunk insects.' 'The body was wild,' he continues, 'one was attached to something wild, like a big cat that sunned itself and purred.' 3 5 The 'Wild B o d y ' is an abstraction. It is but a part of our personality: our behaviour at its wildest, most charged and tenacious, as it would appear to a literary Pavlov who delights in observing the human antics. It is through the eyes of such an observer that these figures are seen as 'intricately moving bobbins', 'creaking men-machines, some little restaurant or fishing-boat works'. Their enormous vitality is in the service of an obsession; their lives, seemingly free, arc in reality spectacles 'as complete as a problem of Euclid'. Here is one of them, engaged in the dance that makes up his particular ritual. Moran, the innkeeper, rolls between his tables ten million times in a realistic rhythm that is as intense and superstitious as the figures of a war-dance. He worships his soup, his damp napkins, the lump of flesh that rolls everywhere with him called Madam Moran. . . . All such fascination is religious. Moran's damp napkins are the altar-cloths of his rough illusion, Julie's bruises are the markings on an idol. 36 What gives Lewis's creatures their considerable fascination, and removes them from notions of social criticism, is their passion; w e admire intense emotion and do not think of criticizing or curing it. Endowing his mechanisms with passion was one of Lewis's most fertile ideas. It added to the satire an element of celebration : a mixture he used in all his most successful creations (though the fact has not often been noted). The idea had worked before, as he implied when he drew a comparison between his own figures and Sam Weller, Jingle, Malvolio, Bouvard and Pécuchet and the 'commissaire' in Crime and Punishment.37 49

5-16

v

T h e 'Wild B o d y ' figure is expanded to a larger scale in the novel Tarr (written during 1 9 1 4 - 1 5 ) . T o Lewis's surprise, its embodiment, the German, Kreisler, came to dominate the book, easily displacing in interest its intended hero, Tarr, the intellectual and artist. Tarr theorizes about the artist's need f o r 'more energy than civilization provides, or than the civilized m o d e o f life supplies: m o r e naïveté, freshness and unconsciousness', 38 but he does not himself exhibit these qualities o f the ' W i l d B o d y ' . Lewis's most interesting artist figures do. In the final version o f ' L e Père François', in the partly self-parodying ' T y r o ' and ' E n e m y ' personae o f the twenties, in such figures as Snooty Baronet o f the novel o f that name, and M a j o r Corcoran of America I Presume, the artist or narrator shares the vitality and single-mindedness o f the objects of his satire: ' H a v e a cigarette,' I said. [Le Père François] eyed m y luxurious new cigarette case. He perceived the clean, pink shirt and collar as I drew it o u t . . . I smiled at him broadly, showing him m y big white, expensive teeth, in perfect condition. 3 9 T o give the ' W i l d B o d y ' visual f o r m , Lewis made out of the compulsive rhythm of the stories a dance motif, stripped it of literary connotations, and rendered it in a style which, independently, endows the action with a mechanical quality. T h e drawings in which the subject makes its first appearance represent one or t w o figures in a dance shown as an actual rhythmic stance or, less literally, an encounter in combat, mating or other physical action, always with overtones of Moran's quasi-religious movements.

Pis 5-9

PL 5

T h e drawings, in all their variety, can be seen as gradually progressing t o w a r d abstraction. In this v i e w , Lewis, after discovering h o w to apply the ' W i l d B o d y ' motif to his painting, briefly abandoned the cubistic idiom he had begun to use in 1 9 1 1 , to take it up again within the year, n o w equipped to absorb it into a geometric and near-abstract style of his o w n . According to this hypothesis, the figures which I call 'primitive' and the 'curved-line' figures are the earliest w o r k s of 1 9 1 2 , evolving later in the year into the 'geometric' figures and abstractions; these developments m a y well have proceeded simultaneously, as Lewis was always f o n d o f pursuing several paths at once. T h e 'primitives' o f the race o f ' W i l d B o d y ' dancers strike an anthropological note never to recur in Lewis's w o r k . Earth-coloured and roughly shaped, they resemble the ground which seems to have brought them forth. Eyes are mooning, or stare uncomprehendingly; heads are faces stuck on thick necks that are muscular extensions o f the b o d y ; the small skulls hardly provide r o o m f o r a brain. W h e r e there are several figures they do not communicate - only rosebud mouths, ingratiating expressions and generous physical endowments suggest a propensity f o r mating. A more abstract tendency takes over in The Starry Sky, whose figures appear to be made up f r o m irregular crystalline forms, while the w h o l e composition is swept into diagonal stratifications. T h e style is still loose but more linear, and the backgrounds 50

may be proto-Vorticist, as in several other examples on pis 6-7. Variations in the same direction are the linear sculptural effects, not unrelated to The Green Tie of 1909, in Two Mechanics. Blue Nudes, with its freely flowing limbs, forms the transition between these and the 'curved-line' drawings which, with their greater closeness to the human form, allow more scope for Lewis's powers of anatomical design. The result is the stunning display of visual imagination and invention seen, for example, in the variety with which the distinction between the middle portions of the male and female partners is rendered, in the contrast between the coy contortions of the male and the aggressive step of the female (Courtship), or the elegant strut of one and graceful tilt of the other figure (The Domino). In these drawings, Lewis's pen seems capable of any feat, yet its virtuosity is always subject to restraint. The figures in each pair, though different from all the others, are each of the same species, and though variations in posture are used to give individuality to the compositions, these always remain within the framework of a simple dance movement. On pis 1 1 - 1 6 the 'curved-line' figures, now drawn with wide, slit-like eyes, eyebrows joined in a straight-line, broad nose and thick though not negroid lips, become more mechanical. Influences of Oceanic masks appear. (Lewis has allowed that he often passed arrays of such masks in the British Museum. 4 0 ) In these works the line, now often extending beyond the boundaries of the figure, acquires a new aspect which may be called geometrical, for it appears almost as if it had been drawn with a mathematical instrument. In The Vorticist, Eighteenth-century Amazons and Lovers, this line is supplemented by straight lines and acute angles, in passages which become almost abstract. The female figures, frequently the subject of these drawings, are voluptuously limbed but cold. These works represent life frozen into a contorted abstraction, like posters presenting a schematic form of the reality they advertise. Poster for the Cabaret Theatre Club, which is a poster, is therefore the most succcssful. Two Vorticist Figures and Lovers use the 'geometric' devices but are somewhat apart from the group. In the first, an arc rises, defines the sweep of a leg in one figure and continues into the torso of the other. Elliptical arcs and ovoids intersect to form the sections of legs and trunk, while the near-vertical leg and arm of the right-hand figure form a striking pattern, like a fan-shaped tree. The vitality of the design radiates outwards to the edges of the paper. The physical contact and divergent gaze of the protagonists convey a degree of emotion which the other 'geometric' pictures do not seem to attempt. In Lovers a slight departure from formality in the postures and masks similarly brings an influx of expressionist heat to the marble geometries. As they move toward abstraction, the figures of 1 9 1 2 merge into the overall pattern. It becomes difficult to say whether these are figures condensed from an abstract design, or designs built out of figurative shapes. The drawing of dancers for a mural has for its main axis a shaft sloping downward from the upper left, from which the arms and legs, a head and a torso are flung out in a staccato rhythm of whirling black and white projections. This figure drawing is almost abstract. The design reproduced below it, which is an abstraction, on close examination reveals 5i

Pis 8-g

Pis

10,12

PI. 14

PI. 16

three figures, one kneeling and t w o f i g h t i n g o r dancing, a m o n g the tranquil c o m b patterns w h i c h collide w i t h j a g g e d f r a g m e n t s to f o r m a v o r t e x . L e w i s ' s chief attempt to d o s o m e t h i n g m a j o r w i t h the 1 9 1 2 style, w h i c h w e h a v e seen h i m a p p l y i n g so far m a i n l y in one, t w o , or occasionally three or f o u r - f i g u r e d r a w i n g s , is Timon of Athens. T h i s in turn leads to the abstractions o f 1913, a d e v e l o p m e n t w h i c h w i l l be traced in the f o l l o w i n g section.

ABSTRACTION

AND

REPRESENTATION

T h e finest A r t is n o t pure Abstraction, n o r is it u n o r g a n i z e d life. 'Futurism, M a g i c and Life', Blast No. l

W e must constantly strive to

ENRICH

abstraction till it is almost plain life.

T h e h u m a n and sentimental side o f things, then, is so i m p o r t a n t that it is o n l y a question o f h o w m u c h , i f at all, this cripples o r perverts the i n h u m a n plastic nature o f painting. ' A R e v i e w o f C o n t e m p o r a r y A r t ' , Blast No. 2

In his writings, L e w i s did n o t take an e x t r e m e stand f o r o r against either abstraction or representation, and his oeuvre, e x c e p t in certain totally abstract pictures o f the prew a r years, s h o w s h i m w e l d i n g the t w o together. B u t it is almost exclusively these abstract pictures that he relied o n to represent his w o r k in Blast No. 1, the issue designed to acquaint the w o r l d w i t h h i m s e l f and the g r o u p around h i m . T h e choice m a y b e explained simply b y the e x c i t e m e n t and publicity value o f these brilliant compositions. B u t it supports the assumption, substantiated b y passages in the autobiographical writings, that there w a s a p e r i o d w h e n L e w i s painted e x clusively in an abstract m o d e . In Rude Assignment,

f o r e x a m p l e , he speaks o f h a v i n g

f o u n d h i m s e l f in an 'abstractist cul-de-sac', o u t o f w h i c h the w r i t i n g o f Tarr ' d r a g g e d ' h i m . T h e turning point w a s the d i s c o v e r y that ' w o r d s and syntax w e r e n o t susceptible o f transformation into abstract terms, to w h i c h process the visual arts lent t h e m selves quite readily.' 4 1 T h e m o d e r a t i o n o f the statements in Blast q u o t e d a b o v e suggests, and the dates o f the d r a w i n g s c o n f i r m , that this exclusively abstract p e r i o d can o n l y have lasted a f e w m o n t h s at the m o s t . A p a r t f r o m this phase, L e w i s used b o t h representation and abstraction w i t h c o m Pl. 28

plete f r e e d o m . T o t a l abstractions w e r e designed b y the d o z e n in a Vorticist sketchb o o k o f 1 9 1 4 - 1 5 , at the same t i m e as the ' p r i m i t i v e ' figures w e r e r e v i v e d in p e n - a n d -

Pls 25-6 PL 24 PL 29

ink exercises such as Cactus and Demonstration.

At the Seaside c o m b i n e s the t w o

approaches; Circus Scene l o o k s as i f it had been d r a w n in 1909, subsequently m o d i f i e d b y the addition o f some g e o m e t r i c touches, and dated 1 9 1 4 - just as Dragon in a Cage, b e g u n in 1914, w a s eventually c o m p l e t e d and signed in 1950. I f there w a s a n y t h i n g p r o g r a m m a t i c in L e w i s ' s stand at this p e r i o d it w a s his c o n v i c t i o n that a t w e n t i e t h - c e n t u r y art m u s t in s o m e w a y m a k e use o f the associations p r o v i d e d b y m a c h i n e r y . T h o u g h he w r o t e , as early as 1915, that 'the f u n d a m e n t a l qualities are the same . . . in the great art o f e v e r y t i m e ' , h e k n e w also that the i d i o m

52

PP- 1 1 3 - 4 ; W . Michel and C . J . F o x , Wyndham Lewis on Art ( N e w Y o r k , 1970; London, 1 9 7 1 ) - hereafter referred to as

10

12 13 14

15 16

'Inferior Religions' (1917), as reprinted in The

1 8

1;

'The Cubist R o o m ' , (reprinted in Appendix I). ' A R e v i e w of Contemporary Art', Blast No. 2; WLOA, p p . 6 3 - 6 .

17

pp. 2 4 1 - 2 .

jo 59

The Caliph's Design; WLOA, p. 150. 'Marinetti's Occupation', Blast No. 2, p. 26. ' T h e London Group', ibid.; WLOA, p. 85. ' T h e Melodrama of Modernity', Blast No. WLOA, p . 4 6 .

WLOA - P P . 4 1 - 2 .

Ogata Korin (c. 1 6 5 7 - 1 7 1 6 ) , Japanese painter and lacquerer, whose work is characterized by 'a bold impressionism expressed in f e w and simple highly idealized forms, with an absolute disregard either of realism or of the usual conventions' (Encyclopaedia Britannica), W . B . Yeats, ibid., p. 225. Constantine P. Curran, James Joyce Remembered (London, 1968).

'The London Group', Blast No. 2; WLOA, p. 85. ' A R e v i e w of Contemporary Art', ibid.; WLOA, p . 6 6 .

11

Wild Body (London, 1 9 2 7 ; N e w Y o r k , 1928), 6

8

role of the sea in Lewis's painting has been discussed by Sheila Watson in ' W y n d h a m Lewis and the Underground Press', Arts Canada, N o v e m b e r 1967. The Caliph's Design; WLOA, p. 174. 'The Exploitation of B l o o d ' , Blast No. 2, p. 24. 'Futurism, Magic and Life', Blast No. 1;

Ibid.; WLOA, p. 63.

18

' N o t e on Some German Woodcuts at the T w e n t y - O n e Gallery', Blast No. 1; WLOA,

19

Foreword to the ' T y r o s and Portraits' exhibition, 1 9 2 1 (reprinted in Appendix I). Lewis introduced the term in his essay'Inferior Religions' in The Little Review, September 1 9 1 7 , and later made it the title of a collection of his early short stories which was published in 1 9 2 7 . L. A. G. Strong, ed., Beginnings (London,

pp. 39-40.

46

20

21

1 9 3 5 ) ; WLOA, p. 2 9 5 . 22

CHAPTER I

43

1

2

3

Later published in The Wild Body as 'Beau Séjour'. Ford M a d o x Ford, It Was the Nightingale (Philadelphia, 1 9 3 3 ; London, 1934), p. 323. According to Sir William Rothenstein, w h o befriended Lewis at the time, in his autobiography Men and Memories (London, N e w Y o r k , 1 9 3 2 ) , v o l 2, p. 27.

4

44

150

5

The Caliph's Design (London, 1 9 1 9 ) ; WLOA, p. 1 6 4 . 'Manifesto', Blast No. 1 ; WLOA, pp. 2 7 - 3 1 . T h e

Under the will of Felix Slade t w o scholarships of -£35 per annum, tenable for three years, were awarded to students of the school under the age of twenty-one; Lewis was one of the two winners in the 1899-1900 session. T h e two drawings Male Nude, Standing and Nude Boy Bending Over on pi. 1 are thought to be works submitted in the scholarship c o m petition. Also in the 1899-1900 session, Lewis was one of some thirty-five students awarded a Certificate in figure drawing. (Information f r o m University College Calendar, 1900-1, pp. 2 1 1 - 2 , xlxi, li.)

23 24

4j

25 26

27

28 29 30 31

48

4P

32

33

34 35 36

37

50

38

39

51

40

52 54

41 42

Rude Assignment (London, 1950), p. 1 1 2 . The quotations which follow are taken from W. K. Rose, ed., The Letters of Wyndham Lewis (Norfolk, Conn.; London, 1963) - hereafter referred to as Letters-pp. 10-39. See Letters, p. 13. 'History of the Largest Independent Society in England', Blast No. 2; W L O A , p. 90. 'Grignolles (Brittany)' in The Tramp: an openair magazine, December 1910, p. 246. See Letters, p. 6. Rude Assignment, p. 120. Ibid., p. 1 1 8 . Ibid., p. 145. The dating of the 1 9 1 1 pictures is based largely upon similarities with the dated Girl Asleep and Mamie, and the fact that no pictures in this style are found in the copious output of 1 9 1 2 and the following years. It is of interest to note that Miss Kate Lechmere thinks she was the model for Smiling Woman Ascending a Stair. Her recollection is that she met Lewis in 1 9 1 1 , when dining at the R. P. Bevans' (letter to the author, 23 February, 1968). Hugh Kenner, Wyndham Lewis (Norfolk, Conn.; London, 1954), p. 12. Rude Assignment, p. 129. Ibid., p. 1 1 7 . This and the preceding quotations are from 'Inferior Religions', The Little Review, September 1917, pp. 3-4. Ibid., p. 4. In the later reprinting, in The Wild Body, p. 236, the first two names are replaced by 'Boswell'sJohnson' and 'Mr Veneering'. Quoted from the epilogue to Tarr, written in 1915, as it appeared in The Egoist, November 1917. The Wild Body, p. 189. Letter to James Thrall Soby of 9 April 1947. Letters, p. 407. See also chapter II, note 55. Rude Assignment, p. 12g. 'A Review of Contemporary Art', Blast No. 2;

51 52

53

54

55 56

57

58

59

60

44 45

46

55

47

48

49

56

50

'Our Vortex', Blast No. 1; WLOA, p. 53. The Caliph's Design; W L O A , p. 150. Ezra Pound, 'Wyndham Lewis', The Egoist, 15 June 1914. D. Goldring, South Lodge (London, 1943), pp. 64-5. 'Relativism and Picasso's Latest W o r k ' , Blast No.

1; W L O A , p . 4 3 .

'PlainHome-builder:whereisyourVorticist?', The Architectural Review, November 1934; WLOA, p. 2 7 8 .

Reprinted in Letters, p. 504. Letter from Ezra Pound to John Quinn, dated

60

61

CHAPTER

61

1 2 3

II

Blasting and Bombardieting (London, 1937), p. 8. 'Wyndham Lewis', The Egoist, 15 June 1914. 'The Vorticists', Vogue (London), September 1 9 5 6 ; WLOA, p. 4 5 5 .

4

WLOA, p. 70. 43

57

10 March 1916, reprinted in D . D . Paige, ed., The Letters of Ezra Pound (London, 1951), pp. 1 2 1 - 2 . Ibid. Frederick Etchells in conversation with W. C. Lipke, reported by Dr Lipke in his doctoral dissertation, p. 88. Letter to Lewis from the Countess of Drogheda of about 30 November 1913 (Department of Rare Books, Cornell University). A copy of an invitation card is in the Department of Rare Books, Cornell University. South Lodge, p. 13. See also Tate Gallery: Modern British Paintings, Drawings and Sculpture (London, 1964), vol. II, pp. 563,609. Letter to the Editor, The New Age, 8 January 1 9 1 4 ; reprinted in Letters, pp. 54-5. This quotation and those following are taken from letters of Ezra Pound to John Quinn, dated 23 August 1 9 1 5 ; 25 April, 13 June and 10 July 1916 (John Quinn Memorial Collection, N e w Y o r k Public Library). 'Post-Impressionist Pictures. Exhibition at the Dorè Gallery', The Times, 16 October 1 9 1 3 . Daily Sketch, 24 February 1927. Richard Wyndham wrote that he bought some sixty drawings and paintings, 'practically the whole of the Vorticist section of Quinn's collection' - a claim substantiated by the auction records. See ' A n " A g o n y " Surprise for Chelsea', Daily Express, 4 September 1930; also Lewis's broadsheet quoting this article, inserted in his pamphlet Satire and Fiction (London, 1930).

5

62

5

7

Blasting and Bombardiering, p. 260. It was not until 1 9 1 4 that Joyce completed A Portrait of the Artist as a Young Man and began Ulysses. Eliot's poems were first published in 1915, though completed earlier. Dr W. C. Wees has informed me that his forthcoming book will deal with these questions. The clashing colour of the cover has been called puce by Lewis, magenta by Pound, and sanguinary puce by one scholar, but is in fact violet-red, as may be determined by reference to the Methuen Handbook of Colour (London, 1967). Cf. Blasting and Bombardiering, p. 5 1 ;

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13 14 15

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letter to Lewis of 3 December 1924, reprinted in Paige, Letters of Ezra Pound, p. 2 6 1 ; G. Wagner, Wyndham Lewis (London, 1957), p. USThe cover of Blast is reproduced in blackand-white in Anthony d'Offay, Abstract Art in England 1913-15 (London, 1969), p. 5. Pages from Blast are photographically reproduced in Kenner, Wyndham Lewis, pp. 1 8 - 1 9 ; The Times Literary Supplement, 25 April 1968, p. 424; d'Offay, Abstract Art in England j915-j5.pp.6-7. As already argued by W. C. Wees in 'Ezra Pound as Vorticist', Wisconsin Studies in Contemporary Literature, Winter-Spring 1965, pp. 56-72. Blast No. 1, p. 18. Pater's maxim on art approaching the condition of music is quoted in Blast No. 1 (p. 154) but, significantly, by Pound, not Lewis. See also Blasting and Bombardiering, p. 42. See, for example, Letters, pp. 66-7. Richard Aldington probably describes the atmosphere best, in his remark that ' M r Lewis has carefully and wittily compiled a series of manifestos to which we have all gleefully set our names.' (The Egoist, 15 July 1914, p. 272). Ezra Pound on several occasions has asserted Lewis's leading role (see, e.g., his article 'Blast' in The Egoist, 15 June 1914 and his letter quoted on p. 67). The late Helen Saunders, a Vorticist painter herself, in a letter written to me in 1962, writes: ' Y o u are I am sure right in thinking that Lewis was to all intents and purposes Blast and carried the rest of the team with him, some from conviction and some no doubt for their own purposes of advertisement.' (Her impartiality may be gauged by a remark, which she adds, to the effect that she considers Gaudier to have been the most considerable artist in the group.) Lewis himself has also declared that it was he who wrote the manifestos (Blasting and Bombardiering, p. 42; Wyndham Lewis the Artist, pp. 15-16). The Egoist, 1 July 1914. Reprinted in Letters, pp. 47-50. Quotedin Rude Assignment, p. 123. Nevinson in February 1 9 1 1 ; Etchells, Saunders, Wadsworth, Nevinson, February 1 9 1 2 ; Wadsworth, Nevinson, January 1913 ; Nevinson, February 1914. (I owe this list to W. C . Lipke.) 'History of the Largest Independent Society in England', Blast No. 2; W L O A , p. 92. Quoted in Rude Assignment, pp. 1 2 3 - 4 . Leonard Woolf, Beginning Again (London, 1963; N e w Y o r k , 1964), p. 95.

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28 29

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jo

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'The Ideal Home Rumpus', Apollo, October 1964, pp. 284-91. Spencer F. Gore to Roger Fry, 7 October 1 9 1 3 , quoted in the source given in note 19. Lewis to Fry, n.d. (August-September 1913), quoted in Letters, p. 46. Quoted in the source given in note 19. Paid at this rate and working five days per week (which the Omega artists didn't) one would earn c. £8 per month. Even though at the time £ 1 1 to ^ 1 2 per month would secure 'the most comfortable lodgings at Brunswick Square and first class cooking' (Woolf, Beginning Again, p. 54), the salary was clearly nominal. Letter of 24 October 1 9 1 3 in the Department of Rare Books, Cornell University. The formation of what was later to be called the London Group was discussed at a Camden T o w n Group meeting on 25 October 1 9 1 3 ; see Malcolm Easton, Art in Britain 1890-1940 (Hull, 1967), appendix, p. 66. Lewis appears to have considered calling the movement 'Blasticism' to judge from a note reading 'Blast - the bimonthly organ of Blasticism' (Department of Rare Books, Cornell University). C. R. W. Nevinson, Paint and Prejudice (London, 1937; N e w Y o r k , 1938), p. 76. In William Roberts A RA: retrospective exhibition (Arts Council, London, 1965) the chronology states that Roberts met Lewis and left the Omega Workshops in the spring of 1914. Quoted in W. C. Wees, 'Pound's Vorticism: some new evidence and further comments', Wisconsin Studies in Contemporary Literature, Summer 1966, pp. 2 1 1 - 1 6 . Reprinted in Appendix I. Frank Rutter, in his column 'Art and Artists', New Weekly, 4 April 1914, announces the opening of the Centre and lists the members. Prospectus: The Rebel Art Centre, and Prospectus: The Rebel Art Centre: The Art School. I am indebted to M r Anthony d'Offay for allowing me access to the copies of these prospectuses in his collection. Henri Gaudier-Brzeska, 'Allied Artists' Association Ltd, Holland Park Hall', The Egoist, 15 June 1914. Reprinted in Ezra Pound, Gaudier-Brzeska (Hessle, Yorkshire, i960), pp. 30-5. Wyndham Lewis, 'The Vorticists', Vogue (London), September 1956; W L O A , p. 457. Horace Brodzky, Henri Gaudier-Brzeska ,18911915, (London, 1933), pp. 90-1.

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38 39

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45 46 47

William Roberts, Cometism and Vorticism: A Tate Gallery Catalogue Revised (London, 1956), last page. According to Sam Hynes (ed.), Further Speculations by T. E. Hulme (Minneapolis, Minn., 1955), p. i07n. W. C. Lipke, David Bomberg (London, 1967), p. 4 1 . The lecture was held at the Dore Gallery. The event is described in Blasting and Bombardiering, p. 36. Epstein, Gaudier, Hulme, Wadsworth, a 'very muscular' cousin of his, and a few others took part. See Letters, pp. 54-6. Pound had used the term 'Vortex' before, in a letter of December 1913 to William Carlos Williams (Paige, Letters of Ezra Pound, p. 65). But evidently its use as a name for the Blast group was not yet contemplated by the time the number of The Egoist dated I J April was in print. B y way of further confirmation, the first numbered page is 1 1 , whereas it should be 13 if the manifesto 'Long Live the Vortex' had been counted. The name 'Blast' had been decided upon by 1 7 November 1 9 1 3 . B y 4 February 1 9 1 4 the distribution list had been worked out, with fifty to one hundred copies assigned to each of a dozen Continental cities. As early as this date Wadsworth mentions the possibility (though not likelihood) of publication of Blast 'within a month' (letter from Edward Wadsworth to Lewis, Department of Rare Books, Cornell University). These dates and those of the announcements in The Egoist cited above, together with the fact of the complex typography and considerable length of the review (164 pages), make it virtually necessary to assume that the printing was substantially complete in March. The first advertisements using the term 'Vorticism' did not appear until June (The Spectator, 13 June 1914, p. 1015). Blast was released just prior to its review in The Times on 1 July 1914. Quoted by Michael Ayrton, letter to the Editor, The Times Literary Supplement, 3 January 1958. In the article cited in note 3 1 . W . C. Lipke, who sees the movement as continuing for some years, traces its influence on later painting. Pound, Gaudier-Brzeska, pp. 18, 25, 26. Rude Assignment, p. 125. Duncan Grant was also among the 'nonVorticist' artists included in the exhibition.

48

49

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50 51

52

Their names are found in the catalogue, but not on the printed invitation card. William Roberts, Abstract and Cubist Paintings and Drawings (London, n.d.), p. 4. See also Lipke, David Bomberg, Ch. 2. The fact that in his geometric works of the time he occasionally comes close to certain compositions of Lewis and Gaudier does not make Epstein a Vorticist, any more than titling some of his drawings 'Vorticist', as Richard Buckle has done in the case of three illustrations in his Epstein Drawings (London, 1962). T w o of the drawings were certainly not originally so titled, for they were carried out before the word was invented (Buckle, Figs 27 and 2Q, there dated 1 9 1 2 and 1 9 1 3 , respectively). The third, 'Vorticist Drawing' (Buckle, Fig. 33), if Mr Buckle's 1915 dating is correct, was probably not so named by Epstein himself, for by March of that year the sculptor had a 'feud' with Lewis (Paige, Letters of Ezra Pound, p. 95) and a month later referred to the Vorticists as 'plagiarists f r o m Marinetti' (letter to John Quinn, April 1 9 1 5 , John Quinn Memorial Collection, N e w Y o r k Public Library). Letter to the author, 27 October 1962. John Quinn Memorial Collection, N e w Y o r k Public Library. It seems clear that the inclusion in the Tate Exhibition of unrepresentative selections of pictures by other painters, subsumed under the title 'Wyndham Lewis and Vorticism', gave reason for offence. William Roberts, in a number of pamphlets of the time, vigorously assailed the exhibition and made some unjustified attacks upon Lewis as well as others. The picture occasionally painted by certain critics (less witty than Roberts) of Lewis as the master mind, plotting to make the dozen other artists exhibited look inferior by having them inadequately represented, is either malicious or based on ignorance. When the exhibition was organized Lewis was dying of a tumour which had rendered him blind six years earlier and had caused his general health gradually to deteriorate (he survived the exhibition by only six months). Even in 1955, when I met him, he was weak and unable to take much food. He worked (on The Human Age) for four hours a day, which exhausted him; dictating the book, he would, I was told, nod off in the middle of a sentence (to pick up, it was reported, on awakening, precisely where he had left off). It is only reasonable to assume (and Sir John Rothenstein

153

has kindly informed me he will confirm the fact in the forthcoming volume of his autobiography) that Lewis would have felt more honoured had the exhibition been formally what it was in fact: a 'Lewis retrospective'. He was disappointed that it wasn't and may be assumed to have left whatever other arrangements were made to the organizers of the show. N o r has he ever claimed that any painter was influenced by him. His statement in the preface to the Exhibition catalogue that Vorticism was what he did, taken with the qualifications which its brevity obviously demands (and which it has taken several sections of this book to give), is correct. Blasting and Bombardiering, p. 258. At the foundation of the Camden T o w n Group early in 1 9 1 1 , the inclusion of Lewis's name among the proposed members 'had caused much opposition in certain quarters of the group, as he was at that period touching the fringes of cubism, anathema to certain of the members. But they had to reckon with Gilman who was determined that Wyndham Lewis should be one of the select few.' (Charles Ginner, 'The Camden T o w n Group', Studio, November 1945.) The most extended discussion (and even this, very short) is given by Geoffrey Grigson in 'Painting and Sculpture' (in G. Grigson, ed., The Arts To-Day, London, 1935, pp. 7 1 - 1 3 3 ) , where he cites Oceanic masks, Cézanne and Léger. Benedict Nicolson, reviewing Charles Handley-Read's monograph on Lewis (Time and Tide, 16 February 1952), points to D u champs. See also the following note. The influence of these various directions upon the Vorticists is the subject of extended discussions in W. C. Lipke's doctoral dissertation. See also the same author's 'Futurism and the developmentofVorticism'. Studio International, April 1967. It is useful to recall that in 1913 Lewis was thirty-one, and so less likely than some of his colleagues to be seduced by temporary enthusiasms. In the same year Roberts, Gaudier, Bomberg and Wadsworth were between eighteen and twenty-four years old. Rude Assignment, p. 1 1 1 . Reprinted in Hynes, Further Speculations by T. E. Hulme. 'Bergson was an excellent lecturer, dry and impersonal. I began by embracing his evolutionary system.' Wyndham Lewis to Theodore Weiss (19 April 1949), reprinted in Letters, p. 489.

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65 66 67

68 69

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Blast No. 1, p. 2 1 . Blasting and Bombardiering, p. 106. Reprinted in Herbert Read, ed., T. E. Hulme, Speculations. Essays on Humanism and the Philosophy of Art (London, 1924). Letter from David Bomberg, quoted in A. R. Jones, The Life and Opinions of Thomas Ernest Hulme (London, i960), p. 1 1 6 . M. Roberts, T. E. Hulme (London, 1938), pp. 20,74. Blasting and Bombardiering, p. 107. Ibid., p. 106. T. E. Hulme, 'Modern Art, III: The London Group.' The New Age, 26 March 1914 (reprinted in Hynes, Further Speculations by T. E. Hulme). The New Age, 2 April 1914. Hulme writes that Bomberg's work is 'certainly much more individual and less derivative than the work of the members of the [Rebel Art Centre] group. The tendency to abstraction does seem in his case to have been a logical development of tendencies which were always present even in his earlier drawings, and not merely the result of a feverish hurry to copy the latest thing from Paris.' T. E. Hulme, 'Modem Art, I V : M r David Bomberg's Show.' The New Age, 9 J u l y 1914 (reprinted in Hynes, Further Speculations by T. E. Hulme). See Jones, The Life and Opinions of Thomas Ernest Hulme, p. 124. Department of Rare Books, Cornell University. This story of her first encounter with Hulme was told me by Miss Lechmere in 1968. As shown by letters from Kate Lechmere to Wyndham Lewis of 19 M a y [1914] and [May] 1914, and from Nevinson to Lewis, of 24 M a y [1914], all in the Department of Rare Books, Cornell University. Excerpts were also published by Douglas Goldring in The Tramp, August 191 o, pp. 487-8, In a letter of 4 November 1913 Fanny Wadsworth writes to Lewis: 'Nevinsou wants to get up a dinner for Marinetti who is coming to London November 14th for six days. I think it would be a good thing to do - if you think so, communicate with him.' (Department of Rare Books, Cornell University). Letter to Mrs Percy Harris, November 1 9 1 3 . Letters, pp. 53-4. 'L'Antitradizione Futurista', Lacerba, 15 September 1 9 1 3 . The first two pages are reproduced in J. C. Taylor, Futurism ( N e w

78 79 80

Y o r k , 1961), p. 140. The original French version, which appeared in June 1 9 1 3 , has been recently reproduced in S . W . Taylor, 'Apollinaire 1 8 9 0 - 1 9 1 8 ' , The London Magazine, N o v e m b e r 1968. Goldring, South Lodge, p. 64. 'The Cubist R o o m ' is reprinted in Appendix I. New Weekly, 20 June 1 9 1 4 . T w o other articles by Lewis similarly combine favourable comment and criticism: 'A Man of the W e e k : Marinetti' (New Weekly, 30 M a y 1914) and 'Futurism in the Flesh' ( T . P.'s Weekly, 1 1 J u l y

CHAPTER III 1

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1914).

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81 82

83

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86

See note 37. Douglas Goldring, in South Lodge, recalls that the Timon drawings attracted a great deal of attention when exhibited at the Second PostImpressionist Exhibition of 1 9 1 2 . So did Kermesse, shown at the fifth London Salon of the Allied Artists' Association in J u l y 1 9 1 2 . Lewis's 1 9 1 1 and 1 9 1 2 exhibits at the shows of the Camden T o w n Group, of which he was the only 'Cubist' member, must similarly have aroused interest. Fry's Post-Impressionist Exhibition had taken place in 1 9 1 0 , while 1 9 1 1 was the year of the Paris 'Cubist R o o m ' at the Salon des Indépendants and of the first exhibition o f ' D e r Blaue Reiter' in Munich. The publicity given to these events could hardly have failed to interest London artists of experimental inclination. Other sources of information were Gleizes and Metzinger's Du Cubisme (1912), the Expressionist almanac Der Blaue Reiter (1912), and Der Sturm, best k n o w n of the Expressionist papers, which published Marinetti and Apollinaire and reproduced Picasso and Archipenko as well as the German Expressionists. In 1 9 1 2 , the year of the Second Post-Impressionist Exhibition in L o n don, which included a number of Cubist paintings, Der Sturm had a circulation of 12,000. Copies of it, as also the accounts of those w h o returned from trips to Paris, must have been eagerly seized upon by painters with a sense of adventure. See the article cited in note 3 1 . Letters from Ezra Pound to John Quinn, dated 1 5 March 1 9 1 6 and 23 August 1 9 1 6 (John Quinn Memorial Collection, N e w Y o r k Public Library). A possible influence on de Chirico (in such paintings as his War, of 1916), possibly through the reproductions in Blast, has been seen b y Thrall Soby, in his Giorgio de Chirico ( N e w Y o r k , 1955).

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Letter to Ezra Pound, January 1 9 1 5 . Letters, p. 67. See also Blasting and Bombardieting, pp. 6 0 - 1 . Mrs Turner (later Lady Spears) bought a number of paintings by Lewis, including Slow Attack (P13) and The Crowd (PI7). In June 1 9 1 4 she commissioned the artist to decorate and design furniture for her drawing room in Park Lane. A friendship was formed, which cooled when Mrs Turner went to France to run a field hospital for the French army. In June 1 9 1 5 , Lewis offended with a letter concerning money. Mrs Turner wrote she would have her Lewis pictures collected by her solicitor, for storage. Lewis's reply (Letters, p. 73) seems to have been the last communication between them. When I spoke to Lady Spears in 1968, she said she did not recollect ever owning any pictures by Lewis. Probably those she had negotiated for remained in Lewis's possession (Cf. the ' 1 9 1 7 List', Appendix II). W y n d h a m Lewis, 'The Men W h o Will Paint Hell', Daily Express, 10 February 1 9 1 9 ; WLOA, pp. 1 0 7 - 8 .

Blasting and Bombardiering, p. 187. Letters, pp. n o , 120. 'Picasso', The Kenyon Review, Spring 1940; WLOA, p. 3 5 2 .

Foreword to 'Guns' exhibition, 1 9 1 9 (reprinted in Appendix I). Letters, pp. 1 1 0 - 1 3 . Letter to the author, 20 J u l y 1963. Letter to the author, 17 August 1969. Letters to E. M c K n i g h t Kauffer, dated 8 J u l y , 28 J u l y and 19 October 1 9 1 9 (Morgan Library, N e w Y o r k ) . For a list of the drawings in the portfolio, see Appendix II. The Athenaeum, November 1919-January 1 9 2 0 ; WLOA, pp. 1 1 7 - 2 8 .

Foreword to the Group X exhibition 1920 (reprinted in Appendix I). Lettertojohn Quinn, 2 M a y 1 9 2 1 (John Quinn Memorial Collection, N e w Y o r k Public Library). Ibid., and another letter of 18 April 1 9 2 1 . See Quinn's letters to Lewis of 22 and 25 M a y 1921 (John Quinn Memorial Collection, N e w Y o r k Public Library). Blasting and Bombardiering, p. 240. Sydney Schiff to Lewis, 21 December 1922 (Department of Rare Books, Cornell U n i versity). Sydney Schiff to Lewis, 16 August 1922

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27

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29 30

31 32

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39

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36

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40

(Department of Rare Books, Cornell U n i versity) . See the letters to Mrs Edward W a d s w o r t h and to Richard W y n d h a m , of May 1924, reprinted in Letters, pp. 142-3. Blasting and Bombardiering, p. 219. Rude Assignment, p. 27. The book was written in 1947, though not published until 1950. 'Roger Fry's Role as Continental Mediator', The Tyro No. 1; WLOA, pp. 197-9. Solomon Fishman, The Interpretation of Art (essay on Roger Fry), University of California Press, 1963. Douglas Cooper, Introduction to the Catalogue of the Courtauld Collection (London, 1954). Clive Bell, Old Friends (London, 1956), p. 85; Woolf, Beginning Again, p. 95. Letter to the Editor, Apollo, January 1964, P- 75Modern English Painters: Lewis to Moore (London, N e w York, 1956), p. 49. Burlington Magazine, vol. 31, p. 30. Professor Quentin Bell, in acquitting 'Bloomsbury' of 'such obvious charges' as that of '[praising] each other's work and [excluding] outsiders', has perhaps forgotten such occasions, as well as some of the quotations on this and the following pages, which originally appeared in m y article in Apollo of August 1965. See Quentin Bell, Bloomsbury (London, 1968), p. 84. The Athenaeum, 8 August 1919. Ibid., 6 February 1920. Ibid., 5 March 1920. For Lewis's reply in the following issue, see Letters, pp. 116-19. Blasting and Bombardiering, p. 279. Ibid., pp. 212, 214. See the letter to John Quinn, quoted under P31 in the catalogue. Rude Assignment, p. 129. Wyndham Lewis the Artist, p. 59. 'Essay on the Objective of Plastic Art in O u r Time', The Tyro No. 2; W L O A , p. 208. 'The Credentials of the Painter', The English Review, January 1922; WLOA, p. 2 1 7 - 1 8 . 'The Six Hundred, Verestchagin and Uccello', Blast No. 2, p. 26. ' W h a t it feels like to be an Enemy', Daily Herald, 30 May 1932; WLOA, p. 266. 'Art Chronicle', The Criterion, October 1924;

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Rude Assignment, pp. 192-3. 'Man of the W o r l d ' was shown to C h a p m a n & Hall under this title in February 1925, according to a letter f r o m Alec W a u g h to Lewis in the Department of Rare Books, Cornell University. The Caliph's Design; WLOA, p. 151. 'Picasso', The Kenyon Review, Spring 1940; WLOA, p . 3 5 1 .

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6

' T h e Art-instinct is permanently primitive' ('Manifesto', Blast No. 1; W L O A , p. 28). Published in Drawing and Design, February 1 9 2 9 ; WLOA, p p . 2 5 5 - 9 .

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106

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9

10 11 12 13

WLOA, p . 2 3 3 .

Letters in the Department of Rare Books, Cornell University. 'Hazards of Sitting for m y Portrait', The Observer, 27 N o v e m b e r i960. Daily Express, 11 April 1921.

49

Letter dated 18 March 1921 in the John Q u i n n Memorial Collection, N e w York Public Library. Praising the painting Blackpool by Edward Wadsworth, in a review of the 1915 London Group show, Lewis wrote that its elements 'are marshalled into a dense essence of the scene'. See also the characterization of a port scene in the Note to the catalogue of the Vorticist Exhibition (reprinted in Appendix I).

14

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15

The paintings of de Chirico, which influenced the Surrealists, antedate the movement. An article on de Chirico by W . Gibson, which Lewis published in The Enemy No. 1, reproduces that artist's Mystery and Melancholy of a Street, painted in 1914. The colour and the important role of architecture in this and others of de Chirico's paintings of the time are reminiscent of some of Lewis's works of the thirties. Letter to T. S. Eliot, March 1925. Letters, P- 1 5 3 -

Letters to O . R. Drey, September 1925. Ibid., p. 162-3. 3ljanuary 1925. Ibid., p. 1 5 1 . January 1925. Ibid., p. 148. 19 February 1926. Ibid., p. 164. The works were to be shown at the London Group Retrospective Exhibition of 1928. T h e exhibition catalogue lists two pictures by Lewis, The Gunner 1917 and Timon of Athens, both lent by Richard W y n d h a m . 'A W o r l d Art and Tradition', Drawing and Design, February 1929; WLOA, p. 258. Q u o t e d in the catalogue of the 1956 Tate Gallery Exhibition, ' W y n d h a m Lewis and Vorticism', under N o . 87.

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Catalogue Nos 628, 658 and 787 were all called Creation Myth in the sale of the Crossland collection. M r Crossland used to buy f r o m Lewis almost directly (through the dealer R. H. Spurr); thus the titles may possibly have been Lewis's. An idea set forth in his 1919 book, The Caliph's Design. See Lewis's later reference to his radical notion of 1919 in Rude Assignment, p. 193. Letter to Curtis Moffatt of 16 June 1919 (Department of Rare Books, Cornell U n i versity). In order to save space, illustrations f r o m books still in print, such as The Apes of Cod and OneWay Song, have not been reproduced here. 'The Kasbahs of the Atlas', The Architectural Review,January 1933 ; WLOA, pp. 262, 265. The book, to be called The Role of Line in Art, was to be brought out by Lord Carlow in a hand-printed edition on special paper. (The book is referred to in a letter f r o m Lord C a r l o w to Lewis of 11 August 1939, Department of Rare Books, Cornell University.) It was to have had six colour reproductions, of which three - the final state of Girl Sewing (pi. 48), Portrait of the Artist's Wife (pi. 127) and Tut (pi. 98) - are extant in colour proof. The text was to have been by Lewis. Proofs for five pages of the 'tailpiece' are in the possession of Mrs Lewis. Mrs Pickman has written to me that this trait was also evident when Lewis visited her home. She surmises that he may have been collecting material for his America, I Presume ( N e w York, 1940), in which she thinks she may be the Beacon Street hostess on p. 280. An account of Robert S. Barlow may be read in George Santayana, Persons and Places ( N e w York, London, 1944). Published by Desmond Harmsworth, a portrait of w h o m is included in the portfolio (pi. 102). Lord Rothermere's family did not take to the portrait. Thirty years later it could be bought inexpensively at a London gallery.

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CHAPTER V

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Letters, p. 213. Preface to 'Living Art in England', an exhibition held at the London Gallery in January 1939. Letters, p. 340. Wyndham Lewis the Artist, p. 62.

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126

19

Letter to the Editor of the New Republic, 20 May 1940. Letters, p. 272. The Demon of Progress in the Arts (London, !954)> P- 4- Lewis refers to Ayrton, Bacon, Colquhoun, Craxton, Minton, Moore, Pasmore, Richards, Sutherland and Trevelyan, though the list is clearly not meant to be complete. He adds, 'I refer to the existence of so many people w h o understand painting, and w h o have revealed a high order of attainment. The Pre-Raphaelites (the only other comparable collection of artists) were parochial by comparison; this group is European.' Letters, p. 213. The Tate Gallery catalogue of the 1956 exhibition ' W y n d h a m Lewis and Vorticism', following Charles Handley-Read's The Art of Wyndham Lewis (London, 1951), so dates The Convalescent, Red Scene and One of the Stations of the Dead. In addition, HandleyRead dates Two Beach Babies as 1933-6. I have preferred to date these pictures to 1933, as explained on p. 3 3 9. Letter to P. Van der Kruik, 27 December 1937. Letters, p. 249. Some of the prices asked may be of interest: Two Beach Babies (P53), £ 3 6 15s.; The Surrender of Barcelona (P6I), ¿120; Inca and the Birds (P49), £ 6 3 ; The Tank in the Clinic (p77)> £ 5 2 ; Panel for the Safe of a Great Millionaire (p 69), .£31 10s. The others were bought by Allan G w y n n e Jones (Group of Three Veiled Figures P47) and Professor Russ (Creation Myth P54, and Newfoundland P68). 'Painting and Sculpture' in Grigson, The Arts Today, pp. 71-113. The late Princess Marina, Duchess of Kent, then much seen in newspaper photographs. (See Lewis's foreword to the catalogue of the Leicester Galleries 1937 exhibition, reprinted in Appendix I). Foreword to the catalogue of the 1937 exhibition (reprinted in Appendix I). Rude Assignment, p. 130. See note 14. 'The Leicester Galleries Exhibition', Twentieth Century Verse, N o v e m b e r - D e c e m b e r 1937. Letters, p. 239. Lewis had left four 'difficult' pictures to be viewed by a client of the gallery; unfortunately we do not k n o w their titles. 'Sitting for W y n d h a m Lewis', Manchester Guardian, 9 July 1956; see also N a o m i Mitchison, 'Kind of moral strictness' (review

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23

24

of Agenda special number), Tribune, 24 April 1970. Letter to Lewis of 21 April 1938, reprinted in Letters, p. 251. Seep. 46. Picture Post, 1 March 1939. In an essay 'Early London Environment', reprinted in Hugh Kenner (ed.), T. S. Eliot (Englefield Cliffs, 1962), Lewis describes the first sitting. Pound 'swaggered in, coattails flying, a malacca cane out of the Nineties aslant beneath his arm, the lion's head from the Scandinavian Northwest thrown back. There was no conversation. He flung himself at full length into m y best chair for that pose, closed his eyes, and was motionless. . . . He did not sleep, but he did not move for two hours by the clock.' 'Meeting Wyndham Lewis', The London Magazine, October 1957. A small exhibition of paintings and drawings was held at the Beaux Arts Gallery in the summer of 1938. (See Appendix I.)

10

t e m b e r 1 9 4 9 ; WLOA, p. 439.

137

135

1 2

3

4

5

6

136

7

8 9

158

11 12 13

138

14

140

15

141

16

17

18 19

20 21

VI

T o Geoffrey Stone. Letters, p. 282. Letter to Sir Nicholas Waterhouse, 27 January 1942. Ibid., p. 314. The limitations of the support Lewis enjoyed may be gathered from a letter of 7 July 1941 to J . S. McLean, in which Lewis offers, for $250, 'everything I have: the little Red Hat Picture (oil) of Mrs Sainsbury and say fifteen drawings.' (Department of Rare Books, Cornell University). Draft of a letter to Frank Morley of October 1941 (Department of Rare Books, Cornell University). The final version is quoted in Letters, pp. 299-301. Letters to Lord Carlow of 27 January and 1 February 1943 (Department of Rare Books, Cornell University). T o Naomi Mitchison. Letters, p. 354. An account by Father Murphy of Lewis's association with the College may be found in Canadian Literature, Winter 1968. The essay, entitled 'Wyndham Lewis', clearly shows its author's generosity and breadth of mind which resulted in the offer to Lewis. Described by W. K. Rose in Letters, p. 244. Letter to Allen Tate of 24 September 1946;

'The Sea Mists o f W i n t e r ' , Ibid., 10 May 1 9 5 1 . June 1951. Letters, p. 540. Parts II and III, Monstre Gai and Malign Fiesta, were published in 1955. Letter of 24 September 1946 to Rebecca Citkowitz (Department of Rare Books, Cornell University). A folding screen in the temple at Kenninji, Kyoto. As expounded by Hannah Arendt in The Origin of Totalitarianism and several other books dealing with the German concentration camps. 'Picasso', The Kenyon Review, Spring 1940; WLOA, p . 3 5 5 .

142 ¡44

146 CHAPTER

Letters, p. 397. See also letters to Ezra Pound, of 30 June 1946, and D. D. Paige, of 25 October 1948; Letters, pp. 395,468-9. 'Bread and Ballyhoo', The Listener, 8 Sep-

22

CHAPTER

147 148

1 2

3 4

5

6

7

149

8 9

Letters, p. 481 Letter to Charles Handley-Read of 2 September 1949. Letters pp. 504-5. Ibid. See note 1 1 . Lewis worked on the portrait 'till midnight daily' but, even so, did not complete it until 4 May, the day before the opening of the Redfern Gallery show (letter to Charles Handley-Read of 6 M a y 1949 in the Department of Rare Books, Cornell University). R e p r o d u c e d in WLOA, p. 399.

VII

The Wild Body, p. 240. Blasting and Bombardiering, p. 1 1 5 ; letter of c. April 1949 to the Editor of Partisan Review (not printed), reprinted in Letters, p. 4 9 1 ; Rude Assignment, pp. 128-9. Blasting and Bombardiering, p. 212. As reported by Geoffrey Grigson, in 'Recollections of New Verse', The Times Literary Supplement, 25 April 1968, p. 410. Alan Bowness, British Art and the Modern Movement, (Cardiff, 1962), p. 5. Letter to James Thrall Soby, 20 September 1947. Letters, p. 412. As related by Michael Ayrton, in Golden Sections (London, 1957), p. 147. The picture reproduced is Seated Lady (588). See Appendix I. 'Roger Fry's Role as Continental Mediator', The Tyro No. 1; WLOA, p. 1 9 7 .

THE PLATES

Particulars

of works reproduced can be found

in the catalogue under the number

precedes the title in the

caption.

which

i Male Nude, Standing, 1900 (detail)

2 Nude B o y Bending Over, 1900 (detail)

8 Hellas, 1900-5

10 Street Scene, 1900-5

15 The Theatre Manager, 1909

Piate 1

1 1 Anthony, 1909 12 The Green Tie, 1909

i8 Café, 1 9 1 0 ; (above, detail)

19 Dieppe Fishermen, 1910

Plate 2

16 Baby's Head, 1910

27 Smiling W o m a n Ascending a Stair, 1 9 1 1

22 T h e Laughing W o m a n , 1 9 1 1

21

P/aie 3

Girl Asleep, 1 9 1 1

148 P o r t r a i t , 1913

/r. ¿f< J

24 Self-portrait, 1 9 1 1

147 P o r t r a i t , 1913

23 M a m i e , 1 9 1 1

149 P o r t r a i t H e a d , 1913

Plate 4

7S M a n and W o m a n , 1912 (detail)

83 Russian Scene, 1 9 1 2

III

63 F i g u r e H o l d i n g a F l o w e r , 1912

42 Centauress N o . 2, 1 9 1 2

58 Faunesque, 1912 (detail)

Plate 5

T w o Figures, 1912

Plate 6

121 T w o Figures and Horse, 1 9 1 2 - 1 3

i i 4 T w o Mechanics, 1912

69 Indian Dance, 1 9 1 2

Plate 7

122 T w o Muscular Figures, 1 9 1 2 - 1 3 ; (left, detail)

150 Post Jazz, 1913

120 Blue Nudes, 1 9 1 2 - 1 3

84 Seraglio, 1912

131 Design for a Folding Screen, 1913

Plate 8

Opposite: 43 Chickens, 1912 45 Courtship, 1912 54 The Domino, 1912 152 Second Movement, 1913

Plate 9

Plate 10

Opposite : 80 Le Penseur, 1 9 1 2 1 1 8 T h e Vorticist, 1 9 1 2 168 Nijinski, 1 9 1 4 169 Nijinski, 1 9 1 4

V i e w i n g Kermesse Horace B r o d z k y

[P4]. A n

etching

by

52 Design for P r o g r a m m e C o v e r - K e r messe, 1 9 1 2 lbi.AU» &«''• 59 Figure, 1 9 1 2

iii... Oast Mil-

1 1 9 T h e Audition, 1 9 1 2 - 1 3

65 Figure (Spanish W o m a n ) , 1 9 1 2

Plate

11

55 Eighteenth-century A m a z o n s , 1 9 1 2

57 Family and Figure, 1 9 1 2

74 Lovers, 1 9 1 2

1 1 6 T w o Vorticist Figures, 1 9 1 2

Plate

12

48 T h e Dancers, 1 9 1 2

46 Creation, 1 9 1 2

87 Study in Blue, 1 9 1 2

Plate

13

40 Poster for the Cabaret Theatre C l u b , 1 9 1 2

Plate

14

jj>i*oötamme Amongst others :— Ztttc ; wrcvilie » W W . Un OVJtcmta flDarflaret flDorris «•» ta

\

i

wm fuh i

\-W

j-

v

ii

484 Olivia Shakespear, 1921

401 Lady on a Chaise-longue, 1920

397 Head of James Joyce, 1920

463 Drawing of James Joyce, 1921

Plate 46

395 Head of a Girl in Profile, 1920

475 Drawing of Bernard Rowland, 1921 (detail)

394 Girl Seated, 1920

392 Girl Seated, 1920; (above, detail)

Plate 47

Opposite: 433 Study f o r Painting (Seated Lady), 1920 450 'Call.it any d - d thing; it doesn't matter what', 1 9 2 1 460 Girl Seated, 1 9 2 1 496 W o m a n Seated in an Armchair, 1 9 2 1

461 Girl S e w i n g , 1 9 2 1 ; (left, first state; centre, w i t h additions made in the 1930s)

¿P 477 Seated L a d y , 1 9 2 1

459 Girl Reading, 1 9 2 1

476 Seated Figure, 1 9 2 1

Mi ss ssa M: 466 Lady Reading (No. 2), 1 9 2 1

498 W o m a n Seated in a Chair, 1 9 2 1

Plate 48

S

•W...U«-' i t

ILLUSTRATIONS

FROM

'BEYOND

Plate 118

THIS L I M I T ' ,

1934

ILLUSTRATIONS

FROM

'BEYOND

Plate 119

THIS

LIMIT'

1934

ILLUSTRATIONS

FROM

'BEYOND

Plate

120

THIS L I M I T ' ,

1934

856 Flower, 1936

886 Cover design for Blasting

and

Bom-

bar diering,

1937

888 Heroic, 1937

901 Fann MacCuil, the Great Irish Giant, Waiting for Far Rua, 1938

Plate

899 Bathers, 1938

121

898 Bathers, 1938

908 Meeting of Sheiks, 1938

900 Bathing Scene, 1938

896 Abstract: Ballet Scene, 1938

Plate

122

Plate 123

850 Portrait of a Lady, 1935

792 Naomi Mitchison, 1933

f

7

809 Spartan Portrait, 1933

'

> 848 The Chain Smoker, 1935

875 Study of a Y o u n g Woman, 1936

849 A Glass of Plymouth Gin, 1935

Plate

124

807 Portrait, 1933

¡4 Portrait of the Artist's W i f e , 1936

789 Head of a W o m a n , 1933

842 Sir Stafford Cripps, 1934

895 Scottish, 1 9 3 7

845 Sir O s w a l d M o s l e y , 1 9 3 4 TWO

DICTATORS

Plate

125

883 Y o u n g W o m a n Seated, 1 9 3 6

»5« Girl R e a d i n g , 1 9 3 6

871 A P o t o f Flowers, 1936

872 T h e R o o m , 1936

Plate

126

\

852 Studio Siesta, 1935

\

865 Portrait of the Artist's Wife, 1936

949 Hedwig, 1930s (detail)

877 Woman Reading, 1936 889 The Countess of Inchcape, 1937

/h Plate

127

860 London Midinette, 1936

86i Nude on Sofa (i), 1936

880 Woman Seated on a Sofa, 1936

956 Y o u n g Woman with Hat, in an Armchair, 1930s

878 Woman Reading, 1936

874 Study of a Girl, 1936

Plate

128

Plate 12g

854 Portrait of Roy Campbell, 1936

937 Head of Ezra Pound, 1939

923 Study for oil of Stephen Spender, 1938 (detail)

855 Portrait of Roy Campbell, 193 6 (detail)

922 Self-portrait with Pipe, 1938

Plate 130

907 Male Portrait, 1938 (detail)

f 925 Julian Symons, 1938

947 Portrait of T. S. Eliot, 1930s

890 Head of Douglas Jcrrold, 1937

891 Head of Douglas Jerrold, 1937

Plate

131

893 Sir Oswald Mosley, 1937; detail)

(below,

P8O T . S. Eliot II, 1938

P79 T. S. Eliot I, 1938

p86 Stephen Spender, 1938

p 127 Julian Symons, 1949

Plate

132

P98 Portrait of a Smiling Gentleman, 1 9 3 9 ; (left and centre, details)

p 83 J o h n MacLeod, 1 9 3 8 ; (left and centre, details)

Plate

133

/

(

/

928 The Wide Collar, 1938 897 The Artist's Wife, 1938 929 Woman in Scarf and Hat, 1938

913 Murdoch Mitchison, 1938

936 Valentine Mitchison, 1939

Plate

134

Plate 135

'7i

Froanna - Portrait of the Artist's W i f e , 1 9 3 7

Plate

136

p85 Pensive W o m a n , 1938

Plate

137

P94

C h a n c e l l o r C a p e n , 1 9 3 9 , early and final states

Plate

138

951 Man's Head, Chin in Hand, 1930s (detail)

910 Studies for portrait of Avrion Mitchison, 1938

906 Portrait Drawing of Lionel, 1938

950 Man's Head, 1930s (detail)

958 The Artist's Wife, 1940

Plate

139

959 Matilda, 1940

931 Charles Abbott, 1939 (detail)

930 Charles A b b o t t , 1939 933 Theresa A b b o t t , 1939

957 Neil A b b o t t , 194.0

961 Geoffrey Stone, 1940

Plate 140

960 Dora Stone, 1940

Plate 141

1021 War News, 1942

1 0 1 4 Figure Knitting, 1942

1031 Table with Tray and Cups, 1943 1032 Tray with Cups, 1943

1062 Portrait of Miss X , 1945

Plate

142

i o j o Reading the Newspaper, 1944

1048 Portrait, 1944

f

"IK.

w

7 N

i

\ m ¡MVA

'if J

ßC M 1052 Tea Time, 1944

1036 Pauline Bondy, 1944

Plate

143

1016 N e w Orleans in Toronto, 1942

AI0I8

Portrait of the Artist's Wife, 1942

«Ä t

1091 Lynette, 1948

A \ M

M) 1076 Seated Woman, 1940-5

1053 Three o'clock, 1944

i / m f f f I St* f j

IJf

I fW

maH

1037 Corinne, 1944

IIOI Sketch for portrait of Stella Newton, 1949

Plate 144

Plate 145

PORTRAITS

OF B A S I L I A N

FATHERS,

1944

P 1 1 2 Father D. Cushing, C.S.B.

pi 14 Father M . J . Ferguson, C.S.B.

p 120 Archbishop Denis O'Connor, C.S.B.

1047 Father J. Stanley Murphy, 1944

1025 Monsignor Fulton J. Sheen, 1943

1046 Marshall McLuhan, 1944

Plate

146

1089 Willis Feast, 1948

p 103 M r s R . J . Sainsbury, 1941

p 1 2 2 M r s Paul Martin, 1945

p 100 M a r y M c L e a n , 1940

pno

1090 Willis Feast, 1948

Plate

147

M r s Ernest William Stix, 1944

p 106 Pauline Bondy, 1944

p 107 Tom Cori, 1944

P H I James Taylor, 1944

p 108 Dr Erlanger, 1944

p 101 J. S. McLean, 1941

p 123 Nigel Tangye, 1946

Plate

148

1095 Study for portrait of T. S. Eliot, 1949

Plate 14g

1094 Study for portrait of T. S. Eliot, 1949

mßr or* J u s

V Jh.«. '

i-L-f«-

97 1 Gestation, 1941

987 Creation Myth, 1941-2 t

C j ;

979 The Sage Meditating upon the Life of Flesh and Blood, 1941

1005 Still-life: In the Belly of the Bird, 1942

Plate

150

968 Creation Myth No. 17, 1941

Plate

151

Plate 152

976 Lebensraum I: T h e Battlefield, 1 9 4 1

988 Lebensraum II: T h e E m p t y Tunic, 1 9 4 1 - 2 ; (right, detail)

Plate

153

980-3

SMALL

CRUCIFIXION

SERIES

I-IV,

I94I

981

980 (I)

982 (III)

983 (IV)

Plate

154

(II : Pietà)

966 Armless M a n on Stage, 1 9 4 1 (detail)

1099 T h e N a t i v i t y , 1949

984 Supplicating Figures, 1 9 4 1

995 T h e K i n g Plays, 1942

Plate

155

989 Three Gladiators, 1 9 4 1 - 2

990 Three Martyrs, 1 9 4 1 - 2 ; (left, detail)

972 Hamlet and Horatio, 1941

1006 Three Actors, 1942

998 M o t h e r L o v e , 1942

Plate 156

977 A Man's F o r m T a k i n g a Fall f r o m a Small Horse, 1 9 4 1

985 Witch on C o w b a c k , 1941

965 '. . . A n d Wilderness were Paradise e n o w ' , 1 9 4 1

1008 Witches Surprised by D a w n , 1942

Plate

157

970 Figure on Horseback, 1941

967 Bull's Head, 1941

963 Adoration, 1941

1007 The Three Beggars, 1942

1001 Pietà, 1942

Plate

158

iooo A Party o f Girls, 1942

964 Allégresse Aquatique, 1941

999 N u d e Panel, 1942

Plate

15g

994 H o m a g e to Etty, 1 9 4 2 ; (left, detail)

993 Centaur Observing a G r o u p of Girls, 1 9 4 2 ; (left, detail)

996 Marine Fiesta, 1 9 4 2 ; (left, detail)

Plate 160

Plate

161

1039 Fantasy, 1944

1045 Landscape, 1944

1023 M o t h e r and Child, with Male Figure, 1943

1087 Mexican Scene, 1947

1080 A C o l l o q u y , 1946

Plate

162

1083

Fantasia, 1 9 4 7

Plate

163

1 1 0 7 Composition

1108

F I V E P E N A N D I N K S T U D I E S OF T H E

1 1 1 o Hanged Man and Figures

1 1 1 2 Riders and Animals (detail)

Composition

1109 Drawing

Plate 164

1940S

1115

Study for a painting of a Riding School: Horses and Riders, 1940s

1 1 1 4 Study for a painting of a Riding School: Horses and Riders, 1940s

1121

Study (after Leonardo): Rearing Horse and detail of a head, 1940s

Plate 165

1088 The C o w Jumped over the Moon, 194»

1104 What the Sea is like at Night, 1949

1105 Women, 1949

1096 Fantasy, 1949 Plate

166

1093 The Ascent, 1949

1097 T h e G e o g r a p h e r , 1949

1 1 2 4 Sunset in Paradise, 1940s

1 1 2 6 Walpurgisnacht, 1950

Plate 167

p 105 A Canadian War Factory, 1943

1103 T w o Horsemen, 1949

t 1214 Village (undated)

1215 Village (undated)

1154 Girl in Sweater (undated) Plate

168

1 1 4 7 Figure with Bird Helmet (undated)

THE

CATALOGUE

The catalogue consists of four sections, the works being listed under the following headings Paintings: PI - P 127 Drawings and Watercolours: 1 - 1127; (undated) 1128 - 1219 Pictures of unknown medium: u 1 — u 19 Addenda (p. 427) Pictures in each category are listed alphabetically and, in the first two, by year o f execution. Alphabetization is b y the initial o f the first w o r d o f the title (except for articles), unless the title contains a name; thus Abstract Design can be found under ' A ' , but Head of Ezra Pound will be under 'P' and Cover for' The Enemy No. 1' under 'E'. Pictures which bear a date inscribed b y the artist are listed under that date; pictures not so inscribed under the date estimated by me, usually mainly on the basis o f stylistic comparisons with dated works. W h e r e a date could not be established more closely, the w o r k is listed in a five- or ten-year span or as 'undated', or, in the case o f book illustrations, under the publication date o f the book in which they appear. In order not to relegate more pictures than absolutely necessary to the obscurity of the 'undated' listings, undated and unidentified pictures appearing in exhibition catalogues prior to 1921 are listed under the year of the exhibition; this compromise seems justified, since during the early years Lewis tended to exhibit pictures of recent date. As Lewis often did not title his pictures, titles have in many cases been assigned by others. In selecting titles for this catalogue I have used the following order o f preference: 1, the title inscribed by Lewis; 2, the title used at the first exhibition at which the w o r k was shown; 3, the title attached to a reproduction, upon which the artist may be assumed to have had some influence; 4, title from sales catalogue, owner or other source. W h e r e no title was available, and occasionally w h e n 2, 3, or 4 yielded too unsatisfactory a result, I have preferred a title o f m y o w n or else have slightly modified the order o f preference outlined a b o v e ; but the variants are noted in all cases. Inscriptions are in the artist's hand, unless otherwise noted. Measurements are given in general to the nearest^ in. and 0-5 cm., height preceding width. In the data for medium, 'wash' stands for watercolour wash unless 'ink wash' is specified, and wash or gouache may

occasionally be present even though the medium is given simply as watercolour. T h e owner, where k n o w n , is given immediately f o l l o w i n g the medium and measurements. In a number o f entries for untraced pictures substantially all m y information came from a single source, usually an exhibition or sale catalogue. W h e r e this fact is not obvious f r o m the entry itself, it is indicated b y an asterisk accompanying the reference. Appearances in shows preceding 1921 and in the oneman shows (for which abbreviations are given below) are noted in all cases. Appearances at other exhibitions, previous ownership 'in the trade', auction records, reproductions and text sources are listed only where they appeared to be o f special interest. T h e names o f present owners are given where k n o w n except when use o f the formula 'Private Collection' was requested. In a few cases where I saw a picture at a gallery but do not k n o w its present owner, the name o f the gallery, f o l l o w e d in brackets by the date w h e n I last saw the picture there, is given as the last item in the 'Collection' item. Pictures not reproduced in this book have been characterized in a brief note where possible. Such notes are intended as nothing more than a rough indication o f style or subject for purposes o f identification, and they should b y no means be taken as descriptions o f the pictures. Identification of the pictures shown at the Redfern Gallery retrospective exhibition was greatly helped b y , and in some cases w o u l d have been impossible without, an inventory, with sketches o f nearly every picture shown, made b y Charles Handley-Read at the time o f the exhibition. Identifications o f R G R E pictures for which no evidence is apparent may be taken to be based upon these sketches. W i t h the exception o f the early pictures (up to 1907) w h i c h are k n o w n only f r o m mentions in Lewis's letters to his mother, I have listed all the works for

331

G A L L E R I E S : 'Thirty Personalities', Lefevre Galleries, October 1932.

whose existence, past or present, I found evidence during several years of following up leads. But this is the first attempt to enumerate Lewis's oeuvre, and gaps in the coverage will undoubtedly appear as lost pictures and further information about Lewis's life and work become available. I shall be grateful to readers for pointing out to me pictures I have missed, for listing in a possible second edition of this book.

LEFEVRE

ABBREVIATIONS

T & P : 'Tyros and Portraits', Leicester Galleries, April 1921.

The following abbreviations are used in the catalogue when referring to frequently quoted exhibitions and books: A R T S : 'New Paintings and Drawings by Wyndham Lewis', Beaux Arts Gallery, June-July

BEAUX

1938. GUNS :

332

'Guns', Goupil Gallery, February 1919.

L G : 'Paintings and Drawings by Wyndham Lewis', Leicester Galleries, December 1937. R G R E : 'Wyndham Lewis, Redfern Gallery, May 1949. T : 'Wyndham Lewis and Vorticism', Tate Gallery, July-August 1956.

'Wyndham Lewis, Paintings Drawings', Zwemmer Gallery. May 1957.

ZWEMMER:

and

H - R : Charles Handley-Read, The Art of Wyndham Lewis (London, 1951). W. K. Rose, ed., The Letters of Wyndham Lewis (London, New York, 1963).

LETTERS:

PAINTINGS 1911

P3

P I

Oil on canvas. Exh.: Third Camden T o w n Group, December 1912.

P O R T DE MER

Oil on canvas. Exh.: Second Camden T o w n Group, December 1 9 1 1 . Coll.: Augustus John. In Rude Assignment (p. 1 2 1 ) Lewis mentions an early 'largish canvas... [of] two sprawling figures of Normandy fishermen, in mustard yellows and browns', shown at the Carfax Gallery and bought by Augustus John. When John died in 1961 there were no pictures by Lewis in his estate, but in an undated letter to Lewis from Alderney Manor, Parkstone, Dorset (now in the Department of Rare Books, Cornell University), John wrote: 'I am glad to possess so interesting an example of your work as "Port de M e r " . ' According to information kindly given to me b y M r Michael Holroyd, John moved to Alderney Manor in September 1 9 1 1 and lived there until 1927. Mrs John remembered the picture as being of 'two men with a bright orange background, but it mysteriously vanished' (in a letter to Admiral Sir CasparJohn in March 1964, kindly communicated to me by Sir Caspar). Lewis mentions the work again in his introduction to the catalogue of the Tate Gallery exhibition of 1956 (Appendix I). See also p. 57.

See Appendix I. P4

Frank Rutter, in Art in My Time (London, 1933), page 145, called Kermesse 'a whirling design of slightly cubist forms expressed in terms of cool but strong colour contrasts'. Reviewing the 1 9 1 2 A A A exhibition, Clive Bell suggested that, because of the size of the painting, the visitor should take the lift to the gallery to see it. 'He will be able to judge [the painting] as he would judge music—that is to say, as pure formal composition', (The Athenaeum, 27 J u l y 1 9 1 2 , pp. 98-9). W . C . Lipke makes the interesting suggestion that Kermesse may have been a source for Bell's o w n aesthetic ('A History and Analysis of Vorticism', ch. V, note 7). A n alternative title, Norwegian Dance, is used by the Countess of Drogheda in an undated letter to Lewis [November 1913], n o w in the Department of Rare Books, Cornell University. The only remaining record of this painting is the etching Viewing 'Kermesse' by Horace Brodzky (in the collection of D r Lipke), reproduced on pi. 1 1 . See also pp. 57-8 and Appendix I, p. 429.

CREATION

Oil on canvas. Exh.: V Allied Artists' Association, July 1 9 1 2 ; Second Post-Impressionist Exhibition, October 1 9 1 2 ; English Post-Impressionists, Cubists and Others, December 1913-January 1914. In an article in The New Age of March 1914, Walter Sickert, in an anti-modernist mood, suggested that non-representation was often forgotten when it came to the sexual organs, pointing to Lewis's Creation as an example. Lewis denied the accusation in the following issue (see Letters, pp. 56-9). See Appendix I, p. 429.

KERMESSE

Oil on canvas, 8 ft 9 in. X 8 ft 1 1 in. (266-5 x 272 cm.), inscribed 'Wyndham Lewis 1 9 1 2 ' . Coll.: John Quinn (sale catalogue N o . 382); R. Wyndham. Exh.: (?) V Allied Artists' Association, J u l y 1 9 1 2 ; Post-Impressionist and Futurist Exhibition, October 1 9 1 3 ; Vorticist Exhibition, Penguin Club, N e w Y o r k , January 1 9 1 7 .

1912 P2

DANSE

P5

THE L A U G H I N G W O M A N

Oil on canvas. Exh.: Contemporary Art Society, April 1 9 1 3 . Coll.: Contemporary Art Society. In the ' 1 9 1 7 List' Lewis mentions a ' " L a u g h i n g W o m a n painting" in possession of the Contemporary Art Society.' A letter from Clive Bell to 333

PAINTINGS

1912 : I9I3-I4

Lewis of about 1 9 1 2 (in the Department of Rare Books at Cornell University) indicates that Bell bought 'a big canvas' from Lewis for £ 5 0 . Since Bell was on the original committee of the C A S it is possible that the picture was The Laughing Woman (Lewis's only picture in the exhibition). The records of the C A S show that the painting was acquired prior to 1914, but give no indication of what happened to it. P6

MOTHER A N D

height of the picture is estimated from the relative height of the mantelpiece over which it is shown hanging. Miss Kate Lechmere identified the reproduction as a painting with a 'queer, pink background shown at the Allied Artists'.' M y tentative identification of the illustration is based on this recollection and the listing of a work called Group in the catalogue of the A A A exhibition of July 1913 (see Appendix I). In his review of the A A A (The Nation, 2 August 1913), Roger Fry calls the painting 'remarkable'. 'It is more completely realized than anything [Lewis] has shown yet. His power of reflecting those lines of movement and those sequences of mass which express his personal feeling is increasing visibly. M r Lewis is no primitive.' A picture titled Group was exhibited at the Post-Impressionist and Futurist Exhibition (October 1 9 1 3 ) but it is not known whether this was an oil or a drawing. A second picture called Group was listed in the catalogue of the V I Allied Artists' Association but Drawing (141) was substituted for it (see Appendix I).

CHILD

Oil on canvas. Exh.: Second Post-Impressionist Exhibition, October 1912. See Appendix I. 1912-13 P7

D E C O R A T I O N S FOR T H E ' C A V E OF T H E C A L F ' —

CABARET THEATRE

CLUB

Ref.: Rude Assignment, pp. 124-5. In Rude Assignment Lewis recalls having executed murals (he refers to them as 'somewhat abstract hieroglyphics') for Madame Strindberg's nightclub 'The Cave of the Golden C a l f ' . The prospectus for the club (issued in M a y 1912) contains a reproduction entitled ' A wall-decoration in the Cave of the Golden Calf. B y Wyndham Lewis.' (33) and also states that 'decorations have been carried out under the guidance and supervision of M r Spencer Gore. They include large panels by M r Charles Ginner, M r Spencer Gore, and M r Percy Wyndham Lewis, to which paintings by M r Albert Rothenstein, M r Leon Daviel and others will be added after their completion.' A n unsigned, handwritten note, evidently from Madame Strindberg to Lewis, agrees that Lewis is to be paid £60 for the decoration of the Cabaret Theatre Club, including two paintings, two screens and the arrangement and decoration of the walls, the payments to be by three instalments payable in September and October 1 9 1 3 (the note is now in the Department of Rare Books at Cornell University.) See also p. 56 and Illustrations from brochures of the Cabaret Theatre Club (31-8). P8

GROUP

PI.

27

Height about 5 ft (155 cm.). Exh.: V I Allied Artists' Association, July 1913 ; English Post-Impressionists, Cubists and Others, December 1913-January 1914. All that is known of this work is a small, untitled illustration in The Graphic of 25 April 1 9 1 4 ; the

334

1913-14 P9

CHRISTOPHER

COLUMBUS

Oil on canvas. Exh.: First London Group, March 1914. The following is quoted from T . E. Hulme's review of the exhibition in the March 1 9 1 4 issue of The New Age: 'Christopher Columbus, is hard and gay, contains many admirable inventions but is best regarded as a field where certain qualities are displayed, rather than as a complete w o r k of art.' The Daily News and Leader of 6 March 1914, reviewing the first London Group Exhibition, writes, ' A brother cubist [to C . R. W . Nevinson] is P. Wyndham Lewis. His chef-d'oeuvre is entitled Christopher Columbus—which is precisely what you will exclaim when you see it. ' A crowd tried its best to find the explorer. M r Lewis, pointing rapidly to odd corners of the canvas, said: "There's his head, that's his leg. Don't you get m e ? " It seemed as clear as a London fog. ' " O u r object is to bewilder," said he, " w e want to shock the senses and get you into a condition of mind in which you'll grasp what our intentions are."' (Quoted by Dr Malcolm Easton in the catalogue of the Hull University exhibition: Art in Britain, 1890-1940, Hull, 1967.) In the ' 1 9 1 7 List' (see Appendix II) Lewis writes 'the Christopher Columbus is quite unfit for

PAINTINGS

exhibition and Miss Saunders will paint that out for me.' Miss Saunders wrote to m e in 1962 that she did not remember the picture, and that Lewis probably changed his mind about having her paint it out.

PIO

D E C O R A T I O N S FOR T H E C O U N T E S S OF

DROGHEDA'S DINING ROOM

Pi.

27

Ref.: Letter of 25 N o v e m b e r 1913 f r o m M r Fishburn of the Dore Gallery to Lewis, requesting that he call u p o n the Countess of Drogheda; letter, undated but written about 30 N o v e m b e r 1913, f r o m Lady Drogheda to Lewis asking the artist to see her about a frieze (both letters are in the Department of Rare Books at Cornell University); illustrated in The Sketch, 24 March 1914. T h e w o r k consisted of painted panels on either side of the black-beaded glass mirror over the fireplace, a large picture over the door and a narrow frieze around the room, just below the cornice. It was completed b y 26 February 1914, w h e n a reception was held at Lady Drogheda's house in W i l t o n Place to view it. See p. 56. The fireplace and mirror, the decorations round them, and t w o red glass vases, lighted inside, standing o n the mantelpiece are shown in full in the illustration in The Sketch.

PII

EISTEDDFOD

Oil on canvas. Exh.: First London Group, March 1914. T. E. Hulme, reviewing the exhibition in the March 1914 issue of The New Age: ' M r Lewis's large c a n v a s e s . . . at first look like mere arbitrary arrangements of bright colours and abstract forms . . . In the Eisteddfod, for example, long tranquil planes of colour sweeping u p f r o m the left encounter a realistically painted piece of ironwork, which, being very large in proportion to the planes, dwarfs any effect they might have produced.'

P 12

P L A N OF W A R

PI.

22

Oil on canvas, 8 ft 4^ in. x 4 ft 8^ in. (¿55 x 143 cm.), inscribed ' W y n d h a m Lewis'. E x h . : (?) VII Allied Artists' Association, July 1914 (see Appendix I). Ref.: Reproduced in Blast No. 1. Coll.: J o h n Q u i n n (sale catalogue N o . 383); R. W y n d h a m . In Blasting and Bombardiering (p. 4), Lewis writes that the picture was painted six months before the war.

P13

1913-14:1914-15 PI.

SLOW ATTACK

22

Oil on canvas, inscribed ' W y n d h a m Lewis'. Exh.: 'Twentieth C e n t u r y Art', Whitechapel Gallery, May-June 1914. Ref.: Reproduced in Blast No. 1. T h e painting was purchased b y Mrs T u r n e r for ¿SO, according to a letter dated 10 August 1914 f r o m her to Lewis in the Department of Rare Books at Cornell University.

1914 P 14

D E C O R A T I O N S FOR T H E REBEL A R T PI.

CENTRE

2y

Ref. : ' " C e n t r e for Revolutionary A r t " , Cubist Pictures and Curtains' in the Daily Mirror, 30 March 1914, with a p h o t o g r a p h showing Lewis painting a mural decoration.

P 15

D E C O R A T I O N S FOR F O R D M A D O X H U E F F E R ' S

STUDY

T h e decorative scheme consisted of a large abstract panel over the chimney-piece and red paint on the doors and skirting boards. Ref.: T h e above description is taken f r o m Douglas Goldring, South Lodge (London, 1943), p. 13. A letter f r o m Ezra P o u n d to Harriet Monroe, dated 9 N o v e m b e r 1914, states that Lewis was then w o r k i n g o n the commission. (Letter reprinted in D. D. Paige, ed., The Letters of Ezra Pound 1907-1941, London, 1951, p. 87.)

PL6

THE SCHOOLMISTRESS

Violet H u n t , in The Flurried Years (London, 1926; published in N e w York as I Have This to Say, 1926), reports that ' W y n d h a m Lewis's great picture, The Schoolmistress, . . . occupied one bare wall' of the Rebel Art Centre. According to her account Edward W a d s w o r t h b o u g h t it 'for a sum running into three figures', but she m a y have been thinking of Praxitella (P30). She adds that 'the lady was clad in dull universal b r o w n , her contours like those of an umbrella turned inside out and seemingly sodden by rain.'

1914-15 P 1 7 THE CROWD

Colour plate

VI

Oil o n canvas, 6 ft 6 in. x 5 ft (198 x 152-5 cm.), unsigned. Tate Gallery, London. 335

PAINTINGS

1914-15

:

1918

E x h . : Second L o n d o n G r o u p , March 1915; T 115, as Revolution (reproduced in catalogue). Coll.: Captain Lionel G u y Baker; D r Barnett Stross. T h e previous title, Revolution, was assigned b y Mrs Stross, the w i d o w of Captain G u y Baker. Michael A y r t o n has i n f o r m e d m e that Mrs Stross told h i m in 1944 that this was w h a t Lewis had called the picture at the time of purchase. B u t I have n o t f o u n d the title mentioned a n y w h e r e else. T h r e e c o n t e m p o r a r y descriptions of a painting called The Crowd, shown at the L o n d o n G r o u p exhibition of March 1915, suggest that this m a y be the proper title. T w o of the descriptions are given in the catalogue of the 1956 Tate Gallery exhibition; the third, w h i c h appeared in The Connoisseur, M a y 1915, described the picture as 'a g r o u n d plan of innumerable cells w i t h o u t doors . . . d r a w n w i t h geometrical accuracy and neatly coloured.' T h e Tate catalogue suggests that the picture m a y be that s h o w n at the Vorticist Exhibition in M a r c h 1915 u n d e r the title Democratic Composition. PL8

painting and r e m o v e d b y the present o w n e r . T h e painting closely resembles in style the Designs from a Vorticist Sketch-book ( 1 7 6 - 9 5 ) .

1915-16 P 20

P 21

P19

WORKSHOP

PI.

jo

Oil o n canvas 30 X 24 in. (76-5 x 61 cm.), unsigned. M r and M r s E d w a r d H . D w i g h t . E x h . : Second L o n d o n G r o u p , M a r c h 1915; Vorticist Exhibition, J u n e 1915. C o l l . : J o h n Q u i n n (sale catalogue N o . 353, as Interior, 'attributed t o W y n d h a m Lewis'). Described in the Q u i n n catalogue as 'a Vorticist impression of a studio portrayed in brilliant fresh colours, laid o n thinly and boldly'. T h e painting was discovered in an antique shop in Baltimore, M a r y l a n d in 1963. T h e n a m e 'Lewis' was written in pencil o n the back of the stretcher and the w o r d ' W o r k s h o p ' was written o n the n a r r o w f r a m e . T h e identification w i t h Interior in the Q u i n n sale is confirmed b y the n u m b e r 353 which appeared o n the paper f o r m e r l y backing the

336

BRIGADE

HEADQUARTERS

Oil o n canvas. E x h . : Guns 48 (marked ' n o t received' in the gallery copy of the catalogue). Lewis w r o t e to Q u i n n , o n 10 February 1919, that the painting was n o t sufficiently finished to p u t in the exhibition. (Letter in the J o h n Q u i n n M e m o r ial Collection, N e w Y o r k Public Library.)

RESTAURANT

T h e decorations, carried out w i t h the assistance of Helen Saunders, consisted of three abstract panels for a small private dining r o o m in the restaurant at 1 Percy Street, London. T h e y were c o m missioned b y the proprietor, Ralph Stulik. T h e restaurant was sold in 1938 and the decorations were destroyed.

DAY—MARENGO

1918

D E C O R A T I O N S FOR T H E 'EIFFEL T O W E R '

Ref.: Douglas Goldring, South Lodge (London, 1 9 4 3 ) , p. 70; Tate Gallery: Modern British Paintings, Drawings and Sculpture (London, 1 9 6 4 ) , pp. 5 6 3 , 6 0 9 .

B R E A K OF

Oil o n canvas. Ref.: T h e w o r k , an abstract painting, was reproduced in the Daily Sketch in the spring of 1916 while Lewis was at M e n s t h a m C a m p , near W e y m o u t h , Dorset. See also the account of Lewis's encounter w i t h the c a m p adjutant, which this reproduction led to (Blasting and Bombardiering, p. 24).

P 22

A C A N A D I A N G U N PIT

Pi.

)6

Oil o n canvas, 10 x 11 ft (305 x 335 cm.), inscribed ' W Lewis.' National Gallery of Canada, O t t a w a . E x h . : 'Canadian W a r Memorials', Royal Academy, L o n d o n , J a n u a r y - F e b r u a r y 1919, and Anderson Galleries, N e w York, J u n e - J u l y 1919. Ref.: R e p r o d u c e d in Colour, M a r c h 1919, p. 25; P. G. K o n o d y , Art and War: Canadian War Memorials (London, n.d. [1919]). See Letters, p. 102, concerning the date of this picture. P23

PRACTICE BARRAGE

Oil on canvas. E x h . : Guns 38. Coll.: L. H . Myers. Referred to as a painting in the 'Guns' catalogue n o t e (see A p p e n d i x I). P24

TO WIPE

OUT

Oil o n canvas. Exh.: Guns 47. In his letter to Q u i n n of 10 February 1919 Lewis w r o t e : 'I have got for the mainstay o f the show a

PAINTINGS

painting which I call To Wipe Out and which represents a concentration on a battery. I consider this completely successful.'

made at an unknown date, are slight but telling. T h e final state is reproduced in Letters.

P28

1919 P25 A BATTERY SHELLED

Colour plate

VIII

O i l o n canvas, 6 ft x 10 ft 5 in. (152-5 x 317-5 cm.),

inscribed ' W . L. 19'. Imperial W a r Museum, London. E x h . : Imperial W a r Museum, February 1920; T 116. R e f . : Reproduced in H - R (pi. 26); Imperial W a r Museum postcard. William Roberts, in ' W y n d h a m Lewis, the Vorticist' ( T h e Listener, 21 March 1957), gives an amusing account of the transfer of the design on to the canvas, in which he assisted. He remembers that E d w a r d Wadsworth served as the model f o r the figures on the left of the scene.

P26

EZRA P O U N D

Pi.

45

Oil on canvas, over life-size, inscribed ' W . Lewis'. E x h . : Goupil Salon, 1919. R e f . : Reproduced in Charles Marriott, Modern Movements in Painting (London, 1920), p. 256. T h e over life-size painting was the sensation of the 'Goupil Salon', a large exhibition extending over six or seven galleries, filled with some three hundred exhibits. Frank Rutter, in the Sunday Times of 9 N o v e m b e r 1919, wrote that the whole show contained 'nothing bigger in every w a y ' than this painting. T h e art critic of The Times called it 'large and intimidating, like the great figures of Andrea del Castagno. It has the same grandeur of design, the same power of expressive feeling in f o r m . . . ' Lewis did not like the picture. O n 10 N o v e m b e r 1919, he wrote to Quinn, 'I am not satisfied with it, and am starting another.' (letter in the J o h n Quinn Memorial Collection, N e w Y o r k Public Library). T h e painting was lost on the w a y f r o m the exhibition.

1918 : I 9 2 0 - I

P O R T R A I T OF T H E A R T I S T

PL

66

Oil on canvas, 30 x 27 in. (76 x 68-5 cm.), inscribed ' W y n d h a m Lewis'. Manchester C i t y Art Galleries (Rutherston Collection). E x h . : T & P (either shown but not catalogued, or perhaps identical with p 29); R G R E 126; T 119. R e f . : Reproduced in H - R (frontispiece, colour). Michael A y r t o n recalls that, viewing the painting with him at the R G R E , Lewis remarked upon the fact that there are no highlights on the eyeballs. T h e y w o u l d give the w r o n g kind of life to the head, he said.

P29

P O R T R A I T O F T H E A R T I S T AS T H E P A I N T E R

RAPHAEL

Oil on canvas. Exh.: T & P 4 5 . Lewis mentions this painting in the letter to J o h n Quinn quoted in the note to P 34. This reference and the entry in the T & P catalogue are all I k n o w of the painting, which may therefore be identical with either P 2 8 or P32.

P30

PRAXITELLA

Pi.

67

Oil on canvas, 56 X 40 in. (142 x 101-5 cm.), inscribed ' W y n d h a m Lewis'. C i t y Art Gallery, Leeds. E x h . : T & P 1 8 ; R G R E 120 (catalogued but not exhibited); T 118. C o l l . : E d w a r d Wadsworth. See also the letter quoted in the note to P 34.

P3I

A R E A D I N G OF O V I D (TYROS)

PI.

74

Oil on canvas, 65 x 35 in. (165 x 89 cm.), unsigned. M a y o r Gallery, London. Exh.: T & P 2 6 .

C o l l . : Sir Osbert Sitwell. 1920-1 1'27 Mil W Y N D H A M L E W I S AS A T Y R O

PI.

74

Oil on canvas, 29 x 17^ in. (73-5 x 44 cm.), unsigned. Estate o f the late Sir E d w a r d Beddington-Behrens. E x h . : T & P 2 8 ; T 1 1 7 (reproduced in catalogue). R e f . : Reproduced in Letters (frontispiece, colour). C o l l . : Sydney Schiff. A n early state is reproduced f r o m a photograph in the possession of Mrs Lewis. Later changes,

In a letter to J o h n Quinn, of 2 M a y 1921, Lewis w r o t e : ' T h e " T y r o s Reading O v i d " . . . is one of the paintings I took longest over, is v e r y carefully painted: as a fragment of a large composition it is quite successful as regards colour. T h e very strong reds o f the hands and faces [are] set in the midst of grey-blues and strong blues. It is quite a satisfactory painting: it w o u l d make a g o o d Altarpiece.' (John Quinn Memorial Collection, N e w Y o r k Public Library). T h e picture is also mentioned in the letter quoted in the note to P 34.

337

PAINTINGS P32

I920-I

: I929

S E L F - P O R T R A I T W I T H CHAIR A N D T A B L E

Pl.

66

Pl.

66

Oil on canvas. Exh.: (?) Group X exhibition, March 1920. From a photograph. See note to P 29. P33

IRIS T R E E

Tate Gallery, London. Exh.: T 1 2 6 . Ref.: Reproduced in colour in The Studio, May 1944, and Michael Rothenstein, Looking at Paintings (London, 1 9 4 7 ) ; also reproduced in H - R (pl. 3 7 ) . Coll.: Sir Edward Beddington-Behrens. Mrs Lewis remembers that the head was, to all intents and purposes, finished, the coat largely finished and the legs in position when the painting was abandoned. When Lewis took it up again in about 1935, he added the forearms and background, and slightly altered the coat.

Oil on canvas. Painted out. Exh.: T & P 9. Ref.: Reproduced in The Sketch, 20 April 1921. In a letter to John Quinn, of 2 May 1921, Lewis writes about this painting: 'If I sell it in the show, I shall insist in any case on having another week's work on it. But I consider it inferior to most of the other things there.' (John Quinn Memorial Collection, N e w Y o r k Public Library). According to Mrs Lewis the picture was never finished and was painted out by the artist. Reproduced from the illustration in The Sketch. P 34

A TYRO A B O U T TO BREAKFAST

Oil on canvas. Exh.: T & P 1 9 . In a letter to John Quinn, of 18 April 1921 (John Quinn Memorial Collection, N e w Y o r k Public Library), Lewis writes: 'As regards the show, I have at length, in truth, begun painting. "Praxitella", a portrait of myself "as the painter Raphael" (it is not in catalogue; I have just put it in): the Tyros reading Ovid, The T y r o about to breakfast etc.: are more realized than anything I have done. I can't talk about them myself, except to say that as paintings they are in the same category of completion as my drawings: only more so, I think, because a complete painting, being more complex and on a fuller scale, has invariably the advantage over a drawing.'

1922 P35

E D W I N EVANS

PL

1923 Colour plate

MRS S C H I F F

III

PL

69

Oil on canvas, 49J x 39^ in. (126 x 100 cm.), unsigned. Tate Gallery, London. Exh.: T 120, as c. 1922 (reproduced in catalogue). Coll.: Sydney Schiff; Sir Edward Beddington-Behrens For further information see Tate Gallery: Modern British Paintings, Drawings and Sculpture (London, 1964) where this picture is dated c. 1922. The later date is suggested by a number of letters from Sydney Schiff: on 15 M a y 1923 the portrait was 'under way', on 15 November 1924 it was not yet finished. (The letters are now in the Department of Rare Books, Cornell University.)

1927 P38 BAGDAD

Colour plate X

Oil on plywood, 72 x 31 in. (183 x 79 cm.), unsigned. Tate Gallery, London. Exh.: R G R E 122, as Panel; T 1 2 1 . Ref.: Reproduced in H - R (pl. 9); Tate Gallery: Modem British Paintings, Drawings and Sculpture (pl. X I V , colour). Coll.: Curtis Moffat. Sec note to the following entry.

1929 P 39-42

FOUR PANELS

Oil on plywood, unsigned. J . S. Steward. Coll.: Curtis Moffat. p

Oil on canvas, 34 x 44 in. (86 5 x 112 cm.), inscribed 'Wyndham Lewis'. 338

P37

68

Oil on canvas, 59 x 42^ in. (150 x 108 cm.), unsigned. Scottish National Gallery of Modern Art, Edinburgh. Coll.: Edwin Evans. The sitter was music critic of The Daily Telegraph at the time. See also 5 2 9 - 3 0 .

P 3 6 EDITH SITWELL

1923-4

39

27^ X 17 in. P40 2

7j

x

194 in.

(70

x

(70

43

x

50

cm.). cm.).

PL

8j

PAINTINGS

P41 2 7 ! X 17 in. ( 7 0 x 4 3 cm.). P42 2

7j

x

19I in. (70 x 50 cm.). T h e panels obviously f o r m a set. T y p e w r i t t e n labels on the back of each read ' L ' H O M M E Surrealist [ ' F e m m e Surrealist' in the case of P40 and P42]. Provenance: Curtis Moffat, Esq.; Redfern Gallery Ltd. Painted in 1929.' Lewis is k n o w n to have done decorations for one or m o r e cupboards for his studio in Ossington Street during the late twenties; Bagdad (P38) is reputed to be one such decoration and the present four panels, t h o u g h m u c h brighter in colour, m a y be others. Correspondence in the D e p a r t m e n t of Rare Books at Cornell University indicates that a decorated cupboard was exhibited at Curtis Moffat's gallery. Lewis w r o t e to M o f f a t o n 16 J u n e 1929 that he w o u l d like to see h o w his things looked beforehand, and supervise the varnishing of the cupboard. A later letter expresses his annoyance at M o f f a t 'converting m y c u p b o a r d into an easel picture'.

1930 P43

VISCOUNTESS GLENAPP

PI.

101

Oil on canvas. Ref. : Reproduced in 'Fine Art', ed. C. Geoffrey H o l m e , a special spring n u m b e r of The Studio (1931). Coll. : T h e Earl of Inchcape. T h e sittings took place in 1930 according to letters of that year f r o m the sitter to Lewis (Department of Rare Books, Cornell University).

1932 P44

ABSTRACT

PI.

107

Oil o n canvas, 18^ X 13-^ in. (46 5 x 34 5 cm.), inscribed ' W y n d h a m Lewis 1932.' Kettering Art Gallery. C o l l . : A r t h u r Crossland (sold at Christie's, 9 March 1956, N o . 162).

1933 T h e dating of the 1930s paintings is assisted b y f o u r letters in the D e p a r t m e n t of Rare Books at Cornell University. 1. W y n d h a m Lewis to Sydney Schiff (21 M a y 1933) refers to ' n e w w o r k I have been c o m -

I929 : 1933

pleting for a large show ...' 2. Leicester Galleries to the artist (18 July 1933) states that the Galleries had then ten paintings on hand, for a s h o w of t w e n t y paintings and t w e n t y drawings planned for February 1934. 3. A similar letter o f j u l y 1936 confirms that the artist sold to the Galleries Creation Myth (P 54), Nordic Beach (p 55), Sheik's Wife (P 57) and Cubist Museum (P58). 4. Lewis t o the Leicester Galleries (11 February 1937) indicates Cubist Museum and The Surrender of Barcelona (PÒI) were painted in 1936. U n f o r t u n a t e l y , only one of the ten paintings referred to in letter 2 is identified b y title: the otherwise u n k n o w n Reading Nietzsche (P 51). I assume that the eight extant paintings inscribed 1933, or, in the case of Betrothal of the Matador (P45), f o r m e r l y so inscribed, plus one u n k n o w n , m a k e up the remaining nine w o r k s held b y the Galleries in 1933. These probably represent the ' n e w w o r k ' referred to in the first letter above. Since Lewis's health was very bad as early as N o v e m b e r 1932, requiring a m a j o r operation at the t u r n of the year, followed b y several m o n t h s of convalescence, the paintings must have been largely carried out in 1932. T h e y were probably given finishing touches in 1933 and, according to the custom of the artist, inscribed with this final date. T h e traditional dating differs slightly, assigning the date 1933-6 or 1933-7 to f o u r of these paintings (cf. p. 117). T h e r e is little d o u b t that some paintings begun in 1 93 2-3 were n o t finished until 1936. B u t it seems straightf o r w a r d to p u t Sheik's Wife and the undated Creation Myth and Nordic Beach, which resemble the 1933 g r o u p , in this category. Queue of the Dead (p 56) is u n k n o w n to me, b u t its title and subject suggest the date 1933-6 also. T h e remainder of the undated paintings s h o w n at the Leicester Galleries in 1937, I date 1936-7. T h e dates of those inscribed 1937 or 1938 need n o t be questioned, as these were years of intense and uninterrupted painting. T h e r e is also the confirmation that Inferno (P73) was still w e t w h e n h u n g (preface to the exhibition catalogue) and that the 'first of [the] A r m a d a pictures' was just finished in February 1937 (letter 4 above). P45

T H E B E T R O T H A L OF T H E M A T A D O R

PI.

106

Oil o n canvas, 21^ x i 6 f in. (54 5 x 42 5 cm.), inscribed ' W y n d h a m Lewis.' W . Michel. Exh. : LG 37; Beaux Arts 1938, as Sevillian Marriage; R G R E 117, as Torero and dated 1937. T h e reproduction shows the painting in the f o r m in which it was exhibited in 1937 and 1938. T h e inscription reads ' W y n d h a m Lewis 1933'. T h e artist later added a t o p to the dress, to cover the breasts, and painted out the tops of the thighs and the inscribed date (see p. 120).

339

PAINTINGS

I933

: 1933-6

THE CONVALESCENT Colour plate XI Oil on canvas, 24 x 30 in. (61 x 76-5 cm.), inscribed 'Wyndham Lewis 1933.' Trustees of Sir Colin and Lady Anderson. Exh.: L G 4 1 , as The Invalid; R G R E 1 1 2 (reproduced in catalogue); T 127, as 1933-6 (reproduced in catalogue). Ref.: Reproduced in H - R (colour plate C).

but they did eventually find it. Nothing further is known about the work and there was no such painting in the 1937 exhibition (although there was a drawing of the same title).

P46

G R O U P OF T H R E E

P47

VEILED

Colour plate XII

FIGURES

Oil on canvas, 20 x 17 in. (51 x 43 cm.), inscribed 'Wyndham Lewis 1933'. Private Collection. Exh.: L G 32. Coll.: Allan Gwynne-Jones; A. F. C. Turner.

G R O U P OF SUPPLIANTS

P48

PL

INC A AND THE BIRDS

PI.

108

107

E x h . : L G 5 0 ; T 1 2 8 , as 1 9 3 3 - 6 .

T W O BEACH BABIES

Pl.

106

'Wyndham Lewis 1933.' Rugby Corporation Art Gallery. Exh.: L G 3 3 ; R G R E 1 1 8 ; T 1 2 5 . Ref.: Reproduced in H - R (pl. 13).

Colour plate XIII CREATION MYTH Oil on canvas, 19J x 23^ in, (49-5 x 59 cm.), unsigned. Junior Common Room, N e w College, Oxford. Exh. : L G 34. Coll. : Professor S. Russ. P54

P55

NORDIC BEACH

Pl.

106

Oil on canvas, 18 x 15 in. (45-5 x 38 cm.), unsigned. J. F. Cullis. Exh.: L G 3 1 ; T 133, as c. 1936. Colour plate I

Oil on canvas, 50 x 30J in. (127 x 77-5 cm.), inscribed 'Wyndham Lewis 1933'. Aberdeen Art Gallery and Museum. Exh.: L G 4 3 ; R G R E 119, dated 1938, andT 129, dated 1933-7 (both as Stations of the Dead). Ref.: Reproduced in H - R (pi. 19), as Stations of the Dead. Coll.: Naomi Mitchison.

READING

NIETZSCHE

Oil on canvas. A painting of this title was received by the Leicester Galleries in 1933. A letter from the Galleries to Lewis of 16 August 1933 (Department of Rare Books, Cornell University) shows that they had not at first been able to locate the picture amongst the ten sent in (see the note on p. 339),

340

107

1933-6

O N E OF T H E S T A T I O N S OF T H E

DEAD

P5I

PL

O i l on canvas, 20 X 24 in. (51 x 61 cm.), inscribed

Oil on canvas, 27 x 22 in. (68-5 x 56 cm.), inscribed 'Wyndham Lewis 1933'Arts Council of Great Britain, London. Exh.: L G 4 2 ; T 124. Ref.: Reproduced in Rude Assignment; H-R (pi. 22), as The Inca (with birds). Coll.: Mrs Lynette Roberts.

P50

RED SCENE

Oil on canvas, 2 7 J x 36 in. (71 X 9 1 5 cm.), inscribed 'Wyndham Lewis 1933'. Tate Gallery, London.

P53

Oil on canvas, 30 x 24 in. (76 5 x 61 cm.), inscribed 'Wyndham Lewis 1933'. Miss Honor Frost (from the collection of the late W. A. Evill). Exh.: L G 4 0 ; R G R E 1 2 1 ; T 1 2 3 .

P49

P52

P56

Q U E U E OF T H E

DEAD

Oil on canvas. Exh.: L G 5 3 . In his review of the exhibition, T. W. Earp wrote: 'Dynamic in form, and in conception near to Dante and Signorelli, is the flaming torrent of the doomed in "Inferno", whose excitement flickers down to neutral hues and the bleakness of contemporary myth in "Queue of the Dead".'

P57

SHEIK'S WIFE

PL

Oil on canvas, 20 x 24 in. (51 x 61 cm.), inscribed 'Wyndham Lewis 1936'. Private Collection. Exh.: L G 3 5 ; T 1 3 1 , as 1936.

106

PAINTINGS

1935

1936-7

E D I T H S I T W E L L (see P 3 6 ) .

P63

CUBIST MUSEUM

HARBOUR

PL

P64

THE READER

PL

114

12g

Oil on canvas, 24 x 20 in. (61 x 51 cm.), inscribed ' W y n d h a m Lewis. 1936'. National Gallery of Victoria, Melbourne. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, N o . 162).

P61

T H E S U R R E N D E R OF

BARCELONA

Colour plate IV

Oil on canvas, 33 x 23^ in. (84 x 59-5 cm.), unsigned. Tate Gallery, London. Exh.: L G 3 8 , as Siege of Barcelona-, T 134 (reproduced in catalogue). Ref.: Reproduced in Wyndham Lewis the Artist (colour); Sir John Rothenstein, 'Wyndham Lewis', in Picture Post, 25 March 1939 (colour); Rude Assignment; H - R (pl. 16). In Rude Assignment (p. 130), Lewis writes, 'In the Surrender of Barcelona I set out to paint a Fourteenth Century scene as I should do it could I be transported there, without too great a change in the time adjustment involved. So that is a little outside the natural-non-natural categories dominating controversy today.' P62

RED A N D B L A C K PRINCIPLE

PL

D E P A R T U R E OF A P R I N C E S S F R O M

CHAOS

Oil on canvas, 16 x 20 in. (40-5 x 51 cm.), unsigned. Exh.: R G R E 1 1 6 ; T 130. Coll.: Leicester Galleries (1959). P60

12g

P i l l i

Oil on canvas, 20 X 30 in. (51 x 76 cm.), unsigned. Mrs Gabrielle Keiller. Exh. : L G 36; R G R E 1 1 4 ; T 132. Coll. : David Cleghorn Thompson.

p 59

PI.

Oil on canvas, 30 x 25 in. (76 x 63 5 cm.), unsigned. Leicestershire Education Authority, Leicester. Exh.: L G 3 9 ; T 139.

1936 P58

THE ARTIST'S WIFE

I935 : 1936-7

112

Oil on canvas, 46 x 24 in. ( 1 1 7 x 6 1 cm.), inscribed ' W y n d h a m Lewis. 1936.' Santa Barbara Museum of Art, California. Ref.: H - R , pp. 44, 64, as Black and Red Principle. Coll.: Wright Ludington. Sketched, as Red and Black Principle, by Charles Handley-Read at the Redfern Gallery in 1949. Also known as Two Figures.

PL

107

Oil on canvas. Subsequently painted over. Exh. : L G 4 4 . Ref. : Reproduced in H - R (pi. 18). For Lewis's account of the genesis of this picture, see his foreword to the Leicester Galleries 1937 exhibition catalogue (Appendix I).

P65

MRS T. J . H O N E Y M A N

Pl.

12Q

Oil on canvas, 30 x 20 in. (76 X 51 cm.), inscribed 'Wyndham Lewis'. T . J . Honeyman. E x h . : Beaux Arts 1938; T 1 3 5 . Ref.: Reproduced in H - R (pl. 36).

P66

LANDSCAPE WITH NORTHMEN

PL

112

Oil on canvas, 26% x 19^ in. (67-5 x 49-5 cm.), inscribed 'Wyndham Lewis'. Brook Street Gallery, London. Coll.: John MacLeod.

P67

NEWFOUNDLAND

PL

11J

Oil on canvas, 27^ x 19^ in. (70 5 x 49-5 cm.), unsigned. Junior C o m m o n Room, N e w College, Oxford. Exh.: LG46.

Coll. : Professor S. Russ.

P68

P A N E L FOR T H E S A F E OF A G R E A T

MILLIONAIRE

Pl.

Ill

Oil on canvas, 24 x 18 in. (61 x 45 5 cm.), unsigned. Hull University Art Collection. Exh.: L G 4 9 ; T 1 4 2 , as 1937.

P69

PLAYERS UPON A STAGE

PL

111

Oil on canvas, 27 X 20 in. (68 5 X 51 cm.), unsigned. W . Michel. Exh.: L G 54; Beaux Arts 193 8, as Figures on a Stage; R G R E 1 1 5 , as 1936. Ref.: Reproduced in H - R (pl. 20).

341

PAINTINGS

I937 : 1938

1937 P70

P75 THE ARMADA

PL

11J

Oil on canvas, 36 x 28 in. (91-5 x 71 cm.), inscribed 'Wyndham Lewis 1 9 3 7 ' . Vancouver Art Gallery. Exh.: R G R E 123. Ref.: Reproduced in H - R (pi. 17).

P7I

F R O A N N A — P O R T R A I T OF T H E

ARTIST'S W I F E

PL

136

Oil on canvas, 30 x 25 in. (76 x 63-5 cm.), inscribed 'Wyndham Lewis 1937'. Glasgow Art Gallery and Museum. Exh.: Beaux Arts 1938; T 137 (reproduced in catalogue). Ref.: Reproduced in Sir John Rothenstein, 'Wyndham Lewis', Picture Post, 25 March 1939 (colour). A detail appears in colour on the cover of the Penguin Modern Classics edition of Aldous Huxley, Crome Yellow (London, 1969).

P72

INFERNO

PL

110

Oil on canvas, 60 x 40 in. (152 5 X 101-5 cm.), inscribed 'Wyndham Lewis 1937'. National Gallery of Victoria, Melbourne. Exh.: L G 45; T 140 (reproduced in catalogue). Ref.: Reproduced in Wyndham Lewis the Artist (colour). Coll.: Dr John Laidlaw. A colour reproduction in the possession of Mrs Lewis is inscribed 'Sunset—Spain'. P 73

ANN LYON

Oil on canvas. Destroyed. Exh.: L G 4 8 . Ref.: Reproduced in The Bystander, 8 December 1937. The sitter, Miss Margaret Ann Bowes-Lyon, never owned the picture. The Tate Gallery's file on the 1956 exhibition contains a letter from Lewis saying that it was destroyed during the Second World War. The sitter remembers that the picture was painted in the last two weeks before Lewis's 1937 exhibition.

P74

M A S Q U E R A D E IN L A N D S C A P E

PL

II4

Oil on canvas, 13^ X 17^ in. (34-5 x 44 5 cm.), inscribed 'Wyndham Lewis 1938'. Welsh Arts Council, Cardiff. Exh.: L G 52. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, N o . 162).

342

THE MUD CLINIC

Oil on canvas, 3 3 ^ x 2 3 ^ 'Wyndham Lewis'. Beaverbrook Art Gallery, Brunswick. Exh.: L G 5 1 ; R G R E 1 1 1 ; Ref.: Reproduced in H - R

PL

in.

(85X59

log

cm.), inscribed

Fredericton, N e w T141. (pi. 21).

P76 RED PORTRAIT Colour plate XIV Oil on canvas, 36 x 24 in. (91-5 x 61 cm.), inscribed 'Wyndham Lewis 1937.' Grosvenor Gallery, London. Exh.: R G R E 124, as 1936; T 138; Z w e m m e r 1957. Ref.: Reproduced in H - R (pi. 41). Coll.: Mrs Eva Handley-Read.

P77

T H E T A N K IN T H E C L I N I C

PL

108

Oil on canvas, 27 x 20 in. (68-5 x 51 cm.), unsigned. W. Michel. Exh.: L G 4 7 . 1938 P78

D A Y D R E A M OF T H E N U B I A N

PL

II4

Oil on canvas, 30 X 40 in. (76 x 101-5 cm.), inscribed 'Wyndham Lewis 1 9 3 8 ' . Naomi Mitchison. Exh.: Beaux Arts 1938. In her article, 'Sitting for Wyndham Lewis' (Manchester Guardian, 9 July 1956) Naomi Mitchison writes that, on buying the picture from the Beaux Arts Gallery exhibition, she told the artist of her feeling that the hand poised above the stream ought to have something in it—something the dreaming figure had picked out of the water. Lewis obliged and added the folded, transparent, bubble-like shape in the hand. He also made a number of other, fairly minor alterations. The final state is reproduced together with a detail of the hand from the early version.

P79

T. s. ELIOT 1

PI.

132

Oil on canvas, 30 x 20 in. (76 X 51 cm.), unsigned. Eliot House, Harvard University, Cambridge, Mass. Exh.: Beaux Arts 1938. Ref.: Reproduced in colour on the jacket of Allen Tate, ed., T. S. Eliot: The Man and His Work (New Y o r k , 1 9 6 6 ; London, 1 9 6 7 ) . This picture is a study for p8o. It was bought for Mrs Stanley Resor by Alfred Barr, J r (see Letters, p. 2 5 8 ) .

PAINTINGS P8O

T . S. E L I O T 11

PL

132

P85

1938 : 1939

PENSIVE W O M A N

PI.I37

Oil on canvas, 52 x 33^ in. (132 X 85 cm.), inscribed ' W y n d h a m Lewis'. Durban Municipal Art Gallery. Exh.: T 1 5 0 . Ref.: Reproduced as the frontispiece and on the jacket of Wyndham Lewis the Artist (colour); H - R (pi. 40).

Oil on canvas, 23^ x 1 7 J in. (59 5 x 44-5 cm.), inscribed ' W y n d h a m Lewis'. City Art Gallery, Carlisle. Exh.: Beaux Arts 1938, as Head; T 144, as Pensive Head. Ref.: Reproduced in Wyndham Lewis the Artist, as Woman's Head; Rude Assignment.

The Royal Academy's rejection of this portrait in 1938 led to lively controversy and Augustus John's resignation for t w o years. A photograph taken in Durban in 1954 (reproduced in Letters) shows a smiling T . S. Eliot pointing at something in the picture.

A photograph of this picture in the author's possession is inscribed 'Contemplation'.

P8I

FOUR FIGURE COMPOSITION

PI.

115

Oil on canvas, 1 9 J X 1 i n . (49-5 x 39 5 cm.), inscribed ' W y n d h a m Lewis 1938'. Estate of the late Agnes Bedford. Exh.: T 1 4 7 . Ref.: Reproduced in H - R (pi. 23). P82

HEDWIG

Pi.

135

Oil on canvas, 2 9 J x 24^ in. (75 x 62 cm.), unsigned. Private Collection. Exh.: T 1 4 9 . The sitter is Mrs Meyrick Booth. In his article 'The Vorticists' (Vogue, September 1956) Lewis writes 'Even an oil portrait like the Hedwig . . . coming as it does quite near to another convention, is nevertheless, in its massive design, a creature of the Vortex.' P83

JOHN MACLEOD

Pi.

I33

Oil on canvas, 30 x 20 in. (76 x 51 cm.), inscribed ' W y n d h a m Lewis 1938'. J. F. Cullis. Exh.: R G R E 109; T 146. Ref.: Reproduced in H - R (pi. 48). In the last sentence of his introduction to the catalogue of the 1956 Tate Gallery exhibition, Lewis, referring to this work, writes ' m y merit, whether great or small, in the portrait of MacLeod, resides in the long legs of a Scot, the fondness for books of a mature man, and the stone and steel colours of the tweeds.' P84

MEXICAN SHAWL

Pi.

11 4

Oil on canvas, 25 x 30 in. (63-5 x 76 cm.), inscribed ' W y n d h a m Lewis 1938'. City Art Gallery, Bristol. Exh.: T 1 4 8 ; Z w e m m e r 1957. Coll.: Arthur Crossland (sold at Christie's, 9 March 1 9 5 6 , No. 1 6 1 ) .

P86

STEPHEN SPENDER

PI.

1J2

Oil on canvas, 3 9 J x 23^ in. (100 5 x 59 5 cm.), inscribed ' W y n d h a m Lewis 1938'. City Museum and Art Gallery, Hanley, Stoke-onTrent. Exh.: Beaux Arts 1 9 3 8 ; R G R E 1 2 8 ; T 145. Ref.: Reproduced in Rude Assignment; H - R (pi. 42).

P87

LA SUERTE

PL

12g

Oil on canvas, 24 x 18 in. (61 x 45 5 cm.), inscribed ' W y n d h a m Lewis'. Tate Gallery, London. Exh.: Beaux Arts 1 9 3 8 ; T 143. Ref.: Reproduced on a Tate Gallery colour postcard. This is a portrait of the artist's wife.

The following six paintings were exhibited at the Beaux Arts Gallery in 1938. The exhibition number is given in brackets after the title. P 88

ARCTIC SUMMER : CORONATION GULF ( N o . 14)

P89

C A P T A I N C O O K IN E L L E S M E R E L A N D ( N o .

P90

H A R A L D IN S I C I L Y ( N o .

P9I

THE LOBSTER FLEET ( N o .

P92

POLAR L A N D S C A P E ( N o . 2)

P93

P O R T R A I T OF A M U S E ( N o .

15)

5) 12)

j)

1939 P94

CHANCELLOR CAPEN

Pl.

I38

Oil on canvas, 6 ft 4 in. x 2 ft 1 1 in. (193 x 89 cm.), unsigned. Poetry Room, State University of N e w Y o r k at Buffalo. Ref. : Letters, pp. 266-8. Samuel Paul Capen ( 1 8 7 8 - 1 9 5 6 ) was Chancellor of the University from 1922 to 1950. For the circumstances of the commission see p. 134. 343

PAINTINGS 1939 : 1944 P95

P96

PL

NAOMI MITCHISON

135

Oil on canvas, 40 x 30 in. (101-5 * 76 cm.), inscribed 'Wyndham Lewis'. Naomi Mitchison. Exh.: R G R E 1 1 3 ; T 136, as 1937. Ref.: Reproduced in H - R (pi. 43). Naomi Mitchison dates the painting 1938-9. P97

PI.

JOSEPHINE PLUMMER

135

Oil on canvas, 2 9 J x 1 9 J in. (75 x 49-5 cm.), unsigned. Mrs Josephine Whitehorn.

P98

P O R T R A I T OF A S M I L I N G G E N T L E M A N

PL

The sitter, Lord Carlow (1907-44), was a friend and patron of the artist in the thirties, until his death in an aeroplane crash. EZRA P O U N D

Colour

plate

VII

Oil on canvas, 30 x 40 in. (76 x 102 cm.), unsigned. Tate Gallery, London. Exh.: T 151, as 1938. Ref.: Reproduced in H - R (pi. 47); an earlier state was reproduced in Sir John Rothenstein, 'Wyndham Lewis', Picture Post, 25 March 1939 (colour). J U L I A N S Y M O N S ( S e e P 127).

PI03

Pl.

I47

1942 PI04

THE ISLAND

PL

l6l

Oil on canvas, 22 x 31 in. (56 X 78-5 cm.), inscribed 'Wyndham Lewis 1942'. Seen by the author at the late M r Douglas Duncan's Picture Loan Society in Toronto. The detail reproduced shows the central part of the picture. A group of three figures at the lower left and one of four figures at the upper right are omitted as are also narrow strips at the top and bottom.

1943 A CANADIAN WAR FACTORY

PL

l68

PI.I47

MARY MCLEAN

1944 P 106

PI.I48

PAULINE BONDY

Oil on canvas, 28^ x 18 in. (72 5 x 45-5 cm.), unsigned. Miss Pauline Bondy.

1941 J . S. M C L E A N

Pi.

148

Oil on canvas, unsigned. W . F. McLean. A reproduction of the painting in Saturday Night, 10 M a y 1941, differs in some details from the state

344

MRS R. J . S A I N S B U R Y

Oil on canvas, 35 x 23 in. (89 X 58-5 cm.), unsigned. National Gallery of Canada, Ottawa.

Oil on canvas, 45 x 33^ in. (114 x 85 5 cm.), unsigned. Tate Gallery, London.

Oil on canvas, 29 x 20 in. (73-5 x 51 cm.), unsigned. Mrs Douglas Stewart.

PIOI

T H E RED H A T

Oil on canvas, 18 x 18 in. (45 5 X 45-5 cm.), inscribed 'Wyndham Lewis'. Exh.: R G R E 106. A portrait of Mrs R . J . Sainsbury (see p. 135 and note 3). Details from Charles Handley-Read's notes on the R G R E . His sketch shows a front view of the head and shoulders of the sitter w h o is holding a cigarette and wearing a tall red hat.

PI05

1940 PIOO

P 102

I33

Oil on canvas, 4 0 x 2 8 in. (101-5x71 cm.), unsigned. Private Collection. Exh.: R G R E 108.

P99

reproduced here. I do not know which is the final version.

MISS CLOSE

Oil on canvas, 36\ x 21 in. (92-5 x 53 5 cm.), inscribed 'Wyndham Lewis'. Glynn Vivian Art Gallery, Swansea. Exh.: R G R E 1 2 7 ; T 1 5 2 .

P107

TOM CORI

PI.

Oil on canvas, 26 X 21 in. (66 x 53-5 cm.), inscribed ' W y n d h a m Lewis 1944'. C . Thomas Cori.

148

PAINTINGS P I08

DR ERLANGER

Pl.

white and o f various sizes, some f r o m old yearbooks and quite small, others perhaps 10 x 8 inches. T h e photographs o f Fathers O ' C o n n o r , Ferguson and Forster were large. Father M u r p h y reports that Lewis 'was most interested in the actual persons whose photographs he had; studied t h e m ; reflected much on them as persons . . .' Father M u r p h y k n e w all the subjects except Archbishop O ' C o n n o r and Father Ferguson and was able to tell Lewis a g o o d deal about them. He remembers Lewis telling him that he visualized the pictures perhaps appearing o n the same wall, and suggests he deliberately varied the backgrounds w i t h this in mind. T h e commission, with its requirement that he accept the photographer's lighting, could not have been much to the artist's taste. Nevertheless, w h e n it was finished, he personally chose the frames and was disappointed w h e n he heard the pictures were not yet hung, shortly after he left Windsor. (See also p. 136.)

I48

Oil o n canvas, 38 x 30 in. (96-5 x 76 cm.), inscribed ' W y n d h a m Lewis'. Washington University School o f Medicine, St Louis, Missouri.

P 109

MRS F E L I X GIOVANELLI

O i l on canvas, 25 x 14 in. (63 5 x 36 5 cm.). Mrs Margaret W . Giovanelli.

P I 10

MRS ERNEST W I L L I A M S T I X

Pl.

I4J

O i l o n canvas, 46 x 32 in. (117 x 81-5 cm.), inscribed ' W y n d h a m Lewis 1944'. Washington University Gallery o f Art, St Louis, Missouri. C o l l . : Mrs. E. W . Stix.

PHI

JAMES TAYLOR

1944 : 1949

PI.I48

O i l on canvas, 30 x 20J in. (76 x 52 cm.), inscribed ' W y n d h a m Lewis 1944'. Edgar Curtis Taylor.

1945 PI 1 2 - 2 1

PORTRAITS OF BASILIAN FATHERS

O i l on canvas, 25^ x 23I in. (65-5 x 60 cm.) sight size, unsigned. Assumption University, University o f Windsor, Ontario. PII2

FATHER D. CUSHING, C . S . B .

PII3

FATHER D. L. D I L L O N ,

PII4

FATHER M. J . FERGUSON, C . S . B .

PII5

FATHER FRANK FORSTER, C . S . B .

PIL6

FATHER V I N C E N T L. K E N N E D Y , C.S.B

PII7

FATHER ROBERT M C B R A D Y , C.S.B.

P I L8

FATHER THOMAS A. M A C D O N A L D ,

P 119

FATHER J . T . M U C K L E ,

P 120

A R C H B I S H O P DENIS O ' C O N N O R , C . S . B .

p 121

FATHER W I L L I A M G. ROGERS ( f o r m e r B a s i l i a n )

PI.

I46

PI.

I46

PI22

MRS P A U L MARTIN

PL

I47

O i l on canvas, about 5 x 3 ft (1 j o x 90 cm.), unsigned. T h e Hon. Paul Martin.

C.S.B.

1946 PI23

C.S.B.

C.S.B. PI.

NIGEL T A N G Y E

PL

148

O i l on canvas, 38 x 36 in. (96 5 x 91 5 cm.), inscribed ' W y n d h a m Lewis 1946'. Private Collection. Exh. : T 154. 146

R e f . : J. Stanley M u r p h y , C . S . B . , ' W y n d h a m Lewis at Windsor', Canadian Literature, Winter 1968, p. 18. T h e w o r k s were painted f r o m photographs. Most o f the sitters are former President-Superiors o f Assumption College, as it was called before receiving its o w n charter. O f the ten, Fathers K e n n e d y and M a c D o n a l d are living. Father M u r p h y , to w h o m I o w e this information, has told me in a letter that the photographs f r o m which the paintings were made were black and

1949 PI24

T . S. E L I O T

PL

I49

O i l on canvas, 34 X 2 i J in. (86-5 X 55 5 cm.), inscribed ' W y n d h a m Lewis 1949'. T h e Master and Fellows o f Magdalene C o l l e g e , Cambridge. Exh.: R G R E 1 2 5 ; T 1 5 5 . Ref.: Reproduced in H - R (colour plate B).

345

PAINTINGS PI25

1949

NEGRO M A R R I A G E

bouquet of brilliant scarlet flowers. There is a photograph of this painting, but not a very good one, in the Witt Library at the Courtauld Institute, London.

PARTY

Oil on canvas. Exh.: R G R E 105 (catalogued but not exhibited).

PI2Ó

THE R O O M T H A T M A R Y LIVES IN

Oil on canvas, 30 x 20 in. (76 x 51 cm.), inscribed 'Wyndham Lewis 1949'. Exh.: R G R E n o . Details from Charles Handley-Read's notes on the R G R E . His sketch and annotations indicate, in the foreground, a figure rising out of a region of flickering colours, in the background, two lay figures and a brilliant beam, like a searchlight. Associated with the foreground figure is a

346

PI27

JULIAN SYMONS

PL

I32

Oil on canvas, 29 x 25 in. (73-5 x 63 5 cm.), inscribed 'Wyndham Lewis 1949'. Julian Symons. Exh.: R G R E 107; T 153, as 1939-49. The painting was begun in 1939, when the head and shoulders were finished; it was then stored, and completed in 1949. (See Julian Symons, 'Meeting Wyndham Lewis', London Magazine, October 1957.)

DRAWINGS AND 1900 I

WATERCOLOURS 1903

MALE NUDE, STANDING

P e n c i l , 17 x

PI.

1

in. (43 x 22 c m . ) , inscribed ( b y

6

TWO NUDES

PI.

Pen and ink, ink wash, 9 j x 1 i n .

Professor Schwabe) ' W y n d h a m Lewis'.

m o u n t e d ; i n s c r i b e d ' W y n d h a m L e w i s . ' a n d , o n the

S l a d e S c h o o l o f Fine A r t , L o n d o n .

b a c k o f the m o u n t , a p p a r e n t l y in t h e artist's h a n d ,

E x h . : T 2.

1

(24 x 29 c m . )

' P . W y n d h a m L e w i s , fecit. L o n d o n 1903.' Private Collection. Exh.: T 3 .

2

C o l l . : Albert Rutherston.

N U D E B O Y B E N D I N G OVER

PL

1

B l a c k c h a l k , 13^ x 1 1 J in. (34 5 x 29 c m . ) , i n s c r i b e d (in a n o t h e r hand) ' P . W . L e w i s . S c h o l a r s h i p 1900'.

1904

S l a d e S c h o o l o f Fine A r t , L o n d o n . Exh. : T i.

7

S T U D Y OF A G I R L ' S

HEAD

E x h . : N e w E n g l i s h A r t C l u b , A p r i l - M a y 1904.

1902 3

1900-5

N U D E F I G U R E OF A B O Y ,

STANDING

P e n c i l , 9J x 7 in. (24 x 18 c m . ) , s i g n e d a n d d a t e d 1902. S o l d at ^ S o t h e b y ' s , 14 A p r i l 1937 ( N o . 30).

8

HELLAS

PL

1

P e n a n d sepia i n k , sepia w a s h , 1 0 x 11 in. (25 5 x 28 c m . ) , i n s c r i b e d w i t h t h e first f o u r lines o f the i n t r o d u c t o r y ' C h o r u s o f G r e e k C a p t i v e W o m e n ' f r o m Shelley's 'Hellas', unsigned. Private Collection.

4

N U D E Y O U T H (TO LEFT)

Pencil, unsigned.

9

R e f . : R e p r o d u c e d in * The Slade: A collection of drawings and some pictures done by past and present students of the London Slade School of Art,

1893-1907

( L o n d o n , 1907), pi. 90.

AN ORIENTAL

DESIGN

P e n a n d sepia i n k , sepia w a s h , 13 x 15 in. (33 X 3 8 c m . ) , inscribed 'P. W . Lewis.' and 'an Oriental design. ("Salaam, Maheraj.")'. Private Collection.

S i m i l a r t o 1.

Interior, w i t h a s e m i - n u d e h a r e m w o m a n , standi n g , in p r o f i l e . In t h e b a c k g r o u n d a d a r k e n e d a l c o v e o r s l e e p i n g q u a r t e r . S h a r p l y linear h a t c h i n g s , instead o f t h e m o r e p a i n t e r l y

5

NUDE YOUTH (TO RIGHT)

chiaroscuro

o f the other 1900-5 drawings.

P e n c i l , i n s c r i b e d ' W y n d h a m L e w i s . 1902.' R e f . : R e p r o d u c e d in * The Slade: A collection of drawings and some pictures done by past and present

10

students of the London Slade School of Art,

P e n a n d sepia i n k , sepia w a s h , 8 | X 9 J in.

( L o n d o n , 1907), pi. 9 1 . S i m i l a r t o 1.

1893-1907

STREET SCENE

PI.

1

(22 x 24 c m . ) , u n s i g n e d . Private Collection.

347

DRAWINGS

I909 : I9II

1909 11

18

ANTHONY

PL

2

Pen and ink, gouache, 5f X 4^- in. (14-5 x 1 1 5 cm.), unsigned. Victoria and Albert Museum, London. Exh.: T 6 . Coll.: Captain Lionel G u y Baker. 12

T H E GREEN TIE

PL

CAFÉ

2

The inscription on the mount refers to Port de Mer (p 1).

2

Pen and ink, gouache, 9 ^ x 5 ^ in. (24 x 13 5 cm.), inscribed 'Wyndham Lewis 1909'. William S. Lieberman. Exh.: R G R E 2 8 ; T 4 . Coll.: (?) John Quinn (sale catalogue N o . 285A, as Architect with Green Tie); R. Wyndham.

PL

Pen and ink, ink wash, black chalk, watercolour, wash, gouache, x in. (21 x 13 5 cm.); inscribed 'Wyndham Lewis 1910', 'W. Lewis. 1 9 1 1 . ' and, on the mount, 'one of studies for first exhibited oil (shown in Robert Ross's gallery) and bought by Augustus John'. W. Michel.

19

DIEPPE FISHERMEN

PL

2

Pen and ink, i o j X 8f in. (27 5 X 2 1 5 cm.), inscribed 'Wyndham Lewis 1910.' Estate of the late Agnes Bedford. Exh.: T 8 . Possibly item 9 in the ' 1 9 1 7 List'.

13

S T U D Y OF A P E A S A N T

WOMAN 20

Pencil, 8 x 4 ! in. (20 5 x 1 1 cm.), unsigned. Full-figure profile of a peasant woman stooped under a load. Similar to 19 but simpler and more sketchy. 14

S T U D Y OF

PEASANTS

Peasant woman standing, seen from behind, and head of a peasant or fisherman wearing a cap. A companion piece to 13.

THE THEATRE MANAGER

PI.

1

Pen and ink, watercolour, i i f x i 2 f in. (29-5 x 3 1 5 cm.), inscribed 'W. Lewis 1909'. Victoria and Albert Museum, London. Exh.: T 5. Coll.: Captain Lionel G u y Baker.

CAFE (see 1 8 ) . 21

BABY'S HEAD

22

PL

17

BALZAC

348

PI.

3

THE LAUGHING WOMAN

PL

3

The picture is lost and is here reproduced from an old photograph given to the author by Mrs Lewis. In the ' 1 9 1 7 List' Lewis mentions 'a large paper roll, cartoon, The Laughing Woman' As the picture in the photograph seems to be put together from three horizontal strips of paper, it fits the description very well; it is also clearly in the 1 9 1 1 style. The association of the photograph with the picture referred to in the ' 1 9 1 7 List' is based solely on these observations. See also the painting of the same title (P 5).

2

Pencil, 7 ^ x 6 in. (18-5 x 15 cm.), inscribed 'W.L. 1910.' Victoria and Albert Museum, London. Exh.: T 7 . Coll.: Captain Lionel G u y Baker. Possibly item 2 in the ' 1 9 1 7 List'.

Watercolour, 7 j x in. (18 5 X 1 1 cm.), signed. Coll.: John Quinn (*sale catalogue No. 411B).

GIRL ASLEEP

Pencil and wash, n x 15^ in. (28 X 38 5 cm.), inscribed 'Wyndham Lewis. 1 9 1 1 . ' Manchester City Art Galleries (Rutherston Collection). Exh.: T & P 2 ; R G R E 7 1 ; T 9 .

1910 16

STANDING

1911

Pencil, 8 x 4f in. (20-5 x 1 1 cm.), unsigned.

15

MAN

Pen and ink, gouache, x 10 in. (14 x 25-5 cm.). Exh.: * ' T h e Camden T o w n Group Festival Exhibition', Southampton, 1951.

23

MAMIE

PL

Pencil and wash, 1 1 x i o j in. (28 X 26 cm.), inscribed 'Wyndham Lewis 1 9 1 1 . '

4

DRAWINGS

M r Goodyear gave the picture away.

SELF-PORTRAIT

Pi.

4

Pencil, 12^ x 9^ in. (32 x 23 5 cm.), inscribed ' W . Lewis' and, on the reverse, 'Selfportrait' about 1912. W.L.' M r and Mrs Michael Ayrton. Exh. : Tate Gallery 1956, as 1 9 1 2 (listed on typed sheet of addenda to the catalogue).

25

Miss Lechmere, w h o m Lewis first met in 1 9 1 1 , remembers a picture for which the present title is appropriate, showing three portraits of herself, with large grinning faces and arms folded, 'painted a f e w years, perhaps two, before the Rebel Art Centre. The heads were less complicated and much larger' than in the drawing The Laughing Woman (22), which I showed her and which she thinks dates from some years later. Three Smiling Women 'wasn't a bit like another he did of me going up some stairs, . . . not from life, but a composition' (probably Smiling Woman Ascending a Stair, entry 27), she told me. On the basis of these recollections, I have tentatively dated Three Smiling Women in 1 9 1 1 .

SELF-PORTRAIT

Pencil, 9 x 6 in. (23 x 15 cm.), inscribed ' W . Lewis' and, on the reverse, 'over page Self-portrait about 1912. W.L.' W. Michel. Similar to 24.

26

: 1912

been in the possession of the C A S , on whose committee M r Hutchinson was at the time, and whose office and store have always been at the Tate Gallery. Lewis appears to be mistaken in attributing ownership of the work to the Tate Gallery, for that Gallery's records, which are complete, do not list the picture. But, apart from this, and in view of the sketchiness of the C A S records, the remainder of his story must be accepted. It appears, then, that the C A S possessed both the oil Laughing Woman (p 5) and the gouache Three Smiling Women, and that both have disappeared.

Ref.: Reproduced in Forbes Watson, ed., The John Quinn Collection of Paintings, Watercolours, Drawings and Sculpture (New Y o r k , 1926), p. 152. Coll.: John Quinn (sale catalogue 1 7 1 ) ; A. Conger Goodyear.

24

I9II

SELF-PORTRAIT

Pencil and watercolour, 12 x 9 J in. (30-5 x 23 5 cm.), inscribed ' W . Lewis'. C . J . Fox. Ref.: Reproduced in Letters.

1912 27

SMILING W O M A N A S C E N D I N G A STAIR

PI.

J

Charcoal and gouache, 377 x 25^ in. (95 x 65 cm.), inscribed 'Wyndham Lewis'. Vint Collection. Exh.: T 10.

28

THREE SMILING

29

ABSTRACT

DESIGN

PI.

l6

Pen and ink, watercolour, 9y x 15^ in. (24 x 38 5 cm.), inscribed ' W y n d h a m Lewis. 1 9 1 2 . ' The British Council, London. Exh.: R G R E 2 6 , as 1924.

WOMEN

Gouache, over life-size. Ref.: Rude Assignment, p. 1 2 1 ; Letters, p. 243. In Rude Assignment Lewis tells of an early, 'overlifesize gouache of three smiling women', which was purchased by the Contemporary Art Society, subsequently given to the Tate Gallery and destroyed when the cellars of that institution were flooded in 1928. A similar account is given in a 1937 letter to Oliver B r o w n (Letters, p. 243). The picture is lost, but M r St John Hutchinson, in a letter to Lewis of 5 June 1918 (Department of Rare Books, Cornell University), confirms that he saw the very large 'Laughing Women' at the Tate Gallery at that time. But it may well have

30

AMAZONS

Exh. : Second Post-Impressionist Exhibition, October 1912.

31-8

I L L U S T R A T I O N S F R O M B R O C H U R E S OF T H E

CABARET THEATRE

CLUB

The Cabaret Theatre Club and the modernist nightclub 'The Cave of the [Golden] C a l f ' were creations of Madame Strindberg, the second wife of the dramatist. The details of the designs and the reproductions are taken from various brochures of the club in the possession of M r Anthony d'Offay. See also Decorations for the 'Cave of the Calf'—Cabaret Theatre Club (P7),

349

DRAWINGS

I9I2

[31-8, continued]

[31-8, continued]

Design for Cabaret Theatre Club Stationery (39), and Poster for the Cabaret Theatre Club (40).

GENERAL PROSPECTUS

31

DESIGN PROM THE PRELIMINARY

D E S I G N F R O M T H E C O V E R OF T H E G E N E R A L PL

PROSPECTUS

15

Reproduced on the front covers of the general prospectus (dated M a y 1912) and the brochure announcing the club's second season (dated September 1912). Height of the reproduction, 7 in. (18 cm.). 33

A W A L L D E C O R A T I O N IN T H E C A V E OF PI.

T H E G O L D E N CALF

l6

Inscribed ' W L ' . Reproduced over this title on p. 1 of the general prospectus. It is not k n o w n whether this design was actually made into a wall decoration. 34

THREE-HEADED

FIGURE

Inscribed 'Cave of the Calf'. A small design of three calves' heads, possibly by Lewis. Reproduced on p. 4 of the general prospectus, on the preliminary announcement of the Intimate Theatre Society season opening at the Cave of the Calf on 15 January 1913, and on club envelopes. Height of the reproduction, 2 in. (5 cm.). 35

D E S I G N OF D A N C E R S

Pi.

1 $

Reproduced on p. 5 of the general prospectus, and on p. 2 of the September 1912 brochure. Height of the reproduction, 3^ in. (9 5 cm.). 36

PROGRAMME DESIGN

PI.

LJ

Inscribed ' W y n d h a m Lewis.'

39

MENU DESIGN

PI.

If

Inscribed ' W L . ' and 'Menu'. Reproduced inside the back cover of the general prospectus. W i d t h of the reproduction, 8^ in. (21-5 cm.). The detail shows the full width of the top edge of the page. 350

PI. JJ>

D E S I G N FOR C A B A R E T T H E A T R E C L U B

STATIONERY

Inscribed 'Cabaret Theatre Club'. By the same hand as 31. T h e design, a frieze of dancers and a calf, measuring 2 J X 8 in. (6 5 x 20-5 cm.), is printed across the top of an envelope in the possession of M r Anthony d'Offay. T h e envelope measures 8 x 10J in. (20-5 x 26-5 cm.).

40

P O S T E R FOR T H E C A B A R E T T H E A T R E C L U B

Pi.

14

Inscribed ' W L ' . Reproduced f r o m a copy of the poster, measuring 24^ x 17 in. (62 x 43 cm.), in the Department of Rare Books, Cornell University.

41

CENTAURESS

PI.

6

Pen and ink, wash, 12^ x 14^ in. ( 3 1 X 3 7 cm.), inscribed ' W y n d h a m Lewis. 1 9 1 2 . ' Cecil Higgins Art Gallery, Bedford. Exh.: R G R E 20, as Centauress I; T 27; Z w e m m e r 1957Ref.: Reproduced in H - R (pi. 5). Coll.: J o h n Q u i n n (sale catalogue N o . 175B, as Centauride); R. W y n d h a m ; Charles Handley-Read.

42

CENTAURESS NO. 2

PI.

5

Pencil, pen and ink, wash, 12 x 9J in. (30-5 x 24 cm.), inscribed ' W y n d h a m Lewis. 1912.' A n t h o n y d'Offay. Exh.: R G R E 22, as Centauress II. Ref.: H - R , p. 85. Probably identical with Study of a female nude, half-length which was sold at Sotheby's, 4 March 1959 (No. 51), bt by M a y o r Gallery.

Reproduced on p. 6 of the general prospectus and on the club's programmes. The reproduction almost surrounds a page measuring 1 1 x 8 } in. (28 x 21-5 cm.). 37

D E S I G N F R O M T H E B A C K C O V E R OF T H E

Reproduced on the back covers of the general prospectus and the September 1912 brochure. Height of the reproduction, 4 in. (10 cm.).

PROSPECTUS

Inscribed 'Cave of the C a l f ' and 'Cabaret-Theatre Club'. Possibly by Lewis but more florid and less incisive than his other Cabaret Club w o r k . T h e design shows a frieze of a calf and dancers. Reproduced at the head of the preliminary prospectus (April 1912) of the club. The reproduction measures 3 i x 5 i in. (9 x 12-5 cm.). 32

38

43

CHICKENS

PI.

Pen and ink, ink wash, io£ x 7J in. (25-5 x 20 cm.), inscribed 'W.L. 1912.' Victoria and Albert Museum, London. Exh.: T 2 4 . Coll.: Captain Lionel Guy Baker.

9

1912

DRAWINGS 44

PL

THE COURTESAN

21

Pen and ink, watercolour, 1 0 J x in. (27-5 X 18-5 cm.), inscribed ' W Lewis. 1 9 1 2 ' and ' W L ' . Victoria and Albert Museum, London. Exh.: T 2 3 . Coll.: Captain Lionel Guy Baker.

45

Pl.

COURTSHIP

g

Pen and ink, chalk, i o j X 8^ in. (25 5 x 20-5 cm.), inscribed ' W . L. 1 9 1 2 . ' Victoria and Albert Museum, London. Exh. : T 25. Coll. : Captain Lionel Guy Baker.

46

PL

CREATION

H. Anson-Cartwright. Exh.: R G R E 4 1 ; T 2 0 . Coll.: John Quinn (sale catalogue N o . 285c); R. Wyndham. A frieze-like composition of two figures in a dance.

51

'primitive'

DESIGNS FOR D E C O R A T I O N S

24

Drawn on the backs of enrolment forms for the Cabaret Theatre Club measuring 8 x io£ in. (20-5 X 26-5 cm.). The five drawings are in threeto four-inch wide strips along one edge, with the rest of the paper left blank, and may be designs for a frieze.

15

Exh. : Second Post-Impressionist Exhibition, October 1 9 1 2 (reproduced in catalogue); Post-Impressionist and Futurist Exhibition, October 1913.

52

DESIGN FOR P R O G R A M M E

COVER— PL

KERMESSE 47

PI.

Pen and ink, unsigned. W. Michel.

DANCER

Pen and ink, design 3 J in. (9-5 cm.) high, on a sheet of paper x in. (29 x 19 cm.), inscribed ' W . L. 1912*. Department of Rare Books, Cornell University.

11

Blue and black ink, n i x 12^ in. (28-5 X 31 cm.), inscribed ' W L 1 9 1 2 ' . Exh. : R G R E 1 1 , as Kermesse ; T 26. Ref. : Reproduced in Blast No. 2, p. 75. Coll. : John Quinn (sale catalogue N o . 3°4 B ) ; R. W y n d h a m ; Leicester Galleries (1956).

In the style of 95. 53 48

Pl.

THE DANCERS

l j

Pen and ink, watercolour, 1 1 J X n j i n . (29-5 x 29 cm.), inscribed 'Wyndham Lewis 1 9 1 2 ' and ' W L ' . Ivan Phillips. Exh.: Vorticist Exhibition, Penguin Club, N e w Y o r k , January 1 9 1 7 ; R G R E 2 5 , as Indian Dance; T 2 1 , as Three Figures. Ref.: Reproduced in 'At Last, the Vorticists', Vanity Fair, September 1916, p. 72; Burlington Magazine, August 1956, p. 28. Coll.: John Quinn (sale catalogue No. 175A); R. Wyndham. From the reproduction in Vanity Fair.

49

DESIGN:

FIGURE

Pen and ink, 1 i j X 7 I in. (29 x 19 5 cm.), unsigned. Department of Rare Books, Cornell University. In the style of 95.

50

D E S I G N FOR B O X

LID

Pencil and wash, 6 x 13^ in. (15-5 X 34 5 cm.), inscribed 'Wyndham Lewis 1912. Design for box lid'.

DETECTIVES

Watercolour, x 1 2 ^ in. (47-5 x 31 cm.). Coll.: John Quinn (*sale catalogue N o . 3 IOA). The sale catalogue lists this picture and N o . 3 iob, Mountain of Loves (76), with their respective measurements and the note: ' T w o watercolours, one signed 1.1. Wyndham Lewis and dated 1 9 1 2 . '

54

PL

THE D O M I N O

Q

Pen and ink, watercolour, 10 x 8^ in. (25-5 x 20-5 cm.), inscribed ' W L . 1 9 1 2 . ' Victoria and Albert Museum, London. Coll.: Captain Lionel G u y Baker.

55

EIGHTEENTH-CENTURY

AMAZONS

Pl.

12

Pen and ink, wash, 13^ x 20 in. (34-5 x 51 cm.), inscribed ' W L . ' Exh.: R G R E 19, T 38, both as The Dance of Women. Ref.: Reproduced in Dial, August 1921, following p. 152. Coll.: John Quinn (sale catalogue No. 142B, as 1 9 1 5 ) ; R. W y n d h a m ; Christopher Arnold; Leicester Galleries (i960). 351

DRAWINGS 56

I9I2

ELEUSIS

63

Pen and ink, pencil, watercolour, 125 X 9§ in. (31 x 24 cm.), inscribed 'W.Lewis.' Merlyn Evans. Figures similar to those in 75, but with faces reminiscent of classical masks.

57

FAMILY AND FIGURE

PI.

58

FAUNESQUE

64

PI.

5

FIGURE

PI.

R.

11

Pen and ink, watercolour, l o f x 6F in. (27-5 x 17 cm.), inscribed 'Wyndham Lewis. 1 9 1 2 . ' Museum of Modern Art, N e w York. Gift of Victor S. Riesenfeld.

60

FIGURE

Pen and ink, watercolour, 1 5 x 8 ^ in. (38 x 21 cm.), unsigned. Mrs Helen Peppin. Coll.: Helen Saunders. Similar to the figures in 48.

61

FIGURE COMPOSITION

PI.

6

Pen and ink, watercolour, pencil, gouache, 9f x 12^ in. (25 x 31 cm.), inscribed ' W Lewis.' Private Collection. Exh.: R G R E 14, as Woman; T 18. Ref.: H - R , p. 58 (note 4). Coll.: Charles Handley-Read.

62

FIGURE COMPOSITION

PI.

Watercolour, 12 X 8^ in. (30 5 x 21 cm.), unsigned. Michael A. Tachmindji. Exh.: R G R E 82, as Drawing, 1 9 1 3 ; T 2 9 , as 1 9 1 3 . Coll.: Sir Michael Sadler. 352

5

21

F I G U R E IN P R O F I L E

Pencil and gouache, 9^ x 8-J in. (24 x 21-5 cm.), unsigned. W . Michel. Similar to 63.

65

The detail reproduced shows the full height of the drawing. 59

Pi.

12

Pen and ink, black chalk, wash, 10 x 1 2 J in. (25 5 x 32-5 cm.), inscribed 'Wyndham Lewis.' Private Collection. Coll.: Helen Saunders.

Pen and ink, wash, 9^ x 1 1 in. (23 X 28 cm.), inscribed 'Wyndham Lewis. 1912.' Mayor Gallery, London. Coll.: John Quinn (sale catalogue N o . 2 7 7 B ) ; Wyndham.

FIGURE HOLDING A FLOWER

Pencil, pen and ink, gouache, 1 4 J x n ^ in. (37 x 28-5 cm.), unsigned. W . Michel. The drawing is executed on an original sheet of paper measuring 1 2 x 9 in. (30 5 x 2 3 cm.), and on strips of paper added along the left and bottom edges.

FIGURE (SPANISH W O M A N )

Pi

11

Pen and ink, gouache, I 2 | x in. (32-5 x 20-5 cm.), inscribed 'Wyndham Lewis. 1912.' Anthony d'Offay.

66

FLORIDA

Pen and ink, wash, 14^ x 1 0 J in. (37-5 x 27-5 cm.). Ref.: Reproduced in Dial, August 1921, following p. 152. Coll.: John Quinn (sale catalogue No. 23c, as 1 9 1 4 and signed l.r.). A figure similar to those in 48.

67

FUTURIST FIGURE

PI.

21

Pencil, pen and ink, ink wash, wash, i o i x 7^ in. (26 x 18 5 cm.), unsigned. Private Collection. Coll.: Helen Saunders.

68

H E A D OF M E R C U R Y

Pen and ink, 1 5 } x 1 1 ^ in. (39 5 x 29 cm.), unsigned. Andrew Dickson White Museum of Art, Cornell University. Ref.: Reproduced in H - R (title page); Agenda, Wyndham Lewis special issue, Autumn-Winter 1969-70, p. 2.

69

INDIAN DANCE

Black chalk and watercolour, i o f x i i j in. (27 x 29 cm.), inscribed 'Wyndham Lewis 1 9 1 2 . ' Tate Gallery, London. Exh.: R G R E 35, as Ballet Scene II; T 22.

PI.

7

70

76

I N T H E FOREST

Watercolour, x 15 in. (29 x 38 cm.), signed. Coll.: J o h n Q u i n n (*sale catalogue N o . 4 2 3 B ) . Described in the sale catalogue as a 'Vorticist study'.

77 71

78

KERMESSE 79

L E T T E R H E A D FOR T H E O M E G A

WORKSHOPS

Ref.: Reproduced in Quentin Bell, Bloomsbury (London, 1 9 6 8 ) , p. 5 4 . Professor Bell's attribution of this design to Lewis does not seem to m e very convincing.

80

LOVERS

PL

12

MAN AND WOMAN

Chalk, pen and ink, wash, gouache, 144 x 10^ in. ( 3 6 x 26 cm.), inscribed ' W y n d h a m Lewis 1 9 1 2 ' . A n t h o n y d'Offay. Exh.: R G R E 3 6 ; T14. Ref. : An earlier state, without signature, is reproduced in H - R (pi. 2).

PI.

3

PI.

10

1912.'

Victoria and Albert Museum, London. Coll.: Captain Lionel Guy Baker.

LA R E L I G I O N

Watercolour, 12^ x 9^ in. (31 x 23 5 cm.), signed ' W y n d h a m Lewis 1 9 1 2 ' . Coll.: J o h n Q u i n n (*sale catalogue N o . 28 5B). Described in the catalogue as 'a satire'. RITUALISTIC CHALLENGE

PL

6

Pen and ink, watercolour, I2j x 17! in. (32 x 45 cm.), inscribed ' W y n d h a m Lewis' and, on reverse, 'Ritualistic Challenge'. National Gallery of Victoria, Melbourne. 83

75

LE P E N S E U R

Pen and ink, black chalk, watercolour, 11 x 7 in. (28 x 18 cm.) sight size, inscribed ' W y n d h a m Lewis.

82

Pen and ink, watercolour, approximately 10 x 14 in. ( 2 5 5 x 3 5 5 cm.), inscribed ' W y n d h a m Lewis. 1 9 1 2 . ' Estate of the late Sir Osbert Sitwell.

ODALISQUE

Pen and ink, chalk, 14 x 8 in. (35 5 x 20-5 cm.), inscribed 'Odalisque', unsigned. Ezra Pound. Possibly item 1 in the '1917 List'. A figure similar to those in 48.

81

74

NUDE

Watercolour, 10J x 6f in. (27 5 x 17 cm.), signed. Coll.: J o h n Q u i n n (*sale catalogue N o . 411 A). T h e catalogue describes the w o r k as 'a satirical drawing'.

Pen and ink, wash, gouache, 1 i f x 11^ in. ( 3 0 x 2 9 cm.), inscribed ' W y n d h a m Lewis 1 9 1 2 . ' Ivan Phillips. Exh.: RGRE 27, as Design for Kermesse; T 16. Coll.: J o h n Q u i n n (sale catalogue N o . 178A); R. W y n d h a m . This was one of the first of Lewis's drawings to be bought by J o h n Quinn. Pound's letters to Q u i n n (in the J o h n Q u i n n Memorial Collection, N e w York Public Library) suggest that it is a study for the large painting Kermesse (P4). I have seen neither the original nor a reproduction of it. But Charles Handley-Read's sketch, made at the RGRE, shows t w o or perhaps more figures in an arrangement similar to 48.

73

M O V E M E N T IN THIRDS

Pen and ink, 7 x 5 ^ in. ( 1 8 x 1 4 cm.). Coll.: J o h n Q u i n n (*sale catalogue N o . IOB).

JOYEUSE

Pen and ink, wash, 1 i j x 12 in. (30 x 30 5 cm.), unsigned. Réf.: Reproduced in Dial, December 1921, following p. 6 7 4 . Coll. : John Q u i n n (sale catalogue N o . 2 3 A , as 1 9 1 4 ) . A composition similar to 48.

72

M O U N T A I N OF L O V E S

Watercolour, 12^ x 19 in. (32 X 48-5 cm.). Coll.: J o h n Q u i n n (*sale catalogue N o . 3 1 0 B ) . See note to 53.

RUSSIAN SCENE

PL

5

(Russian Madonna) in. Pen and ink, chalk, watercolour, 12 x ( 3 0 5 x 2 4 cm.), inscribed ' W y n d h a m Lewis 1 9 1 2 . ' and, on reverse, 'Russian Scene W . Lewis 1 9 1 2 ' . Victoria and Albert Museum, London. Exh.: T 1 9 . Coll.: Captain Lionel G u y Baker. 353

DRAWINGS 84

1912

SERAGLIO

PL

8

Ref.: Reproduced in Wyndham Lewis: Fifteen Drawings.

85

PI.

T H E S T A R R Y SKY

PI.

Three figures similar to those in 150.

13

Black chalk, 13^ x 19^ in. (34 5 x 49 5 cm.), inscribed 'Vermillion', unsigned. Mrs Helen Peppin. Coll.: Helen Saunders. T h e detail reproduced shows the left-hand t w o thirds of the paper, representing almost the full drawn portion.

86

6

Pencil, pen and ink, wash, gouache, 18J X 24^ in. ( 4 6 - 5 x 6 2 cm.), inscribed ' W y n d h a m Lewis. 1 9 1 2 . ' Arts Council of Great Britain, London. Exh.: R G R E 12, T 12 (reproduced in catalogue), both as Two Women. Ref.: Reproduced in Dial, August 1921, facing p, 152; noted in H - R , p. 84, as Two Women. Coll.: J o h n Q u i n n (sale catalogue N o . 49, reproduced in catalogue); R. W y n d h a m . T h e t w o figures, drawn on white paper, have been cut out and pasted on to a dark-grey paper background.

91-108

S T U D Y IN B L U E

Pen and ink, watercolour, wash, 1 0 x 8 in. ( 2 5 5 x 2 0 5 cm.), inscribed ' W y n d h a m Lewis. Estate of the late Agnes Bedford.

PL

lj

1912'.

D E S I G N S F R O M T H E P O R T F O L I O ' T I M O N OF

ATHENS'

The portfolio, which bears designs on its front and back covers, contains sixteen sheets (six with coloured, ten with black and white subjects), each measuring i o | x i 5 ^ in. ( 2 6 X 3 8 - 5 cm.). T h e reproductions are taken f r o m a copy of the portfolio in the possession of M r A n t h o n y d'Offay. T h e portfolio was published in late 1913 b y the C u b e Press and sold, through bookshops, at 10/6d. The sheets were u n n u m b e r e d and untitled (the titles used below, where not inscribed as an integral part of the design, are assigned b y the author). Exh.: Six of the drawings were shown at the Second Post-Impressionist Exhibition in October 1912 (Nos. 1 9 4 - 8 , 2 0 1 ) but it has not been possible to identify which these were. Ref.: Review of the portfolio by Richard Aldington in The Egoist, 1 January 1914. For further bibliographical information see J o h n Gawsworth, Apes, Japes and Hitlerism (London, 1 9 3 2 ) , p. 8 3 . 91

87

THREE FIGURES

Pen and ink, ink wash, 8 X 1 0 in. (20-5 x 25-5 cm.), inscribed ' W y n d h a m Lewis. 1 9 1 2 . ' A n t h o n y d'Offay. Coll.: J o h n Q u i n n (sale catalogue N o . 1 3 6 B ) ; H. Cohen.

S K E T C H FOR A N A B S T R A C T

COMPOSITION

90

FRONT COVER DESIGN

PL

l8

Inscribed ' W y n d h a m Lewis'. Also reproduced on the envelope used to contain the entire portfolio. 92

BACK COVER DESIGN

PL

18

Inscribed ' W Lewis'. 88

SUNSET A M O N G THE MICHELANGELOS

PI.

6

Pen and ink, gouache, i2f x i 8 j in. (32-5 x 48 cm.), inscribed ' W y n d h a m Lewis.' (twice). Victoria and Albert Museum, London. Exh.: T 1 7 . Coll.: Captain Lionel G u y Baker.

93

ACT 1

PL 19

Coloured. Inscribed ' W L . ' Coll.: (?) J o h n Q u i n n (sale catalogue N o . 178B, as Timon of Athens, Banquet Scene, 16J X 11 in., undated and described as 'a modernistic festive scene in watercolour'); R. W y n d h a m . 94

ACT 1

Inscribed ' W L . ' 89

SYLVAN TRILOGY

Watercolour, 105 x II-J in. (26 x 29 cm.), inscribed ' W y n d h a m Lewis 1 9 1 2 ' . Coll.: J o h n Q u i n n (*sale catalogue N o . 175 c); R. W y n d h a m . T h e catalogue describes the w o r k as an 'abstraction in watercolour'. 354

95

A C T III

Pl. 19

Inscribed ' W L ' . 96

A C T IV

PL 19

Inscribed ' W L ' . ACT v Inscribed ' W Lewis'. 97

PL 19

DRAWINGS

[ 9 1 - 1 0 8 , continued] 98

ILL

ALCIBIADES

PL

It)

Coloured. Unsigned. R e f . : Reproduced in H - R (pi. 3) as A Design for the Publication 'Timon of Athens' and dated 1 9 1 3 or 1 9 1 4 . 99

PI. 17

COMPOSITION

T W O FIGURES

1912 PI.

5

Pencil and watercolour, n ^ X 9 J in. (30 x 23-5 cm.), inscribed ' W y n d h a m Lewis.' Eugene A. Carroll. E x h . : T 1 3 ; Z w e m m e r 1957, as Two Figures III. C o l l . : Arthur Crossland (sold at Christie's, 9 March 1956, N o . 73, as Native Women) -, W . K . Rose.

Coloured. Unsigned. 100

THE CREDITORS

PI.

l8

Coloured : pen and ink, ink wash, watercolour, wash, i 6 f x 1 0 J in. (41 x 27 5 cm.) mounted, unsigned. T h e Wadsworth Atheneum, Hartford, Connecticut (Ella Gallup Sumner and M a r y Catlin Sumner Collection). Exh. : R G R E 34, as Design for ' Timon of Athens' and dated 1 9 1 3 . Ref. : H - R , p. 85, as Design for Timon of Athens. Coll. : R e x N a n Kivell. 101

PI. il

TIMON

TWO

105-8

Pl. 20

SOLDIERS

F O U R SHEETS

FIGURES

TWO MECHANICS

PL

T W O S T U D I E S OF F E M A L E F I G U R E S

Pencil, pen, black ink, b r o w n wash, 1 1 X 9 in. (28 X 23 cm.), signed and dated 1 9 1 2 . Sold at ^Christie's, 23 March 1962 (No. 51).

(each with t w o designs)

PI. 20

All unsigned.

D R A W I N G FOR T I M O N

116

PL

21

Pen and ink, watercolour, 15 X I I £ in. (38 x 28-5 cm.), inscribed ' W y n d h a m Lewis, (drawing for Timon.)' Mrs Helen Peppin. C o l l . : Helen Saunders.

110

TWO

Ink and wash, 22 X 1 3 ^ in. (56 x 33 5 cm.), unsigned. Tate Gallery, London. E x h . : R G R E 2, as Two Figures; T 50. R e f . : Reproduced in Tate Gallery: Modern British Paintings, Drawings and Sculpture (London, 1964), vol. I, pi. 46.

115

Unsigned.

109

113

Pl. 20

T W O SOLDIERS

Coloured. Unsigned. 104

FIGURES

Pen and ink, pencil, wash. E x h . : Z w e m m e r 1957, as Two Figures I.

114

Coloured. Inscribed ' W L . ' 103

TWO

FIGURE

Unsigned. R e f . : Reproduced on the jacket of Lewis's book The Lion and the Fox (London, 1966). 102

112

Black chalk and watercolour, 14 x 10 in. (35-5 X 25 5 cm.), inscribed ' W y n d h a m Lewis 1 9 1 2 ' . Anthony d'Offay. Similar to 1 1 1 .

T W O V O R T I C I S T FIGURES

Pi.

12

Pen and ink, gouache, 95 X 12^ in. (23 5 x 32 cm.), inscribed ' W . Lewis'. W . Michel.

I 17

UNTITLED

PI.

11

Pen and ink, watercolour, wash, 4 J x in. (12-5 x n cm.), inscribed ' W y n d h a m Lewis. 1 9 1 2 . ' Museum of M o d e r n Art, N e w Y o r k .

T W O FIGURES

Pencil, pen and ink, wash, gouache, 1 2 ^ x 9^ in. (31 x 23-5 cm.), inscribed (in 1950) ' W y n d h a m Lewis'. H. Anson-Cartwright. E x h . : T 1 5 ; Z w e m m e r 1957, as Two Figures II. R e f . : Reproduced in H - R (pi. 1). C o l l . : Charles Handley-Read.

118

THE VORTICIST

Pi.

10

Pen and ink, chalk, watercolour, i 6 j x 1 2 in. (42 x 30 5 cm), inscribed ' W y n d h a m Lewis. 1 9 1 2 . ' Southampton Art Gallery. Exh.: T 1 1 . Coll. : E d w a r d W a d s w o r t h ; Denys Sutton.

355

DRAWINGS

I912-I3

: I913

1912-13

E x h . : R G R E 10, as Later drawing of the 'Timon'

series;

T 33. 119

THE A U D I T I O N

PL

11

The title under which this picture was shown at the RGRE recalls the description by Pound of a drawing bought by Quinn (in a letter to him dated 23 August i 9 i 5 , n o w in the John Quinn Memorial Collection, N e w York Public Library) as 'of the later or second phase of the Timon stuff'. The untraced and unknown drawing Timon of Athens ( 1 5 5 ) , which was No. 3 0 4 A in the Quinn sale, agrees with Composition in size, medium, signature and position of signature, and it could be the same work. O n the other hand, according to the Tate Gallery's records, Composition was bought from Lewis through the Redfern Gallery.

Pen and ink, watercolour, 1 x 8F in. (28-5 x 22 cm.), inscribed ' W y n d h a m Lewis'. Victoria and Albert Museum, London. Coll.: Captain Lionel Guy Baker. The Museum lists Proscenium as a previous title; the same title appears as item 40 in the '1917 List'. 120

BLUE NUDES

PL

8

Pen and blue ink, x 9 in. (17 x 23 cm.), unsigned. Eugene A. Carroll. R e f . : R e p r o d u c e d i n Wyndham Drawings.

Lewis:

Fifteen

Coll.: W . K. Rose.

126

DESIGN

R e f . : R e p r o d u c e d in Blast No. 1, p. 125; Blast No. 121

T W O FIGURES A N D HORSE

PL

7

PL

8

Pen and ink, wash, 9J x 12^ in. (2$ x 31 cm.), unsigned. Andrew Dickson White Museum of Art, Cornell University. T W O M U S C U L A R FIGURES

Pen and ink, ink wash, 8 X 9^ in. (20 5 x 23-5 cm.), unsigned. W . Michel.

123

AT THE SEASIDE

Pen and ink, watercolour, i8f X 12$ in. (47'5 x 3 I - 5 cm.), inscribed 'Wyndham Lewis Victoria and Albert Museum, London. Exh.: T 2 8 . Coll.: Captain Lionel Guy Baker. 124

CACTUS

PL

2$

1913.'

125

PL

PL

Pencil, pen and ink, watercolour, 13^ X 10^ in. ( 3 4 x 2 6 - 5 cm.), inscribed 'Wyndham Lewis. 1 9 1 3 . ' Tate Gallery, London.

356

22

DESIGN

Pl.

22

Ref.: Reproduced in Blast No. 1, p. 127; Ezra Pound, ' W y n d h a m Lewis' in The Egoist, June 1914; Blast No. 2, p. 69; also on prospectus for the Rebel Art Centre.

129

DESIGN

26

Musicians.

COMPOSITION

PL

Ref.: Reproduced in Blast No. 2, p. 74. Similar to 1 2 6 - 8 .

Pen and ink, watercolour, chalk, 13$ x 9^ in. ( 3 4 x 2 3 5 cm.), inscribed 'Wyndham Lewis. 1 9 1 3 . ' Victoria and Albert Museum, London. Exh.: T 3 0 . Ref.: Reproduced in Dial, January 1921, facing p. 28, as Summer

DESIGN

Ref.: Reproduced in Blast No. 1, at the end of the manifesto 'Long Live the Vortex' and on p. 126; Blast No. 2, p. 82; also on prospectus for the Rebel Art Centre Art School.

128

I9I3

22

2,

p. 49; Ezra Pound, ' W y n d h a m Lewis' in The Egoist, June 1914; also on prospectuses for the Rebel Art Centre and the Rebel Art Centre Art School, and as an emblem on Rebel Art Centre envelopes.

127 122

PL

23

130

DESIGN

Ref.: Reproduced on the cover of the catalogue of the Vorticist Exhibition, March 1915. Similar to 1 2 6 - 8 .

131

D E S I G N FOR A F O L D I N G S C R E E N

Pl.

Pencil and watercolour, 20 x 15^ in. (51 x 38-5 cm.), unsigned. Victoria and Albert Museum, London.

8

DRAWINGS

Exh.: Shown at the opening of the Omega Workshops, July 1913 ; Tate Gallery 1956 (addition, listed on typed sheet of addenda to the catalogue). Ref.: Reproduced in colour in Apollo, October 1964, p. 287. Coll.: Margery Fry.

141

132-40

DESIGNS FOR LAMP OR C A N D L E SHADES

1 3 2 Size 7 x 12^ in. (18 x 31 cm.). Circus acts with horses and performers, one resembling the central lady in 1 3 1 .

DRAWING

Exh.: V I Allied Artists' Association, July 1 9 1 3 . 142

DRAWING

Exh.: V I Allied Artists' Association, July 1 9 1 3 . 143

Nine engravings (originals untraced), all unsigned. Victoria and Albert Museum, London, lent by Duncan Grant. Exh.: All except 135 were shown at 'The Omega Workshops (1913-20)' at the Victoria and Albert Museum, 1963-4.

1913

THE E N E M Y OF THE STARS

PI.

24

Pen and ink, ink wash, 17^ x 7-J in. (44 x 20 cm.), inscribed 'Wyndham Lewis 1 9 1 3 ' . M a y o r Gallery, London. Exh.: First London Group, March 1914, as Enemy of the Stars (drawing for sculpture); R G R E 2 3 ; T 3 2 . Ref.: Reproduced in Blast No. 1, p. viiia. Coll.: John Quinn (sale catalogue N o . 280B); R. Wyndham. 144

THE M U S I C I A N S

PL

20

Ref.: Reproduced in 'At last, the Vorticists', Vanity Fair, September 1916, p. 72.

133 Size 7 X I2F in. (18 X 32 cm.). The same lady as in the preceding entry, in two views: carrying two baskets and leading a dog. 134 Size 7 x 12^ in. (18 x 31-5 cm.). A frieze of profiles, all facing left: a male figure, a dog, a female figure and another dog. 135 S i z e x 1 2 I in. (17-5 x 31 cm.). Three seated figures, two of the faces possibly caricatures of those depicted on early Greek vases. 136 Size

1 3 7 Size 7 x 12^ in. (18 x 3 1 5 cm.). The bowler-hatted gentleman of 138 in four attitudes and the female figure on the right of 13 8, upside down. 138 Size 6£ x 12^ in. (16 x 31 cm.).

PI. 27

139 Size 7 x 1 2 J in. (18 x 31-5 cm.). The bowler-hatted gentleman again, in a checked suit. Four attitudes, two kneeling.

PLANNERS

PL

25

See p. 55. Inscriptions on the reverse, 'The Planners', ' A Happy Day £ 2 5 by W Lewis' and 'c. 1 9 1 3 ' are not in the artist's hand.

x 1 1 ^ in. (16 x 30 cm.).

A frieze composed of two clowns, half-reclining. The bodies face in opposite directions, the faces stare at one another.

140 Size

145

Pencil, pen and ink, gouache, 12^ x 15 in. (31 x 38 cm.), inscribed 'Wyndham Lewis.' Tate Gallery, London. Exh.: R G R E 1 7 (reproduced in catalogue); T 34. Ref.: Reproduced in H - R (pi. 4). Coll.: John Quinn (sale catalogue N o . I88A, as A Happy Day, 1 9 1 5 ) ; R. Wyndham.

146

PORTRAIT OF A N E N G L I S H W O M A N

PL

22

Pen and ink, pencil, watercolour, 22 x 15 in. (56 X 38 cm.), inscribed 'Wyndham Lewis.' The Wadsworth Atheneum, Hartford, Connecticut (Ella Gallup Sumner and Mary Catlin Sumner Collection). Exh.: R G R E 18, as Portrait of an Englishman. Ref.: Reproduced in Blast No. 1, p. viii. Coll.: John Quinn (sale catalogue N o . I88B, as 1 9 1 5 ) ; R. Wyndham.

x 12^ in. (17-5 x 31 cm.).

The same gentleman in a variety of suits and attitudes similar to 138. The engravings are arranged, small variations apart, in an identical format to that illustrated. If cut out, as they were intended to be, each would yield a conical shade 3 J in. (8-5 cm.) high.

147

PORTRAIT

PL

4

Pencil and watercolour, N ^ X 7 in. (28-5 X 18 cm.), unsigned. Mrs Helen Peppin. Coll.: Helen Saunders. The sitter in this picture and in the two following entries is probably Helen Saunders.

357

DRAWINGS 148

I913 : I9I4 PI.

PORTRAIT

4

149

PI.

PORTRAIT HEAD

4

Pen and ink, watercolour, chalk, 12 x 9f in. (30-5 x 24 cm.), inscribed 'Wyndham Lewis 1913.' Mrs Helen Peppin. Coll.: Helen Saunders. See note to 147.

150

PI.

g

PI.

Pencil, black and brown ink, wash, 13^ x IOJ in. (34 5 x 26-5 cm.), inscribed 'Wyndham Lewis.' Anthony d'Offay. Ref.: Reproduced in Blast No. 1, p. v.

155

COMPOSITION

ARGHOL

PI.

24

CIRCUS SCENE

PI.

24

22

161

COMBAT NO. 2

PI.

2$

Pen and ink, chalk, 1 0 J x 13^ in. (27 5 x 35 cm.), inscribed 'Wyndham Lewis.' (twice). Victoria and Albert Museum, London. Exh.: T 3 9 . Coll. : Captain Lionel Guy Baker.

T I M O N OF A T H E N S

Ink and watercolour, 13^ x i o j in. (34-5 x 26 5 cm.), signed at lower right. Coll. : John Quinn (*sale catalogue N o . 304A); R. Wyndham. Possibly identical with Composition (125), q.v.

358

ABSTRACT

Pen and ink, watercolour, 13 x 8 m. (33 x 20-5 cm.), inscribed ' W Lewis 1914'. The Hon. David Bathurst. Exh.: R G R E 24 (reproduced in catalogue); T 35. Coll.: John Quinn (sale catalogue No. 280A); R. W y n d h a m ; David Cleghorn Thompson.

160

STATUETTE

T I M O N OF A T H E N S

J1

Pen and ink, watercolour, 9 J X 12^ in. (24 x 31 cm.), inscribed 'Wyndham Lewis. 1914.' Graham Gallery, N e w Y o r k . Exh.: T 3 7 . Coll.: Edward Wadsworth.

Pen and ink, 9 X J F in. (23 x 14 5 cm.). Coll.: John Quinn (*sale catalogue No. IOA).

154

158

159

Pen and ink, watercolour, 95 X 8 in. (25 X 20-5 cm.), inscribed 'Wyndham Lewis 1913.' Victoria and Albert Museum, London. Coll.: Captain Lionel Guy Baker.

153

PI.

An abstract composition (a warrior-like figure) in the style of the designs on pi. 30.

PROTRACTION

SECOND MOVEMENT

ABSTRACT: BIRD

Pen and ink, pencil, wash, 9 ^ X 7 ^ in. (23-5 X 18 5 cm.), inscribed 'Wyndham Lewis.' Omar S. Pound.

Watercolour, 6 x 1 2 in. (15 5 x 30 5 cm.), signed. Coll.: John Quinn (*sale catalogue N o . 423 c).

152

WORKMEN

1914 157

Pen and ink, wash, 9J x iof in. (23-5 x 26 5 cm.), inscribed 'Wyndham Lewis. 1 9 1 3 . ' Private Collection. Ref.: Reproduced in Wyndham Lewis: Fifteen Drawings.

151

TWO

Pen and black ink, 13 x in. (33 x 23 5 cm.), inscribed 'Wyndham Lewis 1914.' and ' B . ' Private Collection.

PI. 8

POST JAZZ

156

Exh. : Post-Impressionist and Futurist Exhibition, October 1 9 1 3 .

Penandink, watercolour, 19 x i2in. (48 5 x 30 5 cm.), unsigned. Mrs Helen Peppin. Coll.: Helen Saunders. See note to 147.

162 COMBAT NO. 3 Colour plate V Pen and ink, chalk, iof x 15 in. (27-5 X 38 cm.), inscribed ' W Lewis 1914.' Victoria and Albert Museum, London. Coll. : Captain Lionel Guy Baker.

DRAWINGS 163

DEMONSTRATION

Pl.

26

Pen and ink, ç j x in. (25 X 19 cm.) sight size, inscribed 'Wyndham Lewis. 1914.' Victoria and Albert Museum, London. Coll. : Captain Lionel Guy Baker. Possibly item 15 in the ' 1 9 1 7 List'. 164

D R A G O N IN A C A G E

Pl.

2Ç

Handley-Read states that the picture was first 'blocked out' before the First World War, but that most of the colouring was done, and the work signed, in 1950. 165

MOONLIGHT

NIGHT

ATTACK

Gaudier-Brzeska, reviewing the exhibition in The Egoist of 15 June 1914, refers to this picture and Signalling (171) as 'designs of wilful, limited shapes contained in a whole in motion—and this acquired with the simplest means—ochres and blacks.' Reprinted in Ezra Pound, GaudierBrzeska (Hessle, Yorkshire, i960), pp. 30-35. NIJINSKI

PL

10

Pen and ink, wash, 7 ! x 6 in. (19 5 x 1 5 cm.), inscribed ' W . L. 1914.' and 'Nijinski.' Private Collection. 169

PL

28

SIGNALLING

Exh.: VII Allied Artists' Association,July 1914. See note to 167.

NIJINSKI

Pen and ink, wash, 7 | x 6 in. (19 5 x 15 cm.), unsigned. Private Collection.

SPANISH D A N C E

PL

25

Pen and ink, ink wash, wash, gouache, 15 x 1 1 in. (38 X 28 cm.), inscribed 'Wyndham Lewis. 1914.' and 'Spanish dance.' Private Collection. Possibly item 43 in the ' 1 9 1 7 List'.

173

'TIME!'

Exh.: First London Group, March 1914.

174

D R A W I N G FOR T I M O N OF A T H E N S II

PL

38

Pen and ink (?), inscribed 'W.L. 1914.' Ref.: Reproduced in Wyndham Lewis: Fifteen Drawings.

Exh. : VII Allied Artists' Association, July 1914.

168

171

172

Pen and ink, chalk, 1 0 J x 15 in. (27-5 x 38 cm.), inscribed 'Wyndham Lewis'. Victoria and Albert Museum, London. Exh. : T 42. Coll. : Captain Lionel Guy Baker. Figures characteristic of 1 9 1 2 - 1 3 are combined with, and drawn into, a machine-like composition resembling the Combat drawings ( 1 6 1 - 2 ) of 1914. 167

RED D U E T

in. Black and coloured chalks, gouache, 15^ x (38 5 X 56 cm.), inscribed 'P. Wyndham Lewis. 1914.' Pound family. Exh.: (?) Vorticist Exhibition, June 1915. Ref.: The picture can be seen hanging on the wall in a photograph of Ezra Pound reproduced in his book Gaudier-Brzeska (Hessle, Yorkshire, i960), pi. XXIXA; reproduced in Anthony d'Offay, Abstract Art in England lgi^-igi^ (London, 1969), cover (colour).

H E L L FOR I R O N

Tempera, 8 x 1 9 J in. (20 5 X 50 cm.), signed. Coll. : John Quinn (*sale catalogue No. 423a). 166

EZRA POUND (see 349).

170

Pencil, pen and ink, chalk, wash, gouache, 18^ x 1 3 ! in. (47 x 35 cm.), inscribed 'Wyndham Lewis 1950'. Private Collection. Ref. : Reproduced in H - R (colour plate D).

1914 : 1914-15

175

VERMICELLI

Exh.: First London Group, March 1914.

1914-15 176-95

PL

10

DESIGNS FROM A VORTICIST

SKETCH-BOOK

Twenty leaves from a sketch-book measuring 16 x io£ in. (40-5 x 26 cm.). All the designs occupy the full width of the paper; Nos. 176-80 have been trimmed to the measurements given below; in the remainder the design occupies the height shown below, which is marked off with a line, the rest of the paper being left

359

DRAWINGS

1914-15

[ 1 7 6 - 9 5 , continued] blank or, in some cases, bearing an inscription. A n u m b e r o f the designs are squared up. A l l are similar to, t h o u g h generally less elaborate than, 176-7. 176

COMPOSITION

PI.

28

P e n and ink, pencil, coloured chalks, 12^ x 105 in. (31 X 26 cm.), inscribed ' W y n d h a m Lewis. 1915.' M r and M r s Michael A y r t o n . 177

NEW YORK

PL

28

P e n and ink, w a t e r c o l o u r , 12^ x 105 in. (31 x 26 cm.), inscribed ' W . L . ' and, o n the m o u n t , ' W y n d h a m Lewis. 1914.' Private C o l l e c t i o n . Exh.: T36 . R e f . : R e p r o d u c e d o n the c o v e r o f Apollo, January 1963 (colour). Coll.: Edward Wadsworth. 178 Pencil and r e d d i s h - b r o w n watercolour, 12 x 10J in. (31 x 26 cm.), unsigned. R e f . : R e p r o d u c e d in A n t h o n y d ' O f f a y , Abstract Art in England 1913-1915 ( L o n d o n , 1969), p. 35 (colour); Agenda, W y n d h a m L e w i s special issue, A u t u m n W i n t e r 1969-70, facing p. 3 5 (colour).

184 Pencil w i t h pencil squaring, height I 2 j in. ( 3 1 5 c m . ) , unsigned. R e f . : R e p r o d u c e d in A n t h o n y d ' O f f a y , Abstract Art in England 1913-1915 ( L o n d o n , 1969), N o . 53. 185 Pencil, height 12 in. (30 5 cm.), unsigned. R e f . : R e p r o d u c e d in A n t h o n y d ' O f f a y , Abstract Art in England 1913-1915 ( L o n d o n , 1969), N o . 54. 186 Pencil, height 12^ in. (31 cm.), unsigned. R e f . : R e p r o d u c e d in A n t h o n y d ' O f f a y , Abstract Art in England 1913-1915 ( L o n d o n , 1969), N o . 50. 187 Pencil, height 12 in. (30-5 cm.), unsigned. R e f . : R e p r o d u c e d in A n t h o n y d ' O f f a y , Abstract Art in England 1913-1915 (London, 1969), N o . 56. 188 Pencil, height 12^ in. (31 cm.), unsigned. A r c s at upper left traversed b y parallel diagonals rising f r o m right to left. 189 Pencil, height 1 i f in. (29 cm.), inscribed in blank portion ' A ' . R e f . : R e p r o d u c e d in A n t h o n y d ' O f f a y , Abstract Art in England 1913-1915 ( L o n d o n , 1969), N o . 55. 190 Pencil, height n f in. (30 cm.), unsigned. O n the left a ladder-like structure slants u p w a r d s and slightly t o the right. O n the right an elaborate chequer-board pattern slanting to the left is cut o f f b y a line parallel to the ladder. B e l o w is a structure o f diagonal zigzags and a rectangle.

179 Pencil and b r o w n watercolour, 11^ x io^ in. (29 x 26 cm.), inscribed ' W y n d h a m Lewis'. D o m i n a t e d b y straight lines radiating f r o m a focus b e l o w the b o t t o m e d g e o f the sheet and crossed b y h e a v y bars o f colour. 180 Pencil and reddish-pink watercolour, 1 i f X io£ in. (29 x 26 cm.), unsigned. R e f . : R e p r o d u c e d in A n t h o n y d ' O f f a y , Abstract Art in England 1913-1915 (London, 1969), N o . 48. 181 Pencil, height 1 1 J in. (29 cm.), inscribed in blank p o r t i o n ' Tube Adverts. Twin Designs.', unsigned. R e f . : R e p r o d u c e d in A n t h o n y d ' O f f a y , Abstract Art in England 1913-1915 (London, 1969), N o . 49. 182 Pencil w i t h pencil squaring, height 12J in. (32 cm.), inscribed w i t h c o l o u r i n g instructions and a r r o w s p o i n t i n g to areas o f the design: 'ultra, blue.', 'venet. red e t c . : — ' and, in the blank portion, ' A l l shaded parts same ultramarine and v e r y little w h i t e . ' R e f . : R e p r o d u c e d in A n t h o n y d ' O f f a y , Abstract Art in England 1913-1915 (London, 1969), N o . 52. 183 Pencil w i t h red c r a y o n squaring, height 12 in. (30 5 cm.), inscribed w i t h colouring instructions and arrows p o i n t i n g to areas o f the design: ' V e n e t i a n (& black w h i t e ) ' , 'cerise', 'met m i x e d blue (ucello.)'. R e f . : R e p r o d u c e d in A n t h o n y d ' O f f a y , Abstract Art in England 1913-1915 (London, 1969), N o . 51.

360

191

Pencil, height 12 in. (30 5 cm.), unsigned. A small design in the upper right corner, w i t h the rest o f the sheet left blank. O w n e r ' s accession n u m b e r : 64.821.

192 P e n and ink, height 12^ in. ( 3 1 5 cm.), unsigned. A p r o m i n e n t z i g z a g in colour across the middle o f the sheet; a b o v e is a g r o u p o f shapes resembling the letter P. O w n e r ' s accession n u m b e r : 65.422. 193 Pencil, height 1 2 j in. (31 • 5 cm.), unsigned. Vertical rectangles; at the left, a double, slanted line. O w n e r ' s accession n u m b e r : 65.423. 194 Pencil, height 12^ in. ( 3 1 5 cm.), unsigned. A structure in the l o w e r right corner, the rest o f the sheet b e i n g left blank. O w n e r ' s accession n u m b e r : 65.424. 195 Pencil, height 12 in. ( 3 1 5 cm.), unsigned. A multitude o f tall shapes, seemingly

moving

f r o m right to left, like soldiers. O w n e r s h i p : 1 7 8 - 1 8 9 , A n t h o n y d ' O f f a y ; 190, Private Collection; 191-194, Andrew Dickson White Museum of Art, Cornell University.

DRAWINGS

I9I5 196

205

PL

ABSTRACT COMPOSITION

JO

Chalk and watercolour, 18^ X 12 in. (47 X 30 5 cm.), inscribed ' W . Lewis 1 9 1 5 . ' A n t h o n y d'Offay. Ref. : Reproduced in Anthony d'Offay, Abstract Art in England lgij-igi^ (London, 1 9 6 9 ) , p. 3 9 (colour); Agenda, W y n d h a m Lewis special issue, A u t u m n Winter 1 9 6 9 - 7 0 , facing p. 4 4 (colour). Coll. : Helen Saunders ; Mrs Helen Peppin.

ABSTRACT

PL

COMPOSITION

JO

Pen and ink, chalk, gouache, 14 x in. (35'5 x 2 5 cm.), inscribed ' W y n d h a m Lewis. 1 9 1 5 . ' Mrs Helen Peppin. Ref. : Reproduced in Anthony d'Offay, Abstract Art in England igij-igi5 (London, 1 9 6 9 ) , N o . 5 9 . Coll. : Helen Saunders. 198

PL

C O V E R OF ' A N T W E R P '

26

Inscribed ' W y n d h a m Lewis'. Ref.: Cover of Antwerp (London, The Poetry Bookshop, n.d. [ 1 9 1 7 ? ] ) , a poem by F. M. Hueffer.

199

200

2'

(BEFORE PI.

26

Inscribed ' W y n d h a m Lewis'. Ref. : Cover of Blast No. 2, size of cover n f x 9J in. ( 3 0 x 2 4 cm.). 201

A CEREMONIOUS

D E S I G N FOR ' C O N V E R S A T I O N I N

D E S I G N FOR

HARSH

DESIGN

Exh.: Vorticist Exhibition, June 1915.

208

N E W B L O O D FOR

OLD

READING ROOM

Pl.

38

Pen and ink, 3 ! x in. (9 5 x 22 5 cm.), inscribed ' W y n d h a m Lewis.' and 'F. 3.' Private Collection. Ref.: Reproduced in Wyndham Lewis: Fifteen Drawings. Possibly item 17 in the '1917 List'. T h e drawing is done on the face of a book requisition slip f r o m the Reading R o o m of the British Museum.

210

SOLDIERS

Watercolour, i O j x I 2 j in. (26-5 x 32 cm.), inscribed 'WL'. Coll.: J o h n Q u i n n (*sale catalogue N o . 2 9 3 A ) . Described in the catalogue as 'a geometrical abstraction'.

JACK'

Exh. : Vorticist Exhibition, June 1915. 203

PLAYER

SCENE

Exh.: Vorticist Exhibition, June 1915.

202

207

209

BATHERS

COVER OF ' B L A S T N O .

THE FLUTE

Pen and ink, I 2 j x 9 in. (32 x 23 cm.), unsigned. Coll.: J o h n Q u i n n (*sale catalogue N o . 280c); R. W y n d h a m .

Watercolour, 18^ x 12^ in. (47 x 31 cm.). Coll.: John Q u i n n (*sale catalogue N o . 23B).

Exh.: Vorticist Exhibition, June 1915.

ANTWERP)

MORNING

Pen and ink, watercolour, I2f x i8f in. ( 3 1 5 x 4 7 5 cm.), inscribed ' W y n d h a m Lewis 1 9 1 5 ' . Victoria and Albert Museum, London. Exh.: T 4 3 . Coll.: Captain Lionel Guy Baker. Also k n o w n as The Pale Tropics. T h e inscribed date is surprising, for the figures resemble those of 1 9 1 2 , as in 8 8 and 1 1 4 .

206 197

EARLY

191 5

PAINTING

Exh.: Vorticist Exhibition, June 1915. 211 204

D E S I G N FOR ' R E D D U E T '

PL

Inscribed ' W L 1915'. Exh.: Vorticist Exhibition, June 1915 (reproduced in catalogue). Ref. : Reproduced in Blast No. 2, p. 63. A picture called Red Duet (170) is dated 1914.

26

VORTICIST

COMPOSITION

Pen and ink, black chalk and gouache, 1 x 8^ in. (39 x 20 5 cm.), inscribed ' W y n d h a m Lewis. 1915' and ' W L ' . Tate Gallery, London. Ref. : Reproduced in Anthony d'Offay, Abstract Art in England lgij-igij (London, 1 9 6 9 ) , N o . 5 8 . Coll. : Helen Saunders.

361

DRAWINGS 1 9 1 6 : 1 9 1 7

1916 212

ASCENSION

Watercolour, 12^ X 9J in. (31 x 25 cm.), signed ' W L \ Coll.: John Quinn (*sale catalogue No. 203b). The catalogue describes the drawing as 'a geometrical abstraction'. 213

I N V I T A T I O N TO A V O R T I C I S T E V E N I N G

PI.

Printed card, x in. (11-5 x 18 cm.). From the copy in the Poetry Collection, State University of New York at Buffalo.

1917 or earlier The following otherwise unidentified drawings (214250) are mentioned in the '1917 List' (see Appendix II): 214

ADAM AND EVE

215

THE

216

AQUARIUM

217

ARMORICA

218

ARSEWARD

ALTERCATION

219

BELGIAN

220

BUTTERFLY

221

THE CELIBATE

ISLAND

237

THE LETTER

238

THE NEIGHING

239

NYMPH

240

ORNAMENTAL

241

O U T FOR A W A L K

242

THE PARLOUR

243

PASTICHE

244

PRICK

245

RECLINING FIGURE

ERECTION

I

246

SANCTITY

247

STANDING FIGURE

248

TRIO

249

TWO

250

T W O FIGURES

CLASHES

1917 251

WIDOW

Cf. Addenda, p. 427. 222

236

THE CENTAUR

Cf. 41 and 42 Centauress and Centauress No. 2. 223

CLANDESTINE

224

CLEOPOLD

225

COITUS

I

226

COITUS

2

227

A DEVOTION

228

D I A L O G U E OF NADES

229

DIRECTION

230

EARTH

231

T H E FARM

252

Pi.

)1

GOSSIPS

Pi.

32

Pen and ink, watercolour, 1 1 x 1 5 in. (28 x 38 cm.), inscribed 'Wyndham Lewis.' Victoria and Albert Museum, London. Exh.: T 4 1 . Coll.: Captain Lionel Guy Baker. 253

WORM

BIRD

Pen and ink, wash, chalk, 10J x in. (26-5 x 17 5 cm.), inscribed 'P. Wyndham Lewis. 1917'. Victoria and Albert Museum, London. Coll.: Captain Lionel Guy Baker. Inscriptions on the reverse, probably not in the artist's hand, read 'Bird' and 'Suggested cover for book: (half-tone photograph plate, stuck on [sic]'. The latter is accompanied by a tiny sketch of a book cover on which is written 'Ideal Giant'.

C O V E R OF ' T H E I D E A L G I A N T '

PI.

J 1

Ref.: Cover and half-title of The Ideal Giant (London, 1917)-

'A long tempera panel.' 232 233

FEMININE

234

FETE

235

IN T H E GREEK

362

254

FARMYARD

CHAMPETRE ARCHIPELAGO

LABOUR DEPUTATION: MARINE

PI.

Pen and ink, watercolour, iof x 7 in. (27 x 18 cm.), inscribed 'P. Wyndham Lewis. 1917.' and 'IV.' Victoria and Albert Museum, London. Coll.: Captain Lionel Guy Baker.

31

DRAWINGS 1 9 1 7 : 1918 255

MARKET W O M E N : SATURDAY, DIEPPE

PI.

J2

Pen and ink, wash, iof x 7 in. (26-5 x 18 cm.), inscribed 'Wyndham Lewis. 1 9 1 7 . ' and ' V . ' Victoria and Albert Museum, London. Exh.: T 44. Coll.: Captain Lionel G u y Baker.

256

PASTORAL TOILET

THE PSYCHOLOGIST

PI.

J2

PI.

J2

Pen and ink, watercolour, X in. (16-5 x 13 cm.), inscribed 'Wyndham Lewis 11/7. 1 9 1 7 ' and 'III C . S . ' Victoria and Albert Museum, London. Coll.: Captain Lionel Guy Baker. Also known as The Great Vegetarian.

258

THREE PHILOSOPHERS

Pen and ink, chalk, 1 1 x 1 0 J in. (28 x 27-5 cm.), inscribed 'Wyndham Lewis.' Victoria and Albert Museum, London. Coll.: Captain Lionel Guy Baker. Three figures in the style of the trios in 252 and 259. Possibly item 13 in the ' 1 9 1 7 List'.

259

T W O MISSIONARIES

BACCHIC FESTIVAL

DRAWING

Ref.: One of two drawings mentioned in a letter dated 23 July 1918 from Sacheverell Sitwell to Lewis. A letter of 19 August 1918 reports 'your two drawings framed look marvellous'. (Both letters are in the Department of Rare Books, Cornell University.)

Pen and ink, watercolour, 6 j x 8^ in. (17 5 x 21-5 cm.), inscribed 'VII C.S. W . L . 1 9 1 7 . ' and 'Wyndham Lewis 14/7/17 V I I C . S . ' Victoria and Albert Museum, London. Exh.: T 4 5 . Coll.: Captain Lionel Guy Baker.

257

261

(warpictures)

PI.

}2

Black chalk, 12 x 13^ in. (30-5 X 35 cm.), inscribed 'Wyndham Lewis.' Victoria and Albert Museum, London. Exh.: T 40. Coll.: Captain Lionel Guy Baker. Also known as First Meeting—feelings mixed, a title which is similar to First Impressions, item 20 in the ' 1 9 1 7 List'.

262

GREEN

BACCHUS

Ref.: The other title mentioned in Sacheverell Sitwell's letter to Lewis (see 261). There is a similarity between the title of this drawing and Bacchus, item 7 in the '1917 List'.

1 9 1 8 (war pictures) Source material for the war pictures includes the 'Guns' catalogue (see Appendix I) and the correspondence, now in the John Quinn Memorial Collection, N e w Y o r k Public Library, between Lewis and Quinn, w h o bought seven war drawings. Prior to the exhibition, on 8 January 1919, Lewis sent Quinn a typed list of forty-two war pictures, containing some descriptions identical or nearly identical with those given in the 'Guns' catalogue and further comments or sketches in the margin. The 'List' includes the following titles not in the 'Guns' catalogue: Position in a Wood (with marginal comment 'red drawing of hillocks, smashed [?] trees, Battery working'—probably Battery Position in a Wood, entry 267); Menin Road: Battery Position (with sketch in margin and marginal description as 'group of gun crew smoking. Menin Road shelled in background'); Gun Crew; The Observation-post No. I, No. II, No. Ill, No. IV (with marginal note beginning 'In these paintings and drawings of officers . . .' and continuing as in the description of Practice Barrage given in the 'Guns' catalogue; Brigade Headquarters (cf. P21); A Barrage on Sleeper-Track; and Reconnoitring a New Position: Unsuitable Spot! In a letter of 16 June 1 9 1 9 Quinn confirms receipt of photographs of a number of war pictures, among them two not listed in the 'Guns' catalogue: Morning of Attack and Group for Gun Crew. O f these Quinn bought Morning of Attack (possibly identical with Near Battery Position, entry 293) and six drawings listed in the catalogue. Buyers' names given below are taken from the annotated gallery copy of the catalogue preserved in the Tate Gallery research library.

1918 260

263 DESIGN FOR C O V E R OF ' A R T A N D

LETTERS'

ACTION

Exh.: Guns 32; bt by Sir Michael Sadler. Pi.

Ref. : Reproduced on the cover of Art and Letters, Winter 1 9 1 8 - 1 9 .

31 264

ANTI-AIRCRAFT

Exh.: Guns 53 ; bt by L. H. Myers.

363

DRAWINGS 265

1918 (war pictures)

THE ATTACK

PI.

35

Inscribed 'Wyndham Lewis. 1918.' Ref.: Reproduced in R. Wyer and C. Brinton, War Paintings and Drawings by British Artists (London and New York, 1919), pi. 89. From a photograph. 266

A B A R R A G E ON S L E E P E R - T R A C K

See general note above. 267

B A T T E R Y P O S I T I O N IN A W O O D

Pen and ink, chalk, watercolour, 12^ x 18^ in. (32 x 47 cm.), inscribed'P. Wyndham Lewis 1918.' Imperial War Museum, London. Exh.: Guns 28; bt by Imperial War Museum; T 4 6 (reproduced in catalogue). Probably identical with Position in a Wood in the list sent to Quinn (see general note above). 268

271

272

B A T T E R Y P U L L I N G IN (IL)

Pencil, pen and ink, watercolour, 14 x 20 in. (35"5 x 5 1 cm.), inscribed 'Wyndham Lewis 1918'. Manchester City Art Galleries (Rutherston Collection). Exh.: Guns 52; bt by C. Rutherston. Two groups of five soldiers carrying planks in the foreground, several more groups in the background ; also gun emplacements and a gun.

273

DRAG-ROPES

PI.

34

Pencil, pen and ink, watercolour, 14 x i inscribed ' W y n d h a m Lewis'. H. Anson-Cartwright. E x h . : G u n s 26; b t b y J o h n Q u i n n ; R G R E 13, as Gunner; T 4 8 . C o l l . : J o h n Q u i n n (sale catalogue N o . 55, r e p r o d u c e d in c a t a l o g u e ) ; R. W y n d h a m .

296

THE PATROL

Pi. 35

P e n a n d ink, w a t e r c o l o u r , pencil, 21^ x 29J in. x

303

P e n a n d ink, w a t e r c o l o u r , 10 x 14 in. (25-5 x 35 5 c m . ) , signed and d a t e d 1918. C o l l . : R . G. T o w n e n d (sold at * S o t h e b y ' s , 12 M a r c h 1952, N o . 8); b t b y Leicester Galleries.

ROAD

THE N O . 2

SIGNALLERS

Lewis writes o f t h e r e p r o d u c t i o n in a letter d a t e d 7 F e b r u a r y 1919 t o Q u i n n ( J o h n Q u i n n M e m o r i a l Collection, N e w Y o r k Public Library). In t h e list sent t o Q u i n n in J a n u a r y h e d r e w a small sketch o f t h e picture, w i t h a n n o t a t i o n s indicating five figures at t h e c e n t r e a n d a shell b u r s t i n g in a d u c k b o a r d track t o t h e left. H e r e m a r k s t h a t h e considers t h e p i c t u r e to be o n e of t h e best in t h e show.

POSITION

E x h . : G u n s 1 2 ; b t b y L. H . Myers.

295

OFFICERS A N D

E x h . : G u n s 22, b t b y L a d y T r e d e g a r . R e f . : R e p r o d u c e d o n t h e f r o n t p a g e o f the Daily Mirror.

E x h . : G u n s 18; b t b y J o h n Q u i n n . Possibly identical w i t h Morning of Attack (292), t h e o n l y picture b o u g h t b y Q u i n n w h i c h is n o t o t h e r w i s e identified; u n f o r t u n a t e l y for this h y pothesis t h e price o f £ 2 5 f o r N o . 18 in t h e gallery c o p y o f t h e catalogue does n o t agree w i t h the price o f £ 3 5 q u o t e d to Q u i n n f o r Morning of Attack, w h e r e a s in all o t h e r cases there is agreement.

T H E O F F I C E R S ' MESS

E x h . : G u n s 15.

304

THE PILL-BOX

E x h . : G u n s 44.

305

QUIET EVENING IN BATTERY

E x h . : G u n s 31. Described b y Lewis, in t h e m a r g i n o f t h e list sent t o Q u i n n , as ' B l u e a n d black . . . [illegible] o f figures, w i t h g u n ' .

O.P.

E x h . : G u n s 46. 306 297

THE OBSERVATION POST N O . I

T H E O B S E R V A T I O N P O S T N O . II

See general n o t e a b o v e .

299

T H E O B S E R V A T I O N P O S T N O . IV

See general n o t e a b o v e .

366

307

T H E RELIEF A R R I V I N G

E x h . : G u n s 34.

T H E O B S E R V A T I O N P O S T N O . ILL

See general n o t e a b o v e .

300

POSITION:

SPOT!

See general n o t e a b o v e .

See general n o t e a b o v e .

298

RECONNOITRING A NEW

UNSUITABLE

308

THE RUM RATION

PI.

33

Black chalk, w a t e r c o l o u r , 13^ x 9^ in. (33-5 x 24 c m . ) , inscribed ' W . L . ' Graves A r t Gallery, Sheffield. E x h . : G u n s 27.

DRAWINGS

3 0 9 SHELL-HUMPING

PL

34

Pen and ink, watercolour, 12^ x 18^ in. (32 x 47 cm.), inscribed 'P. W y n d h a m Lewis 1918.' Mrs Geoffrey Colman. Exh.: Guns 13 (but marked 'not received' in the gallery copy of the catalogue); Z w e m m e r 1957, as Men Loading Shells. Shell-Humping is described as 'sold' in Lewis's letter to Quinn. T h e identification with the picture reproduced is based on the description given in the 'Guns' catalogue (see Appendix I).

310

SIEGE BATTERY PULLING IN

PL

33

Charcoal, pen and ink, watercolour, gouache, wash, 12} X i8f in. (32 X 47 5 cm.), inscribed ' W y n d h a m Lewis'. Private Collection. Ref.: Reproduced in R. W y e r and C . Brinton, War Paintings and Drawings by British Artists (London and

317

1 9 1 8 (war pictures)

S T U D Y OF A SOLDIER

Black chalk and wash (?), inscribed ' W y n d h a m Lewis. 1918. W a r Records Office France' and 'Study for picture of gun pit' and (erased) 'Gunner Crosby. 4th Canadian Siege.' Preserved in a photograph in the possession of the author. T h e picture shows a three-quarter length profile of a soldier wearing a soft cap and fatigue jacket. 318

S T U D Y FOR ' T O W I P E

OUT'

Exh.: Guns (not in catalogue, but added in ink in the gallery copy); bt by A. G. Tansley. See p. 435319

THREE

STUDIES

Exh.: Added in ink to the gallery copy of the 'Guns' catalogue with the notation 'received since exhibition'.

N e w Y o r k , 1919), pl. 87. 320

311

s i x STUDIES

Exh.: Guns (not in catalogue, but added in ink in the gallery copy).

321

312 s.o.s. Inscribed ' W y n d h a m Lewis'. Exh.: Guns 54. Ref.: Reproduced in The Illustrated London News, 15 February 1915, with the notation 'bought by Q u i n n ' , but Q u i n n did not buy the picture.

PICTURES

Exh.: Guns 1-10. Probably the items referred to in the list and letter to Q u i n n as 'Studies f r o m life' and ' T e n drawings for painting and its completed designs'.

W A I T I N G FOR

RUM

322

WALKING WOUNDED

PL

33

Exh.: Guns 17; bt by A. G. Tansley. Reproduced in a contemporary newspaper, the only remaining record of the w o r k . 323

STUDIES FOR

CONVERSING

Exh.: Guns 49.

Five soldiers running to the left, towards their gun.

313

TOMMIES

Exh.: Guns 39. Described by Lewis, in the margin of the list sent to Q u i n n , as 'Three men talking together: one of best of set'.

WAR

DRAWING

Ref.: A photograph in the W i t t Library, Courtauld Institute, showing soldiers in the foreground, tents and bursting shrapnel in the background. T h e photograph bears the notation'50 x 34-5'. 324 THE W A Y OF THE SUN

314

Exh.: Guns 21a.

STUDY

Exh.: Guns 24. 325 315

STUDY

Exh.: Guns 25. 316

S T U D Y OF G U N

Exh.: Guns 37.

MECHANISM

THE WHEEL

PURCHASE

Exh.: Guns 33. Ref.: Reproduced in The Sketch, 19 February 1919, p. 2 3 1 . Similar to Drag-ropes (273). In the margin of the list he sent to Quinn, Lewis describes it as a 'large drawing'.

367

DRAWINGS 1 9 1 8 (war pictures) : 1 9 1 9 326

334

YPRES S A L I E N T

Exh. : Guns 29 ; bt by Sir Michael Sadler.

L'INGENUE

PI.

42

Pencil, red chalk, wash, 20 x 1 3 J in. (51 x 35 cm.), inscribed 'Wyndham Lewis. 1919.' Manchester City Art Galleries (Rutherston Collection). Exh.: Adelphi Gallery, London, January 1920 (see Appendix I); R G R E 75; T 54.

1919 335 327

CROUCHING

NUDE

Pencil, pen and ink, watercolour, 1 1 J x 10 in. (28-5 X25-5 cm.), inscribed 'W. Lewis 1919'. Coll.: Jack Beddington (sold at *Christie's, 25 March i960, N o . 76, and reproduced in catalogue).

336

GIRL L O O K I N G D O W N

PI.

GIRL R E C L I N I N G

337

PI.

Pi-37

Pen and ink, watercolour, inscribed ' W L . 1919.' Ref.: Reproduced in * Wyndham Lewis: Fifteen Drawings.

HEAD 1

PI.

42

PI.

41

Pencil, 10 x 13^ in. (25 5 x 33 5 cm.), inscribed ' W Lewis 1919.' M r and Mrs Michael Ayrton. Ref.: Reproduced in Wyndham Lewis: Fifteen Drawings.

333

H E A D 11

Pencil, 9F x 1 2 J in. (25 X 32 cm.), inscribed ' W Lewis 1919.' H. Anson-Cartwright. Ref.: Reproduced in Wyndham Lewis: Fifteen Drawings.

368

40

LYING NUDE

NUDE

Inscribed ' W L 1919'. Ref.: Reproduced in Art and Letters, Autumn 1919, p. 167.

339 332

Pi.

The pose is similar to that in 339, but the head is not shown.

JO

338

GROUP

T H E LASCAR

Pencil and Prussian blue wash, 1 1 ^ x 1 1 in. (28-5 X 28 cm.), inscribed 'Wyndham Lewis. 1 9 1 9 ' and, on reverse, 'Lying Nude'. Ref.: *Seen and sketched by Charles Handley-Read on the occasion of the R G R E , though not listed in the catalogue of the exhibition.

Black chalk, 15 x 22 in. (38 x 56 cm.), unsigned. Tate Gallery, London. Coll.: R. Wyndham.

331

41

41

Black chalk, 1 1 ^ x 14^ in. (29 X 37 cm.), inscribed ' W Lewis 1919.' Vint Collection. Exh.: R G R E 6 3 , as Mary Webb; T 5 3 . Ref.: Reproduced in H - R (pi. 29). The sitter is Mary Webb.

330

PI.

Pen and ink, wash, 12 x 1 0 J in. (30-5 x 26-5 cm.), inscribed ' W . L . 1919.' Whitworth Art Gallery, University of Manchester.

328 N o entry.

329

LADY W I T H HAT

Black chalk, 14 x 10 in. (35 5 x 25-5 cm.), inscribed 'WL.' Private Collection.

NUDE I

PI.

39

Pen and ink, chalk, watercolour, 9F X 1 1 \ in. (25 x 29 cm.), inscribed 'Wyndham Lewis. 1919.' City Art Gallery, Leeds. Exh.: T 52, as Nude. Ref.: Reproduced in Wyndham Lewis: Fifteen Drawings.

340

N U D E 11

PI-

39

Black chalk, watercolour, 1 1 x 15 in. (28 x 38 cm.), inscribed 'Wyndham Lewis 1919.' Manchester City Art Galleries (Rutherston Collection). Ref.: Reproduced in Wyndham Lewis: Fifteen Drawings.

DRAWINGS 341

N U D E III

PI.

40

Chalk, pen and ink, watercolour, inscribed 'Wyndham Lewis 1919.' Ref.: Reproduced in * Wyndham Lewis: Fifteen Drawings.

348

1919

EZRA P O U N D

Black chalk, inscribed 'Drawing of Ezra Pound by Wyndham Lewis'. Ref.: *Reproduced in Wyndham Lewis, Ezra Pound: un saggio e tre disegni (Milan, 1958). The drawing appears nearly identical with 349.

342

NUDE i v

PI.

40

Chalk or charcoal, watercolour, inscribed 'Wyndham Lewis 1919.' Ref.: Reproduced in * Wyndham Lewis: Fifteen Drawings.

343

PENSIVE W O M A N

349

EZRA P O U N D

Pi.

45

Pencil and wash, 1 X i o f in. (29 x 26-5 cm.), inscribed ' W . L . ' and, at a later date, 'of Ezra Pound. 1914'. Estate of the late Agnes Bedford. PI.

The drawing may be dated 1919, by comparison with 345.

41

Pencil, 1 3 I x in. ( 3 5 x 2 1 cm.), inscribed 'Wyndham Lewis'. H. Anson-Cartwright.

350

READING

PI.

41

Pencil, watercolour, red chalk, 20 X 14 in. 344

THE POLE J U M P

PL

37

Pencil, pen and ink, watercolour, gouache, 1 2 J x 17 in. (32 x 43 cm.), inscribed 'Wyndham Lewis.'; the earlier state was inscribed ' W . Lewis 1919.' W. Michel. Ref.: Reproduced (earlier state) in Wyndham Lewis: Fifteen Drawings. Coll.: The Earl of Inchcape.

351

EZRA POUND

PI.

42

352

353

EZRA P O U N D

Black chalk, I 4 | x 13^ in. (37-5 x 33 5 cm.), inscribed 'Drawing of Ezra Pound by Wyndham Lewis'. Peter Russell. Exh.: R G R E 4 0 , as 1921. Ref.: Reproduced (frontispiece) in Selected Poems of Ezra Pound (New Y o r k , 1946). EZRA P O U N D

Pencil, watercolour, 14 x 15 in. (35 5 x 38 cm.), unsigned. National Museum of Wales, Cardiff. Exh.: T & P (not listed in catalogue); bt by Miss M . S. Davies.

39

RED N U D E

CROUCHING

PI.

45

RED N U D E SEATED

PI.

40

Pen and ink, pencil, wash, 14^ x i o j in. (37-5 x 26 cm.), inscribed ' W L ' . Andrew Dickson White Museum of Art, Cornell University. The figure is full-length. The detail shows part of the upper edge and slightly less than half the height. 354

347

Pi.

Pen and ink, pencil, watercolour, 1 5 x 1 1 in. (38 x 28 cm.), inscribed ' W . Lewis 1919'. Exh.: * T 5 i . Coll.: Mayor Gallery (1956).

Charcoal, 14 x n - J in. (35 5 x 29 cm.), inscribed 'Wyndham Lewis. 1919.' Mrs Thomas R. Carter. Ref.: Reproduced in Wyndham Lewis: Fifteen Drawings; Dial, September 1920, facing p. 283. Coll.: Thomas H. Carter.

346

RED N U D E

Pencil and watercolour, 22^ x 1 i n . (56 5 x 4 1 5 cm.), inscribed 'Wyndham Lewis. 1919.' The British Council, London. Exh.: R G R E 31. Ref.: Reproduced in H - R (pi. 27).

The colour was added later, probably in 1929.

345

(5 1 x 35'5 cm.), unsigned. Manchester City Art Galleries (Rutherston Collection). Exh.: R G R E 6 8 .

SEATED N U D E

Pencil, charcoal, wash, 14^ x i o j in. (37 5 X 26-5 cm.), inscribed 'Wyndham Lewis' and 'Wyndham Lewis 1919'. The Hon. David Bathurst. The model is shown with legs crossed and hands folded across one knee.

369

DRAWINGS 355

I919 : 1919-20

SEATED NUDE

PI.

40

Pen and ink, watercolour, 14^ x i o f in. (37 X 27 5 cm.), inscribed ' W . L . 1 9 1 9 . ' Cecil Higgins Art Gallery, Bedford.

356

SEATED

STOOPING NUDE

PI.

364

STUDY

PI.

JO

365

38

Pen and ink, watercolour, 11 x 14 in. (28 x 35-5 cm.), unsigned. Estate o f the late Agnes Bedford.

359

D R A W I N G FOR T I M O N OF A T H E N S I

PI.

j 8

Pen and ink, 11 x in. (28 x 24 cm.), inscribed ' W Lewis 1 9 1 9 . ' Eugene A. Carroll. E x h . : T 55, as Warrior. Ref.: Reproduced in Wyndham Lewis: Fifteen Drawings. Coll.: W . K. Rose.

360

A WOMAN

JO

CROUCHING WOMAN

PI.

JO

DANCERS

(BALLET FIGURES)

PI.

J2

PI.

J2

STUDENT

W O M A N W I T H A CAT

PL

41

1919-20 BATHERS

Pen and ink, wash, gouache, 13 x 10^ in. (33 x 26 cm.), unsigned. Private Collection.

370

366

PI.

9 in. (29 x 23 cm.),

Black chalk and wash, 11 x 1 5 in. (28 x 38 cm.), inscribed 'Wyndham Lewis.' Tate Gallery, London. Exh. : R G R E 51. Coll.: R . Wyndham.

367

Inscribed ' W Lewis 1 9 1 9 . ' Ref.: Reproduced in *Art and Letters, Spring 1920, p. 7.

362

CROUCHING NUDE

Black chalk on grey paper, 1 x unsigned. Tate Gallery, London. Coll.: Sydney Schiff.

Black chalk and wash, 15 x 20 in. ( 3 8 x 5 1 cm.), inscribed 'Wyndham Lewis'. Graham Gallery, N e w York.

Unsigned. Ref.: Reproduced in *Art and Letters, Winter 1920. The same sitter as in 336 and 3 6 1 , three-quarter length, nearly full-face, looking down.

361

PI. 72

BATHERS

Pen and ink, wash, gouache, 15 x 9^ in. (38 X 25 cm.), unsigned. Private Collection.

Pencil, 14^ x 9J; in. (37 x 23 5 cm.), inscribed ' W Lewis. 1 9 1 9 . ' Hawkes Bay and East Coast Art Society (Inc.), N e w Zealand.

358

BATHERS

Pen and ink, wash, gouache, 11 x 10 in. (28 x 25-5 cm.), unsigned. Private Collection. Similar to 362.

NUDE

Pencil and colour. Coll.: Arthur Crossland (sold at *Christie's, 9 March 1956, N o . 65).

357

363

368

369

J2

MALE NUDE

PI.

40

Pen and ink, 14 x 9 in. (35-5 x 23 cm.), unsigned. Andrew Dickson White Museum o f Art, Cornell University.

370

PI.

FIGURES AT A B E A C H HOUSE

Black ink, 1 2 x i o | in. (30 5 x 26-5 cm.), unsigned. Private Collection.

MALE

NUDE

Pen and ink, 14 x 9 in. (35-5 x 23 cm.), unsigned. Andrew Dickson White Museum o f Art, Cornell University. T h e same model as in 369, seen from the rear with one arm raised. Half-length.

DRAWINGS 1 9 x 9 - 2 0 : 1 9 2 0 371

379

MALE NUDE

Pen and ink, 14 x 9 in. (35 5 x 23 cm.), unsigned. Private Collection. A three-quarter length, almost frontal view, cut at the neck, of the same model as in 369. The model's arms are folded.

380 372

M A L E NUDE

A three-quarter length view in near profile of the same model as in 369 with arms folded, looking down.

MADGE PULSFORD

PL

42

Pencil, 15 x 18^ in. (38 x 47 cm.), inscribed ' W Lewis.' Sir John Rothenstein. Exh.: R G R E 29; T 6 2 .

374

R E C L I N I N G NUDE

PL

382

SEATED N U D E

THREE FIGURES ( B A L L E T S C E N E )

Pi.

73

R E C L I N I N G NUDE

1920

RECLINING NUDE

A highly foreshortened view, somewhat like 330.

SEATED NUDE

PL

71

Black chalk, 13 x 15 in. (33 x 38 cm.), unsigned. W . Michel.

SEATED N U D E

Black chalk, pen and ink, wash, 10 X 14 in. (25-5 X 35-5 cm.), inscribed 'Wyndham Lewis.' W . Michel.

PI.

383

71

ATHLETES

PL

73

PI.

39

PI.

51

Chalk, 13^ x 1 9 J in. (33 5 x 49 5 cm.), unsigned. Miss Iris Barry.

384

Pencil, wash, 1 1 ^ x 14^ in. (28 x 37 5 cm.), inscribed 'Wyndham Lewis.' Ashmolean Museum, Oxford.

378

381

Black chalk on grey paper, x 15 in. (28 x 38 cm.), inscribed 'Wyndham Lewis.' Eugene A. Carroll. Coll.: Agnes Bedford; W. K. Rose.

Black chalk and wash, 15 x 20 in. (38 x 51 cm.), inscribed 'Wyndham Lewis'. Graham Gallery, N e w Y o r k . Exh.: R G R E 3 2 , as Ballet Scene, T 3 1 , both as 1 9 1 3 .

The model, drawn in the 'strong line' style of 377-80, is placed diagonally across the paper from upper left to lower right.

377

J1

yl

Black chalk, 15 x 17 in. (38 X 43 cm.), unsigned. Andrew Dickson White Museum of Art, Cornell University.

376

PL

The same model as in 366, seated on the floor with knees raised and arms crossed under them. The upper part of the face is cut off by the edge of the paper.

Black chalk, 9 x 12^ in. (23 x 32-5 cm.), inscribed ' W Lewis.' W . Michel.

375

SEATED N U D E

Pencil, wash, 15 x 194 in. (38 x 49 cm.), inscribed 'Wyndham Lewis.' Coll.: Mrs Eric Kennington (sold at Christie's, 23 March 1962, N o . 119).

Pen and ink, 14 x 9 in. (35-5 x 23 cm.), unsigned. Private Collection.

373

PI.

SEATED N U D E

Black chalk, 13^ x 15^ in. (34 5 X 39 5 cm.), inscribed ' W Lewis'. Mrs Vernon van Sickle.

B A C K OF A W O M A N

Pen and ink, wash, 185 x n in. (46-5 x 28 cm.), inscribed 'Wyndham Lewis 1920.' E. W . Jenkinson. Exh.: R G R E 52.

385

CABBY

Black chalk, pen and ink, ink wash, 1 4 J x io£ in. (37 x 26 5 cm.), inscribed 'Wyndham Lewis. 1920.' Melbourne Art Gallery. Exh.: T 6 3 ; Z w e m m e r 1957 (No. 24). Ref. : Reproduced in H - R (pi. 30), as Study of an Elderly Man. Coll. : Arthur Crossland (sold at Christie's, 3 February 1956, No. 63).

371

DRAWINGS 386

1920

C A B B Y SEATED IN A N A R M C H A I R

PL

51

Inscribed ' W Lewis. 1920.'

394

PL

GIRL SEATED

47

Pencil, 1 5 J X 2 o f i n . (39-5 x 5 1 5 cm.),inscribed ' W y n d h a m Lewis 1920.'

* Fro rn a photograph.

Manchester City Art Galleries (Rutherston Collection). T h e sitter is M a d g e Pulsford. 387

C A B B Y S E A T E D IN AN A R M C H A I R

Pencil, 1 7 ! x 13^ in. (44 5 x 34 5 cm.), inscribed ' W . Lewis 1920'. Peter D. Harrison.

388

THE CLIFFS

395

PI.

MISS 'E'

PL

46

75

Pen and ink, wash, i o j x 15 in. (26-5 x 38 cm.), inscribed ' W Lewis. 1920.' and 'The cliffs.' Estate of the late Agnes Bedford.

389

HEAD OF A GIRL IN PROFILE

in. (25 5 x 26 cm.), inscribed Pen and ink, i o x ' W y n d h a m Lewis 1920.' Manchester C i t y Art Galleries (Rutherston Collection).

396

PI.

44

Black chalk, 1 4 ! x 22 in. (37-5 x 56 cm.), unsigned. Manchester C i t y Art Galleries (Rutherston Collection). E x h . : T & P 34; R G R E 72; T 5 8 . The sitter, as in the following entry, is the daughter of Edwin Evans (see also P35).

D R A W I N G OF J A M E S J O Y C E

Inscribed ' W . L . 1920' and, at a later date, 'Drawing of James J o y c e 1920 by W y n d h a m Lewis'. R e f . : Reproduced in The Enemy No. 2, Thirty Personalities and a Self-portrait, as James Joyce ; Blasting and Bombardiering.

397

HEAD OF J A M E S J O Y C E

PI.

46

Pen and ink, i o | x 8 in. (26-5 x 20 5 cm.), inscribed, at a later date, ' W y n d h a m Lewis, (head of James J o y c e 1920).'

Vint Collection. 390

MISS EVANS

PL

43

Black chalk, 1 4 J x 2 1 ^ in. (37 x 54 cm.), inscribed ' W y n d h a m Lewis.' Private Collection. See note to the preceding entry.

398

H E A D OF J A M E S J O Y C E

Pen and ink, i o | x 7^ in. (27-5 x 20 cm.), inscribed ' W Lewis, c. 1920.' and 'head James J o y c e ' . R e f . : Reproduced in The Illustrated London News, 27 February i 9 6 0 .

Coll.: Jack Beddington (sold at Christie's, 25 March i960, N o . 74). 391

Reproduced in Christie's catalogue as Portrait Study of 'Mad James Joyce', a misreading of the inscription.

GIRL IN C H A I R , LEGS C R O S S E D

Pen and ink, 15^ x 1 1 in. (38 5 x 28 cm.), inscribed ' W y n d h a m Lewis. 1920.' Manchester C i t y Art Galleries (Rutherston Collection)' 399 392

GIRL S E A T E D

PL

47

Pencil and wash, I4f x 10 in. (36 x 25 5 cm.), inscribed ' W y n d h a m Lewis. 1920.' Manchester C i t y Art Galleries (Rutherston Collection). E x h . : R G R E 79; T 6 8 .

GIRL SEATED

Pencil, ì&2 x io£ in. (42 x 26 cm.), inscribed ' W y n d h a m Lewis. 1920.' Private Collection. Exh. : T 66.

372

PL

43

PL

JJ

T h e drawing is unfinished.

400 393

THE KING A N D QUEEN IN BED

Pen and ink, wash, 1 3 ^ X 16 in. (33-5 x 40-5 cm.), unsigned. Miss Iris Barry.

L A D Y IN W I N D S O R

CHAIR

Black chalk, 22 x 15 in. (56 x 38 cm.), inscribed ' W Lewis 1920'. Manchester C i t y Art Galleries (Rutherston Collection). Exh.: T & P 3 ; R G R E 7 4 . R e f . : Reproduced in H - R (pi. 28), as Girl in a Windsor Chair.

DRAWINGS 401

LADY ON A CHAISE-LONGUE

Pl.

46

Pen and ink on grey paper, 13 x 14^ in. (33 x 36 cm.), inscribed 'Wyndham Lewis.' Private Collection.

402

LONDON

408

409

LOVERS W I T H A N O T H E R FIGURE

PL

J J

Black chalk, pen and ink, watercolour, wash, 11 x 18 in. (28 x 45 5 cm.), inscribed 'Wyndham Lewis. 1920.' Carl Laszlo. Coll.: John M. MacLeod. LUCY

PL

55

405

M A N W I T H A PIPE

PI.

51

Pencil and wash, 20 X 1 4 I in. (31 x 37-5 cm.), inscribed 'W Lewis 1920.' Manchester City Art Galleries (Rutherston Collection). Exh.: R G R E 80; T 64. NUDE

PI.

70

Pencil and wash, 15 x 19J in. (38 x 49-5 cm.), inscribed 'W Lewis 1920.' Manchester City Art Galleries (Rutherston Collection). 407

NUDE

Pencil and wash, 1 5 x 1 1 in. (38 x 28 cm.), inscribed 'W.L. 1920'. Mrs Eric Raffles. Exh.: R G R E 2 1 . Coll.: R. Wyndham. In the style of 357.

44

P O R T R A I T OF GIRL

PL

43

H E A D OF E Z R A P O U N D

PI.

45

Inscribed 'Wyndham Lewis.' and '(head of Ezra Pound).' Exh.: Beaux Arts 1938. From a photograph at the Beaux Arts Gallery.

412

EZRA P O U N D

PL

45

Inscribed (at a later date) 'Wyndham Lewis 1920. Portrait of Ezra Pound'. Ref.: Reproduced in Blasting and Bombardiering. From the reproduction.

413 406

PI.

Black chalk, 1 6 J x 10 in. (42 x 26 5 cm.), unsigned. Manchester City Art Galleries (Rutherston Collection). Exh.: T & P 4 4 ; R G R E 7 0 ; T 6 7 , as Girl Standing.

411

Pencil, 1 X 1 1 in. (38 5 x 28 cm.), unsigned. W. Michel. A detail of the hands is reproduced, just under half actual size. The sitter is the same and the pose nearly the same as in 392.

POET SEATED

Black chalk, 14^ x 19 in. (37-5 x 48-5 cm.), inscribed 'Wyndham Lewis.' Manchester City Art Galleries (Rutherston Collection). Exh.: T & P 5; R G R E 69 and T 74, as Poet Seated (Ezra Pound). Ref.: H-R, p. 99 (note 3) as 1921.

410

404

NUDE

Pencil and wash, 14^ x 10 in. (37x 25-5 cm.), inscribed'W. Lewis. 1920.' R. H. M. Ody. The execution resembles that of 353.

CABBY

Pencil, chalk, wash, 1 4 ! x n f in. (36-5 X 29 cm.), sight size, inscribed 'Wyndham Lewis 1920'. Exh.: R G R E 87; Zwemmer 1957 (No. 25). Ref.: H-R, p. 94. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, No. 63). Details from Charles Handley-Read's notes on the RGRE. His sketch shows the old cabby, in a huge coat, taking up almost the full height of the picture. «

403

1920

EZRA P O U N D

PL

45

Pencil, 14 x 20in. (35-5 x 51 cm.), inscribed 'Wyndham Lewis (ofE. Pound)' and (in Michael Ayrton's writing) 'Missing section replaced by Michael Ayrton.' Private Collection. The original head had been torn out at some stage and in 1957 Michael Ayrton drew a new one and inserted it in the gap.

414

EZRA P O U N D

PL

45

Black chalk, 1 2 J x 13 in. (31 x 33 cm.), inscribed 'Wyndham Lewis (of Ezra Pound)'. Omar S. Pound. 373

DRAWINGS 415

1920

EZRA P O U N D

422

P R O F I L E OF A G I R L ' S H E A D

PI.

47

Black chalk, 14 x 10 in. (35-5 X 25-5 cm.), inscribed 'W Lewis 1920.' Manchester City Art Galleries (Rutherston Collection). Exh.: R G R E 7 3 .

423

D R A W I N G OF M A D G E P U L S F O R D

PI.

50

Pencil and watercolour, 1 5 X 1 1 in. (38 X 28 cm.), inscribed 'W L 1920.' and, at a later date, 'Drawing of Madge Pulsford. 1920. Wyndham Lewis.' Tate Gallery, London. Ref.: Reproduced in Dial, January 1921, following p. 28; Rude Assignment. Coll.: Presented to Miss Pulsford by the artist.

418

PI.

53

425

SELF-PORTRAIT

Inscribed 'WL 1920'. Ref.: Reproduced with a brief article on Picasso, by Lewis, in the Daily Mail, 10 January 1920. Similar to 429, with hat and scarf, without pipe. SELF-PORTRAIT

PI.

53

427

SELF-PORTRAIT

Ref.: Reproduced in James Laver, Portraits in Oil and Vinegar (London, 1925), p. 191.

RECLINING NUDE

SEATED MAN

428

PL

43

Black chalk, 19J x 14^ in. (49 5 x 37 cm.), inscribed 'W Lewis. 1920.' Mr and Mrs Lester Francis Avnet. The sitter is probably Edward Wadsworth.

SEATED W O M A N

Black chalk, I2| X 9 in. (32 x 23 cm.), inscribed 'Wyndham Lewis. 1920'. J. F. Cullis. The sitter is Miss Iris Tree.

374

SELF-PORTRAIT

Pen and ink, wash, 1 4 ! x 10 in. (37 5 x 25-5 cm.), inscribed '1920 Wyndham Lewis'. Private Collection.

426

Pencil, 1 3 ! x 1 2 J in. (35 x 31 cm.), inscribed 'Wyndham Lewis. 1920.' Contemporary Art Society, London. Coll.: Dr H. P. Widdup.

421

5J

Exh.: Group X exhibition, March 1920 (reproduced in catalogue).

The face and shoulders in stark profile on the right, indications of a table at lower left. This appears to be a sketch for a painting.

420

PL

MADGE PULSFORD

Black chalk, 1 1 x 15 in. (28 x 38 cm.), inscribed 'W. Lewis 1920.', 'red' and 'open windows'. Tate Gallery, London. Coll.: Sydney Schiff.

419

SELF-PORTRAIT

Pen and wash, 7 x 8f in. (18 x 22 cm.), inscribed 'Self-portrait. Wyndham Lewis. 1920.' Vint Collection. Exh.: T & P 1 2 ; T 5 7 . 424

417

WOMAN

Black chalk, x iof in. (42 x 27-5 cm.), inscribed 'Wyndham Lewis. 1920'. Santa Barbara Museum of Art, California. Coll.: Wright Ludington.

Pencil and wash, 14 x 10 in. (35-5 x 25 5 cm.), inscribed (on reverse, in pencil) 'Ez. Pound # 12'. Santa Barbara Museum of Art, California. Coll.: Wright Ludington.

416

SEATED

PI.

SELF-PORTRAIT

Pencil, 13 x 9J in. (33 X 24 cm.), inscribed 'Wyndham Lewis'. Exh.: R G R E 42, as Portrait of the Artist. Details from Charles Handley-Read's notes on the RGRE. His sketch shows the artist in threequarter view looking right, hatless, with pipe.

429

SELF-PORTRAIT

PI.

¡3

Reproduced from a 1920 newspaper cutting. 43

430

SELF-PORTRAIT

PL

53

Black ink, 14 x 16 in. (35-5 x 40-5 cm.), inscribed 'Wyndham Lewis. 1920.' Poetry Collection. State University of New York at Buffalo.

DRAWINGS 431

A SHORE SCENE

PL

76

Pencil, pen and ink, wash, x 18 in. (28-5 x 45 5 cm.), inscribed 'Wyndham Lewis 1920'. National Art Gallery, Wellington, New Zealand. Coll.: John MacLeod.

438

D R A W I N G OF O S B E R T

SITWELL

Pencil and wash, 12^ x 9 in. (32 5 x 23 cm.), inscribed 'Wyndham Lewis 1920. Drawing of Osbert Sitwell'. Exh.: * T 59. Coll.: Leicester Galleries; Beauchamps Bookshops Ltd, London (1956).

433

S T U D Y FOR P A I N T I N G ( S E A T E D L A D Y )

PL

4g

Pencil and wash, 14J X i o | in. (37-5 x 27 5 cm.), inscribed 'Wyndham Lewis 1920.' Manchester City Art Galleries (Rutherston Collection). Exh. : T & P 13 ; RGRE 81, as Lady Seated in an Armchair. Ref. : Reproduced in Rude Assignment, as Cave Woman in a Chair.

434

VICTORIAN

440

PL

56

Pencil, 12 x 15^ in. (30-5 x 38-5 cm.), inscribed 'Wyndham Lewis'. W. Michel. The detail, reproduced at slightly over half actual size, shows almost the full drawn portion of the sheet.

436

EDWARD WADSWORTH

PL

WADSWORTH

Black chalk, 12 x 15 in. (30 5 X 38 cm.), inscribed 'Wyndham Lewis'. Mayor Gallery, London. Similar to 436.

PL

47

ABSTRACT COMPOSITION

Pl.

81

Pen and ink, watercolour, io£ x 9^in. (26 5 x 23-5 cm.), inscribed 'Wyndham Lewis 1921'. Private Collection. Exh.: T78.

443

A B S T R A C T COMPOSITION: TWO FIGURES

PL

78

Pen and ink, ink wash, gouache, 12 X 14! in. (30 x 37-5 cm.), unsigned. W. Michel. Torn in four pieces by the artist. Reproduced here because the left-hand figure is almost identical with one of those in the (rather faint) proof sheet in the next entry.

56

444 EDWARD

WOMAN KNITTING

1921

Black chalk, 15^ X 11 in. (38-5 x 28 cm.), inscribed 'Wyndham Lewis.' Pembroke College, Oxford. Exh.: L G 1 3 ; T60.

437

WINDELER

Pencil, 19Ì X 13 in. (49 5 x 33 cm.), inscribed 'W. Lewis. 1920.' Manchester City Art Galleries (Rutherston Collection). Exh.: RGRE76.

442 EDWARD WADSWORTH

C. B.

Pencil, signed and dated 1920. Exh.: (?) T & P 4 0 . Sold at ^Sotheby's, 8 March 1944 (No. 36).

441 A B S T R A C T C O M P O S I T I O N Colour plate IX Pen, collage, watercolour, 2of X 27^ in. (52 5 x 70 cm.), inscribed 'Wyndham Lewis 1921'. Private Collection. Exh.: T 77.

LADY

Pen and ink, wash, 14^ x 10J in. (36 x 26-5 cm.), inscribed 'Wyndham Lewis'. Exh.: * T 65; Zwemmer 1957. Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, No. 65, as A Victorian Old Lady).

435

WADSWORTH

Pencil, 12 X 15 in. (30-5 x 38 cm.), unsigned. A. Carnwath. Similar to 436.

439 432

EDWARD

1920 : I92I

ABSTRACT COMPOSITION: TWO

FIGURES

Unsigned. Preserved in a proof sheet, in the possession of the author, belonging to the set reproduced in The Tyro No. 2; but this drawing was not reproduced. Similar to 443. 375

DRAWINGS 445

1921

ABSTRACT FIGURE STUDY

PI.

78

Pen and ink, wash, 14^ x 12^ in. (37 x 31 cm.), inscribed 'Wyndham Lewis. 1 9 2 1 . ' The Hon. David Bathurst. Coll.: Z w e m m e r Gallery, as Nude No. 3; Nicholas Guppy.

452

C O C K N E Y W I T H HAT

Pencil, 16 x 20 in. (40 5 x 51 cm.), inscribed 'Wyndham Lewis'. M r and Mrs Lester Francis Avnet. Exh.: R G R E 38. Coll.: Rowland. The model for the Cabby drawings, seated in full profile facing right and holding a hat.

446

ABSTRACT FIGURE STUDY

PL

78

Pen and ink, inscribed 'W.L. 1921.' From a photograph.

447

453

ABSTRACT FIGURE STUDY

Pen and ink, wash, n ^ x 6f in. (28-5 x 17 cm.), inscribed 'Wyndham Lewis. 1921.' Public Library, Harrogate. Similar to 445-6.

BOOK ILLUSTRATION

FIGURES

Similar to 443, 456.

454 448

COLUMN

Pen and ink, watercolour, 1 x in. (28-5 x 17 cm.), inscribed 'Wyndham Lewis 1921'. The British Council, London. Exh.: R G R E 5. Ref.: H - R , p. 56.

PI.

77

Inscribed ' W L 1 9 2 1 ' . Ref. : Reproduced in Sacheverell Sitwell, Dr. Donne and Gargantua (First Canto), London, 1921.

COUPLE

Pi.

79

Pen and ink, 8§ x 5^ in. ( 2 1 5 X 13 cm.), inscribed 'Wyndham Lewis' and, on reverse, with a dedication to Miss Lechmere and dated 1 9 2 1 . Miss Kate Lechmere.

The illustration is 4 in. high and appears facing the title page. 455 449

THE BROMBROOSH

PI.

73

Black ink, 1 9 J x 15 in. (50 X 38 cm.), unsigned. Estate of the late Agnes Bedford. Exh.: T 7 5 . Ref.: Reproduced in The Tyro No. 1.

IT D O E S N ' T M A T T E R W H A T '

PI.

4g

Inscribed 'Wyndham Lewis 1921.' Ref.: Reproduced over this title in Mrs GordonStables, 'English Art in the Past Year', International Studio, 1922. The remark was Lewis's reply to the writer of the above article when she enquired what to call the drawing.

THE CEPT

Pi.

75

R e f : Reproduced on the cover of The Tyro No. 1 and indexed as The Cept. The full cover, measuring 1 4 I x 9f in. (37-5 x 25 cm.), is reproduced in W . Michel, 'Tyros and Portraits', Apollo, vol. L X X X I I , August 1965, p. 128, and in Wyndham Lewis on Art, p. 189.

376

jg

FIGURE COMPOSITION

PI.

79

PI.

79

Pen and ink, watercolour, pencil, 1 3 ! x 1 7 J in. (34-5 x 44-5 cm.), inscribed 'Wyndham Lewis.' Mrs Dorothy Pound. Coll.: Mrs Olivia Shakespear.

457

FIGURES

Pen and ink, watercolour, 1 9 J x 14 in. (50 x 35 5 cm.), inscribed 'Wyndham Lewis.' Hugh Gordon Porteus.

458 451

PL

From a photograph.

456

4 5 0 ' C A L L IT A N Y D - D T H I N G ;

DECORATION

Inscribed 'Wyndham Lewis. 1 9 2 1 . '

FRENCH PEASANT W O M A N

KNITTING

Pencil and wash, 14^ X 15 in. (37 x 38 cm.), inscribed 'Wyndham Lewis, 1 9 2 1 ' . Exh.: R G R E 66, lent by John Baines. Details from Charles Handley-Read's notes on the R G R E . His sketch shows a full-length profile of a seated lady, in peasant costume and cap, in the 'ornamental' style of pis 49-50.

DRAWINGS 459

GIRL R E A D I N G

PL

48

GIRL SEATED

T h e subject is seated and wears a hat. A fulllength nearly frontal view with the face turned slightly to the right. PL

49 466

Pen and ink, wash, 13^ x 9^ in. (33-5 x 23-5 cm.), inscribed ' W y n d h a m Lewis.' Bradford City Art Gallery and Museum.

461

GIRL S E W I N G

PI.

H E A D OF A Y O U N G W O M A N

Pencil and wash, X in. (18-5 x 13 cm.) mounted, inscribed ' W y n d h a m Lewis 1921'. Keith Dewhurst.

467

PI.

46

Pen and ink, 19^ x i 2 f in. (45 5 x 31-5 cm.), inscribed ' W y n d h a m Lewis. 1921' and ' D r a w i n g of James Joyce.' National Gallery of Ireland. Coll.: Miss Harriet Weaver.

L A D Y SEATED AT TABLE

LADY W I T H CLASPED H A N D S

Pencil, 14^ x 15-g in. (38 x 38-5 cm.), inscribed ' W y n d h a m Lewis'. Graham Gallery, N e w York. Similar to 476.

MAN AND W O M A N

Pen and ink, gouache, watercolour, 85 x in. (23 5 x 13 5 cm.) sight size, inscribed ' W y n d h a m Lewis'. Mrs A. AschafFenburg. A 'Tyronic' male and a female figure, standing. Nearly abstract, similar to 454.

470

M E E T I N G B E T W E E N T H E T Y R O , MR S E G A N D O ,

AND THE TYRO, PHILLIP 464

48

Pencil, 10J x 10J in. (27-5 x 26-5 cm.), inscribed ' W y n d h a m Lewis. 1921'. Manchester City Art Galleries (Rutherston Collection). Exh.: T & P 3 9 ; R G R E 7 8 . Ref. : Reproduced The Tyro No. 1 ; Rude Assignment, as Woman with Hands on Table; H - R (pi. 31), as Woman with Clasped Hands.

469

D R A W I N G OF J A M E S J O Y C E

PL

48

468

463

L A D Y R E A D I N G ( N O . z)

Pencil and wash, 14^ X 21^ in. (37 x 54 cm.), inscribed ' W y n d h a m Lewis. 1921.' Estate of the late Sir Edward Beddington-Behrens. Exh.: T & P 3 0 ; T 7 1 .

Black chalk and watercolour, 2 i f x 14J in. (5S x 37 cm.), inscribed ' W Lewis'. O m a r S. Pound. Exh.: Beaux Arts 1938. Ref.: Reproduced in H - R (pi. 33). Coll.: Mrs Olivia Shakespear. An earlier unsigned state, dating f r o m c. 1921, is reproduced f r o m a photograph, as well as the final one with additions made in the thirties.

462

LADY READING

Pencil and wash, 13J x i6f in. (34-5 x 42 cm.), inscribed ' W y n d h a m Lewis'. W . S. Lieberman.

Inscribed'W Lewis 1921'. Ref.: Reproduced in Blasting and Bombardiering; Wyndham Lewis the Artist. F r o m a photograph.

460

465

I92I

LADY READING

Pencil and watercolour, 13 X 12 in. (33 x 30-5 cm.), inscribed ' W Lewis'. Mrs T . S . E l i o t . Exh.: T & P 15; T 70. Ref.: Reproduced in The Tyro No. 2; Picture Post, 25 March 1939. Coll.: Sydney Schiff; Sir Edward Beddington-Behrens. T h e sitter is seen f r o m the waist up, behind a table. In the 'ornamental' style of pis 49-50.

PL

75

Black ink, 14^ x 8^ in. (36 X 21 cm.), unsigned. A n d r e w Dickson W h i t e Museum of Art, Cornell University. Ref.: Reproduced in The Tyro No. 1.

471

O L D M A N SEATED

PL

¡1

Pencil and wash, 15^ x 17^ in. (38-5 X 44 cm.), inscribed ' W y n d h a m Lewis. 1921.' Manchester City Art Galleries (Rutherston Collection).

377

DRAWINGS 472

1921

P O R T R A I T OF A L A D Y

477

Black chalk, 2 i | X 14} in. (54 x 37 cm.), inscribed 'Wyndham Lewis. 1 9 2 1 . ' Mrs A. Gibbs. Sold at Sotheby's, 1 1 December 1957 (No. 53), as Portrait of Dame Edith Sitwell. The subject, seated, is seen in a frontal, almost full-length view. Her right hand rests on her knee, the left is held up to her chin.

473

D R A W I N G OF EZRA P O U N D

Black chalk, 14^ x r i \ in. (37 x 32 cm.), inscribed 'Wyndham Lewis 1 9 2 1 ' and 'Drawing of Ezra Pound'. Mrs T. S. Eliot. Exh.: R G R E 39, as Ezra Pound Seated. Ref.: Reproduced in Peter Russell, ed., Ezra Pound (London and N e w Y o r k , 1950), a collection of essays to Ezra Pound on his sixty-fifth birthday; H - R , p. 99 as Ezra Pound Seated.

474

RED A N D BLACK O L Y M P U S

PL

8l

Pen and ink, gouache, 10 X 17^ in. (25.5 x 44 cm.), inscribed 'Wyndham Lewis 1922'. The Hon. David Bathurst. Ref.: Reproduced in The Tyro No. 2. Coll.: John Hayward; Miss G. Rolleston. The style suggests the drawing was begun c. 1 9 1 4 - 5 and completed later. I originally listed it under 1921 on this evidence, derived from the photograph of an unsigned and undated state reproduced on pi. 81. After the catalogue numbering sequence had been fixed the original, with signature and date added by the artist in the bottom right-hand corner, appeared in a sale at Christie's (i2june 1970, No. 171).

475

D R A W I N G OF B E R N A R D R O W L A N D

PI.

478

479

48

Unsigned. Ref.: Reproduced in Wyndham Lewis the Artist ; H - R (pi. 32). From a photograph inscribed by the artist 'Seated Figure'.

37«

SEATED L A D Y

PI.

JJ

SEATED L A D Y

PI.

55

Pencil, 1 5 x 1 1 in. (38 x 28 cm.), inscribed 'Wyndham Lewis 1 9 2 1 . ' Robin Moore Ede. The detail reproduced is slightly over half actual size. The picture shows the subject seated in a Windsor chair, facing left, with her left elbow resting on the arm and her head turned towards the viewer. 480

SEATED L A D Y

Pencil, 15 X 1 0 J in. (38 X 27-5 cm.), inscribed 'Wyndham Lewis'. Mercury Gallery, London. Exh.: T 69, as Girl Seated. The same sitter as in 479. 481

SEATED L A D Y

Pen and ink, pencil, watercolour, 1 4 } X 1 6 J in. (36 x 41-5 cm.), inscribed 'Wyndham Lewis. 1 9 2 1 . ' Exh.: R G R E 67, lent by John Baines. Details from Charles Handley-Read's notes on the R G R E . His sketch shows a composition almost precisely like 389. SEATED LADY H O L D I N G A B O O K

Pen and black ink, 1 1 x 15^ in. (28 x 39-5 cm.), unsigned. Piccadilly Gallery, London. The sitter is shown facing forward, extending the full height of the sheet. 483

PI.

48

Pencil, 17^ x 12 in. (45 x 30-5 cm.), unsigned. Private Collection. The detail is slightly under half actual size. The picture shows the sitter, probably Fanny Wadsworth, nearly full-length.

482

The detail reproduced shows the head at approximately actual size. It represents the entire drawn area of the paper, which is largely empty.

SEATED F I G U R E

Pi.

46

Pen and ink, 9 x 8 in. (23 X 20-5 cm.), inscribed 'Wyndham Lewis. 1 9 2 1 . ' and 'Drawing of Bernard Rowland. 1 9 2 1 . ' M a y o r Gallery, London.

476

SEATED L A D Y

Pen and ink, wash, 1 9 J x 12^ in. ( 5 0 x 31-5 cm.), inscribed 'Wyndham Lewis. 1 9 2 1 . ' Graham Gallery, N e w York.

SENSIBILITY

Pi.

Pen and ink, wash, 12^ x 1 0 J in. (31 x 26 cm.), inscribed 'Wyndham Lewis. 1 9 2 1 . ' Vint Collection. Exh.: R G R E 6 0 , as Abstract; T 7 6 , as Contemplator. Ref.: Reproduced in The Tyro No. 2; Blasting and Bombardiering, as Contemplator.

80

DRAWINGS 484

O L I V I A SHAKESPEAR

PI.

46

EDITH SITWELL

PI.

The article is a brief interview with Lewis on the occasion o f the 'Tyros and Portraits' exhibition. T h e drawing is a characteristic T y r o head (see pl- 75). 3 i i n - high in the reproduction, 'specially drawn for the " D a i l y Express" yesterday', according to the caption. See also pp. 99-100.

52

Pencil, 17\ x 20 in. (39 x 28 5 cm.), inscribed ' W y n d h a m Lewis. 1921' and 'Edith Sitwell'. National Portrait Gallery, London. C o l l . : Sir Osbert Sitwell. 493 486

EDITH SITWELL

PI.

52

Pencil, i 6 j x 14^ in. (42 x 37 cm.), inscribed ' W y n d h a m Lewis. 1921.' and 'Throne'. Sir Sacheverell Sitwell. Ref. : Reproduced in John Lehmann, A Nest of Tigers (London, 1968), facing p. 22.

487

EDITH SITWELL

PI.

¡2

Pencil and gouache, 20^ x 14^ in. (51-5 x 37 cm.), inscribed ' W y n d h a m Lewis'. National Gallery o f South Australia, Adelaide. Coll. : L. G. Dukes.

488

E D I T H SITWELL

PI.

52

IRIS TREE

PL

494

j6

C O V E R D E S I G N FOR ' T H E T Y R O N O . 2 '

PI.

J$

C o v e r measurements 9f X 7^ in. (25 X 18-5 cm.). Ref. : Reproduced on the cover o f The Tyro No. 2 ; reproduced in Letters, p. 125.

W O M A N S E A T E D IN A N A R M C H A I R

Pencil, 14 X 10J in. (35-5 x 27-5 cm.), inscribed ' W y n d h a m Lewis 1921'. M a y o r Gallery, London. C o l l . : R. W y n d h a m . T h e same sitter as 479-80. Inscribed on reverse, but probably not in the artist's hand, 'Scallops against quilting'.

496

W O M A N S E A T E D IN A N A R M C H A I R

PI.

4g

Pen and ink, wash, 12^ X 12 J in. (31 x 32-5 cm.) sight size, inscribed ' W y n d h a m Lewis 1921.' Graham Gallery, N e w Y o r k . PI.

Pencil and wash, 13 x i o j in. (33 x 26-5 cm.), inscribed ' W y n d h a m Lewis 1921'. Piccadilly Gallery, London. Exh.: R G R E 49, as Prunella. C o l l . : Jack Beddington.

491

PI.

54

Pencil, 1 4 ! x 21$ in. (37-5 x 54-5 cm.), inscribed ' W Lewis'. Merlyn Evans.

4 9 0 IRIS TREE

TYRO M A D O N N A

Pen and ink, pencil, watercolour, 14^ x I8£ in. (37 x 47 cm.), inscribed ' W y n d h a m Lewis. 1921. T y r o Madonna.' B r o o k Street Gallery, London.

495

Pencil and watercolour, 15^ X i o j in. (39-5 x 26 cm.), unsigned. Cecil Higgins Art Gallery, Bedford.

489

A TYRO

Ref.: Reproduced in 'Dean Swift with a Brush', Daily Express, 11 April 1921.

Pen and ink, wash, 14^ x 10J in. (37 x 26-5 cm.), inscribed ' W y n d h a m Lewis 1921.' O m a r S. Pound.

485

492

I92I

54

497

W O M A N S E A T E D IN A N A R M C H A I R

PI.

54

Pencil, 15 x 19^ in. (38 X 50 cm.), inscribed ' W y n d h a m Lewis. 1921.' Manchester C i t y Art Galleries (Rutherston Collection).

S T U D Y FOR A P O R T R A I T OF IRIS TREE

Chalk and wash, 13I x 19 in. (34 5 x 48 5 cm.), inscribed ' W y n d h a m Lewis'. Private Collection. Exh.: ( ? ) T & P 1 ; T 6 1 ; Z w e m m e r 1957. C o l l . : Arthur Crossland (sold at Christie's, 9 March 1956, N o . 70).

498

W O M A N SEATED IN A CHAIR

Pencil and chalk, 21 X 14^ in. (53-5 x 36 cm.), inscribed ' W . Lewis 1921.' T . G. Rosenthal. Exh. : T 7 2 . Coll.: Mrs John Rodker; P. Hall.

379

DRAWINGS 499

1921 : I 9 2 I - 2

W O M A N W I T H RED TAM O ' S H A N T E R

506

Pencil, pen and ink, watercolour, 1 x i8f in. (38 5 x 47 5 cm.), inscribed 'Wyndham Lewis 1921'. Exh.: R G R E 1 (reproduced in catalogue); T 73; Z w e m m e r 1957. Ref.: H - R , p. 94. Coll.: Charles Handley-Read; Piccadilly Gallery.

507 500

VIRGINIA W O O L F

PL

54

Pencil and wash, 15 x 10 in. (38 x 25 5 cm.), inscribed 'Wyndham Lewis.' Victoria and Albert Museum, London. Exh.: R G R E 57, as Woman in Large Hat \ (?) Z w e m m e r 1957 (No. 28).

Pi.

8o

Full-length; the sitter is in an armchair, one hand to her chin, looking slightly to the right. Delicate line drawing; upper part of dress ornamented.

509

FIGURE STUDY

Probably of Fanny Wadsworth. The pose is similar to 516, but the dress is sleeveless, ornamented and drawn with much delicate shading. The face is not filled in.

Similar to 517.

THE PILLAR

PL

79 510

Pen and ink, wash, 1 1 ^ x 8f in. (28 5 x 22 cm.), inscribed ' W L ' . Estate of the late Agnes Bedford. Exh.: R G R E 102 as Pilaster, 1929 (catalogued but not shown); T 85, as 1927. Ref.: Reproduced in H - R (pi. 6), as 1927, the date presumably suggested by the artist. An earlier date seems more likely (cf. pis 79-81).

ROOM NO. 5 9

Inscribed ' W . L . ' Ref.: Reproduced in The Tyro No. 2. 380

PL

SEATED L A D Y , LOOKING D O W N

PL

55

Pencil, 18 X 1 i n . (45-5 x 33-5 cm.), inscribed 'Wyndham Lewis'. Private Collection. The drawing shows the sitter full-length. The detail is slightly enlarged.

511 505

SEATED LADY

Pencil, 14 X i o j in. (35-5 X 26-5 cm.), unsigned, inscribed on reverse, in another hand, 'The Squareyolked [J>IC] frock'. Mayor Gallery, London. Coll.: R. Wyndham.

Pen and ink, x i o j in. ( 2 1 5 x 26-5 cm.), unsigned. Poetry Collection, State University of N e w Y o r k at Buffalo.

504

SEATED LADY

FIGURE STUDY

Pencil, 22^ x 1 i n . (56-5 x 38-5 cm.), unsigned. Whitworth Art Gallery, University of Manchester. Similar to 506.

503

SEATED LADY

The same sitter as in 510, three-quarter length, looking left; a very faint line drawing.

Reproduced from an untitled and uncaptioned proof sheet in the possession of the author.

502

54

Pencil and wash, 14 x 1 2 in. (35-5 x 30 5 cm.), inscribed 'Wyndham Lewis'. J . F. Cullis.

1921-2 ABSTRACT COMPOSITION

PL

Pencil, 18 x 1 i n . (45 5 x 33-5 cm.), inscribed ' W . Lewis'. Andrew Dickson White Museum of Art, Cornell University.

508

501

SEATED LADY

Pencil, black chalk, 17 x 13 in. (43 x 33 cm.), inscribed ' W y n d h a m Lewis'. H. Anson-Cartwright. Coll.: R. Wyndham.

80

SEATED LADY WEARING A CAPE

PL

Black chalk, 20 x 14 in. (51 x 35-5 cm.), inscribed 'Wyndham Lewis'. Castle Museum and Art Gallery, Nottingham.

¡4

DRAWINGS 512

1922

SEATED L A D Y W E A R I N G A CAPE

Black chalk, 22^ x 15^ in. (57 x 38 5 cm.), inscribed 'Wyndham Lewis'. Hugh Gordon Porteus.

519

SEATED L A D Y W I T H H A T

Pencil, x 13^7 in. (28 5 x 33 5 cm.), unsigned. Brighton Art Gallery. Ref.: Reproduced in W . Michel, 'Tyros and Portraits', Apollo, August 1965, p. 129, as Seated Woman.

514

SEATED L A D Y W I T H N E C K L A C E

PL

55

Pencil, 1 7 X 12^ in. (43 x 32 cm.), inscribed ' W . L . ' Private Collection. The drawing shows the sitter full-length. The detail is slightly over half actual size.

515

520

A R T H U R BLISS

PL

S7

Pen and ink, 13^ x 1 1 in. (34 5 x 28 cm.), inscribed ' W Lewis. 1922.' Vint Collection. 521

PL

A R T H U R BLISS

Pencil, 15 x 1 2 in. (38 x 30-5 cm.), unsigned. Eugene A. Carroll. Coll.: Miss Nancy Cunard; W . K. Rose.

522

A R T H U R BLISS

Pencil, 20 X 15 in. (51 X 38 cm.), inscribed 'Wyndham Lewis 1922'. Sir Arthur Bliss. R e f . : Reproduced in David C o x , ' A view of Bliss's music', The Listener, 18 November 1965, p. 818 (detail).

SEATED L A D Y IN A S T R I P E D DRESS 523

Probably of Fanny Wadsworth. Both arms are on the armrests of the chair, the pose slightly towards the left, the head frontal. A short-sleeved dress with a f e w horizontal stripes, little shading.

S K E T C H AT T H E B O T T O M OF A LETTER

PL

72

Pen and. ink, 15-J x 10 in. (40-5 x 25-5 cm.) sight size, inscribed ' W L ' . Eugene A. Carroll. Coll.: W . K. Rose.

518

8l

The detail is approximately half actual size.

Pencil, 19 x 13 in. (48-5 x 33 cm.), unsigned. M a y o r Gallery, London. Coll.: R. Wyndham.

517

PL

Pen and ink, watercolour, 13 x i8f in. (33 x 47-5 cm.), inscribed 'Wyndham Lewis. 1922'. Vint Collection. Exh.: R G R E 95, as Abstract Composition; T 80, as Abstract Composition: The Harbour. Ref.: Reproduced in Geoffrey Grigson, ed., The Arts Today (London, 1935), as 1924.

SEATED L A D Y W I T H N E C K L A C E

Pencil, 16f x 13^ in. (42-5 x 33 5 cm.), unsigned. Andrew Dickson White Museum of Art, Cornell University. Similar to 514, but probably of a different sitter. Full-length, posed slightly to the right; the left arm is unfinished.

516

ARCHIMEDES R E C O N N O I T R I N G THE

E N E M Y FLEET

The same sitter and a pose nearly identical with 511.

513

I 9 2 I - 2 : 1922

WOMEN

R e f . : Reproduced in The Tyro No. 2; James Thrall Soby, Contemporary Painters (New Y o r k , 1948), p. 1 1 9 . Three abstract, figures. The caption in M r Soby's book states that the picture is an oil painting but, judging by the reproduction, it appears to be a drawing.

J E A N DE B O S S C H E R E

PL

¡y

Pencil, 12 X 8^ in. (30-5 x 21-5 cm.), inscribed 'Wyndham Lewis 1922'. Eugene A. Carroll. Coll.: Sydney Schiff; W . K . Rose. The detail reproduced is slightly over half actual size and shows the entire drawn area. 524

NANCY CUNARD

PL

60

Pencil, watercolour, chalk, 2oJ x 13 in. ( 5 1 5 X 33 cm.), inscribed 'Wyndham Lewis 1922'. British Institute, Florence (on loan from the British Council, London). Exh.: R G R E 3, as Nancy Cunard, Venice; T 82, as Nancy Cunard in Venice. Ref.: Reproduced in The Sketch, 3 January 1923 (colour); Blasting and Bombardiering. The portrait was drawn in Venice in 1922. Lewis, reproducing it in Blasting and Bombardiering, cut off most of the architecture on the left, and added, with characteristic indifference to accurate dating, the inscription 'Wyndham Lewis 1920'.

381

DRAWINGS 525

1922

JESSICA DISMORR

Pi.

6l

Pen and ink, 9^ x 8 in. (24-5 X 20-5 cm.), inscribed 'Wyndham Lewis. 1922.' H. Anson-Cartwright. Coll.: R. Wyndham.

526

D R A W I N G FOR J O N A T H A N S W I F T

PI.

80

Exh.: 'French and English Contemporary Artists', Z w e m m e r Gallery, December 1934-January 1935, as The Two Horses. Ref.: Reproduced in The Tyro No. 2.

533

534 527

H E A D OF T . S. E L I O T

Pencil, 17 x 14 in. (43 x 35 5 cm.), inscribed ' W y n d h a m Lewis 1922'. Private Collection. Three-quarter view, facing right, in the detail style of 1 9 2 2 - 3 ; very faintly drawn.

528

EUGENIE

PI.

S T U D Y FOR P A I N T I N G OF E D W I N E V A N S

56

Pen and ink, 14^ x n f in. (38 X 29 cm.), inscribed ' W Lewis' and, on reverse, 'for oil of Evans (music critic)'. Private Collection. A study for the oil painting P35. Evans was the music critic of The Daily Telegraph. 530

S T U D Y FOR P A I N T I N G OF E D W I N EVANS

PI.

75

Ref.: Specially commissioned by the Evening Standard and reproduced with an article quoting Lewis's views on female fashions, entitled 'The long and the short of it— M r Wyndham Lewis settles the war of the skirt', 28 April 1922. 531

S U I T A B L E C O S T U M E FOR Y O U N G S U B U R B A N

MARRIED 532

382

WOMAN

S U I T A B L E W A L K I N G DRESS FOR F L A P P E R

FIRBANK

There is a *photograph of this drawing in the Berg Collection, N e w Y o r k Public Library.

H E A D OF A GIRL

PI.

6l

Pencil, 1 5 ^ x 16^ in. (40 5 x 42 cm.), inscribed 'Wyndham Lewis. 1922.' Worcester Art Museum, Mass. (Dial Collection). Ref.: Reproduced in the portfolio, Living Art (The Dial Publishing Company, N e w Y o r k , 1923). This reproduction is so good that, particularly when framed, it is sometimes taken for the original.

536

537

T W O S K E T C H E S FOR T H E

'EVENING STANDARD'

RONALD

L A D Y W I T H HAT

Pi

62

Pencil, x 10 in. (24 x 25 5 cm.), inscribed ' W y n d h a m Lewis'. Private Collection. The detail reproduced is slightly under half actual size and gives nearly the entire drawn portion of the sheet.

Pencil, 1 4 J x I i f in. (38 x 29 cm.), inscribed 'Wyndham Lewis. 1922.' and, on reverse, 'for oil of Evans (music critic).' Private Collection. Similar to 529.

531-2

50

Black chalk and, possibly, wash or coloured chalk, inscribed 'Wyndham Lewis. 1922.' Ref. : Reproduced in Ronald Firbank, The Flower Beneath the Foot (London, 1923); Miriam J . Benkovitz, Ronald Firbank (New Y o r k , 1969; London, 1970).

535

PI.

PI.

61

Black chalk, 13 x 8-j in. (33 X 2 1 5 cm.), inscribed ' W . L . 1922' and, on reverse, 'of Eugenie'. H. Anson-Cartwright.

529

RONALD FIRBANK

Pencil, 12 x i o in. (30-5 x 25-5 cm.), inscribed 'Wyndham Lewis.' Vint Collection. Exh. : R G R E 100, as 1932. Ref. : Reproduced in Miriam J . Benkovitz, Ronald Firbank (New Y o r k , 1969; London, 1970). A n account of the sittings is given in Blasting and Bombardiering (pp. 226-9).

D R A W I N G OF S E N A T O R

MARCONI

Pencil, wash, red ink, 12^ X I I | in. (32 x 29 cm.), inscribed 'Wyndham Lewis. 1922. (November)' and 'drawing of Senator Marconi'. Mayor Gallery, London. Exh.: R G R E 33, as Signor Marconi. Ref.: Reproduced in The Sketch, 1 7 J a n u a r y 1923, p. 1 1 9 . Coll.: R. Wyndham. Near profile, looking left; in the detail style of 1922-3 ; very faintly drawn.

DRAWINGS 538

PI.

ROBERT M C A L M O N

56

Pencil, isi x I 0 i in- (39'5 * 2 6'5 cm.), inscribed 'Wyndham Lewis' and, on reverse, 'of Robert McAlmon'. Private Collection.

539

PENSIVE

546

PORTRAIT OF A LADY RECLINING

PL

549

H E A D OF M O N D I N O DEL R O B I L A N

Black chalk, wash, 1 3 ! x 9^ in. (34 x 23 cm.), inscribed 'Wyndham Lewis 1922'. Annabel's Club, London. Ref.: Letters, p. 1 3 2 ; sold at Sotheby's, 1 7 March 1956 (No. 56), as Count Mondino di Robilante of Venice. Coll.: Miss Nancy Cunard.

ECHO

Pencil, 19^ x 13 in. (49-5 x 33 cm.), inscribed 'Wyndham Lewis 1922.' J. F. Cullis. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, N o . 62); R . E . A l t o n . Frontal portrait of a seated lady; reminiscent of certain portraits by Dante Gabriel Rossetti. 544

LADY ROTHERMERE

PI.

PI.

62

SEATED LADY

PI.

62

60

SEATED

LADY

Pencil, I 9 i X 14 in. (49 x 35 5 cm.), inscribed 'Wyndham Lewis. 1922.' Hugh Gordon Porteus. A frontal pose, both arms on the armrests of the chair; delicately shaded.

550

(see474).

Inscribed 'Wyndham Lewis. 1922'. R e f . : Reproduced in The Sketch, 1 7 J a n u a r y 1923 (colour).

SEATED LADY

Pencil, 21 x 15^ in. (53 5 x 38 5 cm.), inscribed 'Wyndham Lewis 1922'. Private Collection. A portrait of the artist's future wife.

The sitter is probably Nancy Cunard.

A ROSSETTIAN

62

64

Pencil and wash, 17 x 22 in. (43 x 56 cm.), inscribed ' W y n d h a m Lewis, N o v . 1922.' A. Carnwath.

543

PI.

Pencil, coloured chalk, 19 x 14 in. (48-5 x 35 5 cm.), inscribed 'Wyndham Lewis. 1922.' The Hon. David Bathurst. Coll.: Mrs Eric Kennington. A portrait of the artist's future wife.

548

RED A N D BLACK O L Y M P U S

MRS SYDNEY SCHIFF

Pencil, 17^ x 14 in. (45 x 35 5 cm.), inscribed 'Wyndham Lewis 1922.' Private Collection. Exh.: T 79.

547

P O R T R A I T OF A L A D Y

Ref.: Letters, p. 132. In a letter to Robert McAlmon, written from Venice in October 1922, Lewis mentions a drawing of the sister of Mondino del Robilan. See also 542.

542

61

WOMAN

Frontal, looking slightly downward, one hand raised to the cheek. Very faintly drawn.

541

PI.

RUSSIAN

Pen and ink, 9 x 9 J in. (23 x 25 cm.), inscribed ' W y n d h a m Lewis. 1922.' and 'Russian'. W . Michel. The detail reproduced is slightly under half actual size and gives the entire drawn area.

Pencil, 16 x 12^ in. (40-5 x 31 cm.), inscribed 'W. Lewis'. Andrew Dickson White Museum of Art, Cornell University.

540

545

1922

SEATED

LADY

Pencil, i 8 f X 1 3 ^ in. (47-5 x 34-5 cm.), inscribed 'Wyndham Lewis 1922'. Exh.: R G R E 3 7 . Details from Charles Handley-Read's notes on the R G R E . His sketch shows a composition very similar to 577, suggesting that the sitter may be the same person.

551

SEATED LADY HOLDING A BOOK

PI.

55

Pencil, 1 6 J x 1 1 in. (42 x 28 cm.), inscribed 'Wyndham Lewis. 1922.' Private Collection. The sitter is shown full-length. The detail reproduced is slightly over half actual size.

383

DRAWINGS 552

1922 : 1922-3

S E A T E D L A D Y IN P R O F I L E

558

Pencil, I 3 i X 2 i | in. (33-5 x 54 5 cm.), inscribed 'Wyndham Lewis 1922'. E. W . Jenkinson. Similar to 548 and possibly of the same sitter.

559 553

THE SITWELL BROTHERS

PL

¡8

Pencil, wash, gouache on light grey paper, 15 x 105 in. (38 x 26 cm.), inscribed 'Wyndham Lewis (The Sitwcll Brothers, Osbert & Sacheveril)'. W . Michel.

PL

59

Pencil, 14^ X 1 1 in. (37 x 28 cm.), inscribed 'Wyndham Lewis 1922. (Venice).' and '(Drawing of Sacheveril Sitwell).' Sir Sacheverell Sitwell. Exh.: (?) T & P 2 3 . Ref.: Reproduced in John Lehmann, A Nest of Tigers (London, 1968), facing p. 22. T & P 2 3 was referred to by O. R. Drey in his review of the exhibition (The Nation, 16 April 1921) as a head in 'simple contours'. 555

TOPSY

PL

THE TURBAN HAT

PL

VENICE

Pi.

57

561

Y O U N G MAN

RECLINING

Pencil and wash, 10 X 1 7 in. (25 5 X 43 cm.), inscribed 'Wyndham Lewis. 1922.' Mayor Gallery, London. Coll. : R. Wyndham. Elongated composition of a young man with glasses, recumbent in an armchair.

562

Y O U N G W O M A N SEATED

PL

64

Pencil and wash, 187 x 16 in. (47 X 40-5 cm.), inscribed ' W y n d h a m Lewis 1922.' Andrew Dickson White Museum of Art, Cornell University.

563

YOUNG WOMAN

SEATED

Pencil, i 2 X n | in. (30-5 x 29 cm.), inscribed 'Wyndham Lewis 1922'. A . S. F. G o w . A half-length study : the body is frontal, the head in half-profile to the left. Pi.

168

Pencil, 14^ x i o i in. (36 x 26 cm.), inscribed 'Wyndham Lewis.' and 'Oct. 28/22. T o Capt. G. Wyndham. (Venice).' Private Collection. Exh.: T 8 1 . The dedicatee is Richard Wyndham. For other architectural pictures, see 1 2 1 4 - 5 , also on pi. 168, and the African drawings on pi. 97.

384

RICHARD WYNDHAM

Pencil and wash, 197 x 15^ in. (49 5 x 39 $ cm.) sight size, inscribed 'Wyndham Lewis. 1922.' Private Collection. Ref.: Reproduced in The Sketch, 3 January 1923.

60

Pencil and wash, 1 8 J x 1 2 in. (46 5 x 30 5 cm.), inscribed ' W y n d h a m Lewis 1922.' Annabel's Club, London. Exh.: L G 2 5 . Coll.: Lord Derwent. 557

WALTON

60

Pencil, 20% x 15^ in. (52 5 x 39-5 cm.), inscribed 'Wyndham Lewis 1922.' Manchester City Art Galleries (Rutherston Collection). Exh.: R G R E 7 7 . A portrait of the artist's future wife. 556

P O R T R A I T S K E T C H OF W I L L I A M

Lewis relates how, when visiting Venice in 1922, he engaged in a 'duel of draughtsmanship' with an Italian artist. The subject was Sir William Walton, who remembers the episode but does not know what became of the drawing, which, he has informed me, was in pencil.

560 D R A W I N G OF SACHEVERELL S I T W E L L

WADSWORTH

Ref. : Blasting and Bombardiering (p. 237).

According to the recollection of Sir Sacheverell Sitwell this picture was drawn in Venice. Lewis was in Venice in the autumn of 1922 as a guest of Nancy Cunard. 554

FANNY

Pencil, 1 7 I x 15^ in. (45 x 39 5 cm.), inscribed 'Wyndham Lewis 1922'. Mrs Barbara von Bethmann-Hollweg.

1922-3 564

NANCY CUNARD

Pencil and wash, 14 x 10 in. (35 5 x 25 5 cm.), inscribed 'Wyndham Lewis.' Piccadilly Gallery, London.

PL

63

DRAWINGS 1 9 2 2 - 3 : 1 9 2 3 565

PI.

T . S. E L I O T

57

566

H E A D OF A Y O U N G W O M A N

PI.

573

6l

Pencil, 8 x 7 in. (20-5 X 18 cm.), inscribed 'Wyndham Lewis.' Coll.: Leicester Galleries (1964). The sitter is probably Fanny Wadsworth. The detail reproduced gives nearly the full height of the picture.

567

PI.

S Y D N E Y SCHIFF

572

Pencil and wash, 12^ x in. (32 x 26-5 cm.), inscribed 'Wyndham Lewis.' Vint Collection. Exh.: R G R E 61, as Stephen Hudson.

SEATED W O M A N W I T H BEADS

PI.

6l

GERHARDT

A half-length portrait in the 1923 detail style. The seated subject is seen half-face, looking right. 574

MRS D I C K

GUINNESS

Pencil and wash, 1 4 } x 1 7 in. (36 X 43 cm.), inscribed 'Wyndham Lewis. 1923.' The Hon. David Bathurst. Exh.: R G R E 85; Z w e m m e r 1957. Ref.: Blasting and Bombardiering, p. 229. Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, No. 68).

575

H E A D OF A M A N

PI.

56

Preserved in a reproduction, untitled, and of unknown origin, in the possession of the author. The reproduction shows a date in the inscription which, unfortunately, is not legible.

SEATED W O M A N W E A R I N G A H A T

W O M A N IN A N

ELENA

Inscribed 'Wyndham Lewis' and dated.

576

Pencil and wash, 18 x i o j in. (45-5 X 26-5 cm.), inscribed 'Wyndham Lewis'. Piccadilly Gallery, London. A full-length portrait.

570

80

The sitter is shown with hat, in a large armchair, her face nearly frontal, the legs towards the left.

Pencil, 15 x 13 in. (38 X 33 cm.), unsigned. Tate Gallery, London. Coll.: Sydney Schiff. The sitter is probably Fanny Wadsworth.

569

PI.

Pencil and faint wash, 1 9 J x 15^ in. (49 5 x 38-5 cm.), inscribed 'Wyndham Lewis. 1923.' Dr S. C. Lewsen. Coll.: Elena Gerhardt.

'Stephen Hudson' was SchifFs nom de plume.

568

D R A W I N G OF HORSES

Pen and ink, 18 x 12^ in. (45-5 x 3 1 5 cm.), inscribed ' W Lewis 1923'. Estate of the late Agnes Bedford.

Pencil and faint wash, 12 x in. (30-5 x 24 cm.), inscribed 'Wyndham Lewis, (of T. S. Eliot, drawn about 1923).' Vint Collection. Exh.: R G R E 97.

H E A D OF A W O M A N

PL

64

Pencil and wash, x 1 3 I in. (38 5 X 35 cm.), inscribed 'Wyndham Lewis. 1923.' Private Collection. The detail reproduced is slightly over one third of actual size. The drawing shows more of the shoulders.

ARMCHAIR

Pencil, 17^ x t i n . (44-5 X 32 cm.), unsigned. Private Collection.

577

Characteristic faint frontal portrait of the period. Possibly of Fanny Wadsworth.

HELEN

PI-

65

Pencil and wash, 15 x 1 0 J in. (38 x 26 5 cm.), inscribed 'Wyndham Lewis'. The Hon. David Bathurst. Exh.: Beaux Arts 1938. Coll.: Eumorphopoulos. The sitter is Helen Saunders.

1923 578 571

L A D Y D I A N A COOPER

PI.

Pencil and wash, inscribed 'Wyndham Lewis 1923.' R e f . : Reproduced in The Sketch, 24 October 1923 (colour).

60

MRS

HODGKINSON

Pencil, 15 X 10 in. (38 x 25 5 cm.), inscribed 'Wyndham Lewis 1923'. Coll.: Lefevre Galleries (1964). Similar to 579.

385

DRAWINGS 579

1923

D R A W I N G OF M R S

584

HODGKINSON

585

PORTRAIT

HEAD

Pencil, inscribed 'Wyndham Lewis M R S ERIC

1923'.

The same sitter as 581. Preserved in a R e p r o duction in the possession of the author.

KENNINGTON

Pencil and wash, i j f X 2 o J i n . (39 x 5 1 c m . ) , inscribed 'Wyndham Lewis 1923' and 'Drawing of Mrs. Kennington'. Fitzwilliam Museum, Cambridge. Coll.: Lady Cunard.

581

55

Drawn on the back of 579. The detail reproduced is about twice actual size.

A three-quarter length frontal view. The sitter is wearing a bolero jacket with broad, ornamented revers and holds a book in her lap.

580

PI.

PORTRAIT HEAD

Pencil, 16 x io-g in. (40-5 X 25 5 cm.), unsigned. Robert Kenedy.

Pencil, wash, chalk, 16 x i o | in. (40 5 x 25 5 cm.), inscribed 'Wyndham Lewis.' and 'Drawing of Mrs. Hodgekinson [sic].' Robert Kenedy.

PI.

LADY WEARING A COAT

586

P O R T R A I T OF A Y O U N G GIRL

PI.

65

Pencil and wash, 15^ x 1 1 in. (38 5 x 28 cm.), inscribed 'Wyndham Lewis. 1923.' Brighton Art Gallery.

64

Pencil and wash, 21^ x 14^ in. (54-5 x 37 cm.), inscribed 'Wyndham Lewis. 1 9 2 3 . ' W. Michel. The detail reproduced is slightly under one-third actual size. The drawing extends slightly above the head and down to the feet.

587

J O H N RODKER

PL

¡Q

Pencil and wash, I2f x 1 1 J in. (32-5 x 30 cm.), inscribed 'Wyndham Lewis 1923.' Vint Collection.

588

SEATED LADY

PI.

63

Pen and wash, inscribed 'Wyndham Lewis.' Ref.: Reproduced in Michael Ayrton, British Drawings 582

P O R T R A I T OF A D A N D Y , H A R R Y

MELVILLE

Pencil and watercolour, 22 x n ^ in. (56 x 28 5 cm.), signed and dated 1923. Sold at Sotheby's, 13 December 1961 (No. 46), as 'from the collection of Sir M a x Beerbohm'. Presumably identical with Harry Melville, Esq., pencil and yellow wash, 2 1 ^ x 1 1 ^ in. (54-5 x 29 cm.), signed and dated 1923, sold at Sotheby's, 1 4 December i 9 6 0 (No. 3 3 H ) ; and with Portrait of Harry Melville, pencil and colour, in the collection of Arthur Crossland, sold at Christie's, 3 February 1956 (No. 69). The sitter, according to Blasting and Bombardiering (p. 214) was a visitor to Lewis's studio at Adam and Eve Mews.

583

The sitter is Nancy Cunard.

589

SEATED W O M A N W E A R I N G PENDANT

Pi.

6l

Pi.

63

Black chalk, 18 x 13 in. (46 X 33 cm.), inscribed 'Wyndham Lewis 1923.' Tate Gallery, London. Coll.: Sydney Schiff.

590

SEATED W O M A N W I T H NECKLACE

Pencil and wash, 21 X 13 in. (53-5 x 33 cm.), inscribed 'Wyndham Lewis. 1923.' H. Anson-Cartwright. Exh.: R G R E 30, as Portrait.

PORTRAIT

Pencil and wash, 16 x 10 in. (40-5 x 25-5 cm.), inscribed 'Wyndham Lewis.' H. Anson-Cartwright. Exh.: R G R E 50. Coll.: R. Wyndham. A half-length frontal portrait of a young lady wearing a hat.

386

( L o n d o n , 1946), p. 43.

Coll.: Leicester Galleries.

591

OLIVIA

SHAKESPEAR

Pencil and wash, 15^ x 125 in. (39-5 X 31 cm.), inscribed 'Wyndham Lewis 1 9 2 3 ' . Omar S. Pound. A drawing in the highly detailed style characteristic of the 1923 portraits. The sitter is seen halflength facing the viewer.

DRAWINGS 592

EDITH SITWELL

PL

63

Pencil and wash, 15^ x n f in. (40 x 29 cm.), inscribed 'Wyndham Lewis. 1923.' National Portrait Gallery, London. Coll.: Sir Osbert Sitwell.

593

S T U D I E S OF P E R F O R M E R S

PI.

83

Pen and ink, 8f x in. (22 X 17-5 cm.), inscribed 'W.L. 1923.' Eugene A. Carroll. Coll.: Agnes Bedford; W. K. Rose.

594

S T U D Y OF A H E A D

PI.

THE HON. LOIS S T U R T

PI.

60

Pencil and wash, inscribed 'Wyndham Lewis. 1923.' Ref.: Reproduced in The Sketch, 24 October 1923 (colour).

VIOLET TSCHIFFELY

PL

63

PI.

63

Pencil, 14^ x 9§ in. (37 X 24 cm.), inscribed 'Wyndham Lewis. 1923.' Violet Tschiffely.

597

VIOLET TSCHIFFELY

Pencil, 21 j x 1 4 J in. (54-5 x 36 cm.), inscribed 'Wyndham Lewis 1923.' Violet Tschiffely.

598

WOMAN'S

600

ABSTRACT

DESIGN

PI.

82

Pen and ink, wash, X 7 in. (24 x 18 cm.), inscribed 'Wyndham Lewis'. Hugh Gordon Porteus. Ref.: Reproduced as part of the cover design for the published score of Arthur Bliss, A Colour Symphony (London, New York, 1924). The cover of the published score bore the additional lettering '1922 Arthur Bliss A Colour Symphony'. The symphony was completed and first performed in 1922.

601

ACTORS

PI.

82

PI.

82

Black chalk and wash on ruled paper, 8 x 10 in. (20-5 X25-5 cm.), inscribed 'W.L. 1924.' Charles Burkhart. Coll.: Agnes Bedford; W. K. Rose.

602

DESIGN

Pen and ink, wash, 4I x 3§ in. (12 x 9-5 cm.), inscribed 'WL 1924.' Estate of the late Agnes Bedford.

H E A D OF A Y O U N G

WOMAN

Pencil, 14 x i 2 f in. (35 5 x 3 1 5 cm.), inscribed 'W. Lewis'. Private Collection. Nearly full-face, looking slightly to the left and down. The left shoulder of the dress is ornamented.

604

M I G R A T O R Y FIGURES

PI.

83

Ref.: Reproduced in Harold Munro, ed., The Chapbook (A Yearly Miscellany), No. 40 (London, 1924).

HEAD

Pencil and watercolour, i8f x 15 in. (48 x 38 cm.), inscribed 'Wyndham Lewis. 1923.' British Museum, London. Coll.: Sir Edward Marsh.

599

I924

1924

603 596

:

76

Pencil, pen and ink, wash, i8J x in. (47 x 29 cm.), inscribed 'Wyndham Lewis 1923.' J. F. Cullis. The style suggests that this drawing was begun in about 1912.

595

I923

MRS W O R K M A N

PI.

605

PORTRAIT

PI.

65

PI.

83

Black chalk, wash, 15 x 17^ in. (38 x 44-5 cm.), inscribed 'Wyndham Lewis 1924'. Graham Gallery, New York. Exh.: R G R E 4 3 . The sitter is the artist's future wife. 62

Pencil and wash, 13^ X 19^ in. (34 5 x 49 cm.), inscribed 'Wyndham Lewis 1923.' Mrs Bridget Livingston. The portrait is mentioned in Blasting and Bombardiering, p. 230.

606

A PRAYER

Inscribed 'WL'. Ref.: Reproduced in Harold Munro, ed., The Chapbook (A Yearly Miscellany), No. 40 (London, 1924).

387

DRAWINGS 607

1924 : 1925

SEATED LADY

PI.

6i

613

T. s.

ELIOT

Pencil and wash, 14^ x i 8 | in. (37 x 47-5 cm.), inscribed 'Wyndham Lewis. 1924.' Miss Elizabeth Bridgeman. Coll.: Sir Colin Anderson.

Pencil and colour. Coll.: Arthur Crossland (sold at *Christie's, 3 February 1956, No. 70).

608

614

YOUNG WOMAN

RECLINING

Pencil and wash, 13J x 13^ in. (34 5 X 34 5 cm.), signed (but the signature is hidden by the mount). A. Carnwath. A portrait o f the artist's future wife, similar to 605 but reclining and looking to the right.

1925 609

BIRD AND FIGURE

Pi.

THE DANCERS

PI.

615

83

Listed by the present owner as The Dancers (? The Bathers). T h e origin o f the title is not known.

DANCING COUPLE

PI.

8J

Pen and ink, 12 X 7 J in. (30-5 X 19-5 cm.), unsigned. Eugene A. Carroll. Coll.: Agnes Bedford; W . K . Rose.

612

D E S I G N ON T H E B A C K OF A L E T T E R

PL

D R A W I N G OF A GIRL

Pen and ink, wash, 5 X 3 i in. (12-5 X 8-5 cm.), inscribed 'WL.' O m a r S. Pound. O n the envelope containing 612. A drawing o f a girl wrapped in a long scarf. 388

DESIGNS FOR ' T H E S E V E N PILLARS OF W I S D O M '

95

Pen and ink, 4 f X 3^ in. (12 x 9-5 cm.), inscribed 'W.L.' O m a r S. Pound.

6L2A

86

In Blasting and Bombardiering (p. 247), Lewis writes that he 'did a set o f drawings for [Lawrence's] book—not so quickly as I should, and all o f a sudden I heard it had appeared to my great disappointment.' See also 673. Nothing more is known to me o f these pictures than the information given in some o f Lawrence's letters concerning the matter, preserved in the Department o f Rare Books at Cornell University. In a letter o f 30 April 1925, Lawrence asked whether Lewis would like to do some drawings, in line or wash, to add to the illustrations for the book. A letter o f 4 June 1925, looking forward to a meeting to discuss the commission further, concludes 'I agree with you as to the unpleasantness o f illustrations in a b o o k ! ' T h e meeting did not take place and a final letter o f 8 June gives a detailed description o f the plans for the illustrations. In conclusion, Lawrence invites Lewis to do 'anything you please, in any style you please.' T h e book was published in December 1926.

Pen and ink, 12^ x 7 in. (31 x 18 cm.), inscribed ' W y n d h a m Lewis. 1925'. Victoria and Albert Museum, London. Coll.: Miss Nancy Cunard.

611

Pi.

82

Pen and ink, watercolour, 9 x 7 ^ in. (23 x 18 5 cm.), inscribed ' W L 1925.' Estate o f the late Agnes Bedford. E x h . : R G R E 101, as Birds, 1929 (listed in the catalogue, but not shown); T 83. Ref.: Reproduced in H - R (pi. 7).

610

HERO'S DREAM

Collage, watercolour, pen and ink, painted area measures X 6 f in. (26 x 17 cm.), inscribed ' W . L . 1925.' D r A. C. Renfrew. Ref.: Reproduced in Wyndham Lewis, 'A W o r l d Art and Tradition', Drawing and Design, February 1929; Blasting and Bombardiering, as Dawn in Erewhon; Rude Assignment, as The Dream ofHamilcar. Coll.: Curtis Moffat; Shearsby.

616

HARRIET WEAVER

PI.

6$

Pen and ink, wash, n f x in. (30 x 42 cm.), inscribed ' W L 1925.' Poetry Collection, State University o f N e w Y o r k at Buffalo. Coll.: James Joyce. J o y c e suggested that the drawing, which he thought particularly fine, should be included in Lewis's portfolio Thirty Personalities and a Selfportrait. (See Letters, p. 211, note 2.)

DRAWINGS 1926 : I927

1926 617

623 ABSTRACT DRAWING

Pl. 8 4

Pen and black ink, watercolour, wash, pencil, 2 2 x 10J in. (56 x 26-5 cm.), inscribed ' W L 26'. Mrs D o r o t h y Pound. C o l l . : M r s Olivia Shakespear.

HORSEMAN

Pen and ink, watercolour, wash, 10 x 11 in. (25 5 x 28 cm.), unsigned. Private Collection. Similar to 620.

624

THE SIBYL

PL

8g

Pen and ink, watercolour, inscribed ' W y n d h a m Lewis 618

ABSTRACT DRAWING

PI. 8 4

Pen and black ink, watercolour, wash, pencil, 2 2 x i o f in. (56 X 26-5 c m . ) , i n s c r i b e d ' W . L .

26'.

Mrs D o r o t h y Pound. C o l l . : Mrs Olivia Shakespear.

1927

T h e details reproduced are approximately actual size.

619

ABSTRACT DRAWING

PI. 8 4

Pen and black ink, watercolour, wash, pencil, I 9 f * 9F in. (50 x 24-5 cm.), unsigned. Mrs D o r o t h y Pound. C o l l . : Mrs Olivia Shakespear.

620

C O V E R OF ' T H E E N E M Y N O .

i'

PI.

88

Ref.: C o v e r o f The Enemy No. 1; reproduced on the cover o f Agenda, W y n d h a m Lewis special issue, A u t u m n - W i n t e r 1969-70 (colour).

COyER

Pen and black and coloured inks, watercolour, gouache, 9J x 4^ in. (24 x 11 • 5 cm.), inscribed 'Study for Enemy cover. W . Lewis'. M u s e u m o f M o d e r n Art, N e w Y o r k . E x h . : R G R E 55; T 88, as 1927. A horseman similar to 620. T h e design was not used in The Enemy.

622

HORSEMAN

ABSTRACT COMPOSITION

PI.

Pen and ink, watercolour, 7 X

in. (18 x 14 cm.),

PI.

Q2

Pen and ink, 3 J X 3 in. (9-5 X 7-5 cm.), unsigned, pasted o n a sheet o f paper measuring 8£ x in. (21 x i6-$cm.). Poetry Collection, State University o f N e w Y o r k at Buffalo. T h e sheet o n w h i c h the design is mounted is inscribed with the title ' T h e Apes o f G o d ' and the name, address and telephone number o f T h e Arthur Press. It appears to be a rough layout o f a rejected cover for the prospectus o f the novel.

go

unsigned. T h e Hon. D a v i d Bathurst.

A 0 A N A T O N APA 'H T Y X H

PI.

g0

Pen and ink, gouache, 9^ x 13$ in. (23-5 x 34 cm.), inscribed ' W y n d h a m Lewis.', AGANATONAPA'HTYXH'. W . S. Lieberman. E x h . : (?) Z w e m m e r 1957, as 'Athanaton'. T h e inscription m a y be translated therefore the soul'.

627

T h e design measures 8^ x s i in. (21-5 x 14 cm.) in the reproduction in The Enemy.

S T U D Y FOR ' E N E M Y '

625

626

Pen and ink, watercolour, wash, inscribed ' W y n d h a m Lewis. 1926'.

621

1926.' Ref.: Reproduced in The Enemy No. 1.

B O O K C O V E R DESIGN

'Immortal

PI.

88

Pen and ink, gouache, collage, 11 x in. (28 x 15-5 cm.), inscribed 'book cover design W y n d h a m Lewis'. H. Anson-Cartwright. Ref.: Reproduced in Wyndham Lewis the Artist.

628

CREATION MYTH

PI.

85

Pen and ink, gouache, newspaper and paper collage, 12^ x n f in. (32 5 x 29-5 cm.), inscribed ' W Lewis. 1927.' Tate Gallery, London. E x h . : T 87. Ref.: Reproduced in Tate Gallery Report ig^6-y (1957). C o l l . : Arthur Crossland (sold at Christie's, 3 February 1956, N o . 65).

629

DESIGN

PL

8g

Blue-black ink. Height o f design 5 in. (12-5 cm.), inscribed ' W . L . ' Poetry Collection, State University o f N e w Y o r k at Buffalo. Ref.: Reproduced in The Enemy No. 1, facing title page.

389

DRAWINGS 630

1927

DESIGN

PL

8g

Blue-black ink. Height in. (8 cm.), inscribed 'W.L. 1927.' Poetry Collection, State University of New York at Buffalo. Ref.: Reproduced in The Enemy No. 1, facing contents page; Time and Western Man.

631

D E S I G N : HORSE A N D RIDER

PL

93

Ref.: Reproduced on the letterhead of The Arthur Press and on a prospectus for Paleface. The Arthur Press was Lewis's imprint for the publication of The Enemy, The Apes of God and the pamphlet Satire and Fiction. See also Letters, p. 170 (note). The book Paleface reprints an expanded version of the essay of the same title (see also 638) together with some additional material.

636

637

PL

80

MANHATTAN

PL

85

Pen and ink, 14^ x 9J in. (37 X 25 cm.), inscribed 'Wyndham Lewis 1927.' Vint Collection. Exh. : RGRE99, as New York, Abstract Composition. Ref. : Reproduced in Rude Assignment.

638

T I T L E PAGE OF ' P A L E F A C E '

PL

02

Ref. : Title page for the essay in The Enemy No. 2. The design incorporates the words 'Paleface', 'Love? What Ho!', 'Smelling Strangeness' and 'An Essay by Wyndham Lewis'. 639

632

MAGELLAN

Inscribed 'W Lewis 1927.' Ref. : Reproduced in The Enemy No. 1.

PRIMITIVE M A N

PL

85

Pen and ink, watercolour, inscribed 'Wyndham Lewis. 1927.' Ref. : Reproduced in Wyndham Lewis, 'A World Art and Tradition', Drawing and Design, February 1929. From a photograph.

D E S I G N : HORSE A N D RIDER

Ref.: Reproduced on the cover of Twentieth Century Verse, November/December 1937 and several subsequent issues. Height of reproduction, i-J in. (5 cm.). Similar to 631.

640

D E S I G N FOR T I T L E PAGE OF

'THE R E V O L U T I O N A R Y SIMPLETON' 633

C O V E R D E S I G N FOR ' T H E E N E M Y N O . 2 '

PL

88

Pen and ink, X 5 in. (21 x 12-5 cm.), inscribed 'WL.' and, on reverse, 'Cover Design for Enemy No. 2 Wyndham Lewis'. Hugh Kenner. Exh.: L G 27; T 89 (reproduced on the cover of the catalogue). Ref.: Cover of The Enemy No. 3; Rude Assignment.

641 634

C O V E R FOR ' T H E E N E M Y ' P R O S P E C T U S

Pl.

88

Ref.: Cover of a prospectus 'More from THE E N E M Y ' ; reproduced in Wyndham Lewis the Artist, as The Enemy, Rude Assignment.

FIGURES I N T H E A I R

PL

Pencil, pen and ink, washes of ink and watercolour, 1I i x in. (29 5"x 16-5 cm.), inscribed 'WL. 1927.' and 'WL'. Vint Collection. Exh.: R G R E 94, as On the Roof ; T84. Ref.: Reproduced in The Enemy No. 1 (colour); H-R, p. 86. 390

85

80

SELF-PORTRAIT

PL

99

PL

90

PI.

86

Inscribed 'Wyndham Lewis 1927.' Ref.: Reproduced in The Enemy No. 1. 642

635

PL

Blue-black ink. Height of design in. (9 cm.), inscribed 'W.L. 1927.' Poetry Collection, State University of New York at Buffalo. Ref. : Reproduced on the title page of the essay in The Enemy No. 1 ; title page of the original edition of Time and Western Man (London, 1927) and cover of the paperback edition (Boston, Mass., 1957).

SELF-PORTRAIT

Inscribed 'W Lewis. 1927.' From a reproduction.

643

THREE SISTERS

Inscribed 'Wyndham Lewis. October 1927.' Ref.: Reproduced in Wyndham Lewis, 'A World Art and Tradition', Drawing and Design, February 1929, as Three Figures; Blasting and Bombardiering.

D R A W I N G S I 9 2 7 : 1920S 644

T W O FIGURES

PI.

j8

Ref.: Jacket of Paleface (London, 1929).

Pen and ink, gouache, I2f x 14^ in. (32-5 x 36 cm.), inscribed 'Wyndham Lewis. 1927'. Anthony d'Offay. Exh.: T 86; Z w e m m e r 1957, as Two Figures IV. Coll.: Charles Prentice; A. Zwemmer. The style suggests that this work was begun c. 1 9 2 1 .

651

1929

Pen and ink, ink wash, gouache, 1 i f x I6J in. (30 x 42 cm.), inscribed 'Wyndham Lewis'. Private Collection. Exh.: Z w e m m e r 1957.

645

B E A C H SCENE

PI-

BOXING AT JUAN-LES-PINS

D E C O R A T I O N : BIRDS

ENEMY

652

PI

654

DESIGN FOR B A C K COVER OF PI-

88

Ref.: Reproduced on the back cover of The Enemy No. 3 with the list of contents; Wyndham Lewis the Artist, as The Enemy (Cover design No. 3); Rude Assignment, as Design for 'Enemy'.

J A C K E T OF ' P A L E F A C E '

PI.

93

PL

92

WRESTLING

PI.

91

1920$ A B S T R A C T DESIGN

PI.

90

Pen and coloured inks, wash, 9 x 6 ^ in. (23 x 17-5 cm.), unsigned. Eugene A. Carroll. Coll.: Agnes B e d f o r d ; W . K. Rose.

656

Pen and ink, ink wash, pencil, wash, unsigned. Private Collection.

S K E T C H OF A R E A R I N G HORSE

Pen and ink, pencil, wash, gouache, 137 x 17^ in. (34 5 X 44 5 cm.), unsigned. W . Michel. Coll.: The Earl of Inchcape.

655

650

93

94

DESIGN

'THE ENEMY NO. 3'

Pi.

Pen and ink on brown paper, 12 x 1 1 in. (30-5 x 28 cm.), inscribed ' W Lewis. 1929.' David Bedford. Coll.: Agnes Bedford.

Pen and ink, watercolour, 9 I x 7 in. (25 x 18 cm.), inscribed ' W Lewis 1929'. Lord Croft. Exh.: L G 1 8 . Three highly abstracted figures, two seated and one standing between them.

649

R U N N I N G FIGURE

Ref.: Reproduced on the title page o f ' T h e Diabolical Principle' in The Enemy No. 3 ; on the jacket and title page of The Diabolical Principle and the Dithyrambic Spectator (London, 1931).

653

Black ink, 6 x 4 m . ( 1 5 x 1 0 cm.), unsigned. M r and Mrs Michael Ayrton.

648

Full-length portrait. Side view of a lady sitting reading, facing right. A lamp with a white shade is on a table in front of the subject.

PI.

Pen and ink, wash, gouache, 12^ X 17! in. (32 x 44-5 cm.), unsigned. W. Michel. Coll.: The Earl oflnchcape.

647

THE R E A D I N G L A M P

9°

Pen and ink, ink and watercolour washes, gouache, on light-grey paper, I2| X i 6 | in. (31 x 42-5 cm.), unsigned. Charles Handley-Read. Exh.: R G R E 5 9 , as 1 9 3 3 ; T 9 0 . R e f . : Reproduced in H - R (pi. 14).

646

The whole sheet of paper measures 10^ X 7 J in. (26 X 19-5 cm.), but the artist masked part of it, by pasting on brown paper, leaving an uncovered area of 9 X in. (23 X 14 cm.).

ABSTRACT

DESIGN

Pencil, on back of a 'Richmond Gem' cigarette packet, \\ x 2g- in. ( 1 1 5 x 7-5 cm.), unsigned. Eugene A. Carroll. Coll.: Agnes Bedford; W . K. Rose.

391

DRAWINGS 1920S 657

BIRD

PL

82

Pencil on an envelope measuring 6 x 3 ^ in. ( 1 5 x 9 cm.), unsigned. Eugene A. Carroll. Coll.: Agnes Bedford; W. K. Rose. The envelope is inscribed 'Miss Bedford' in another hand.

658

CREATION M Y T H

PL

86

Collage, pen and ink, watercolour, 13$ x 1 1 in. (34 X 28 cm.), inscribed 'Wyndham Lewis.' (date erased). Whitworth Art Gallery, University of Manchester. Exh.: RGRE86, as Creation Myth No. 2, 1920. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, No. 65). 659

CUBIST DESIGN

PI.

DESIGN: T W O FIGURES

82

DRAWING

PI. 93

PI. 82

THE DUC DE JOYEUX SINGS

PI.

96

Pencil, 12 x 7 in. (30 5 x 18 cm.), inscribed 'W.L.' and 'The Due dejoyeux Sings.' W. Michel. Lewis told me that the title is a joke based on James Joyce's claims to noble ancestry.

663

THE DUC DE JOYEUX SINGS

Pi.

HEAD OF HUGH M A C D O N A L D

PL

101

PL

53

Pencil and wash, 13 x 1 5 J in. (33 x 39-5 cm.), inscribed 'W Lewis.' Mrs Vernon van Sickle.

SENTINELS

PI.

86

Pen and ink, 9f x 5I in. (24-5 x 14-5 cm.), unsigned. Ref.: Reproduced The Enemy No. 5; H-R (pi. 8), as 1928 (presumably the date suggested by the artist).

D R A W I N G OF OSBERT SITWELL

PL

¡9

Pencil, 9J X 12^ in. (25 x 32 cm.), inscribed 'Wyndham Lewis' and 'Drawing of Osbert Sitwell'. John Reid. The detail reproduced is about one-third actual size and gives the upper edge of the sheet and nearly the entire drawn area.

669

SKETCH OF A CHAIR A N D TABLE

Pencil, 30 x 20in. (76-5 x 51 cm.), unsigned. Eugene A. Carroll. Coll.: Agnes Bedford; W. K. Rose. The sheet originally had three similar sketches, two of which, entries 670-1, have been cut off from the top left and bottom right corners.

95

Pen and ink, 1 1 ^ x 7 ! in. (28-5 x 19-5 cm.), inscribed 'The Due dejoyeux Sings'. Poetry Collection, State University of New York at Buffalo. The inscription, in the upper right corner, is too faint to reproduce. See also the note to the previous entry.

392

PI. 5 6

Pencil and wash, 10 X 8 in. (25 5 X 20-5 cm.), inscribed 'Wyndham Lewis'. Piccadilly Gallery, London. Exh.: Zwemmer 1957. Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, No. 71).

668

Pencil, 7 i x 3 in. (18 x 7-5 cm.), inscribed 'WL.' Mr and Mrs Howard Gillette, Jr. Coll.: W. K. Rose. 662

665

667

Pen and ink, ink wash (the central area erased with white gouache), 6 | x 5 in. (17 x 12 5 cm.), unsigned. Poetry Collection, State University of New York at Buffalo. 66l

HEAD OF A M A N I N A TOP H A T

Pen and ink, 1 1 x 1 5 m. (28 x 38 cm.), inscribed 'Wyndham Lewis'. Private Collection.

666 SELF-PORTRAIT

Pencil, on the back of a 'Richmond Gem' cigarette packet, i \ x 2 } in. (19-5 x 7-5 cm.), inscribed 'WL'. Eugene A. Carroll. Coll.: Agnes Bedford; W. K. Rose. 660

664

670

SKETCH OF A CHAIR A N D TABLE

Pencil, X 1 0 J in. (18-5 x 27-5 cm.), inscribed 'rug', unsigned. Iris Murdoch. Coll.: Agnes Bedford; W. K. Rose. See note to 669.

DRAWINGS 1920S : I93O 671

678

S K E T C H OF A C H A I R A N D T A B L E

Pencil, 7 J x 1 1 in. (19 x 28 cm.), unsigned. Miss Susan J. Turner. Coll.: Agnes Bedford; W. K. Rose. See note to 669.

672

D E S I G N FOR P R O S P E C T U S FOR PL

'THE APES OF G O D '

92

Ref.: A proof print, inscribed 'An alternative cover for "Apes" prospectus. W L . \ is in the collection of the Department of Rare Books, Cornell University.

S K E T C H OF A GIRL

Pencil. Coll. : Sir Arthur Bliss. The sitter is Miss Zola Woodruff. The information about this drawing comes from Sir Arthur Bliss, who sold it in the twenties.

673

THREE A R A B S

Black ink, 9 x 4 ^ in. ( 2 3 x 1 1 cm.), unsigned. Omar S. Pound. Mr Pound has informed me that Agnes Bedford told him Lewis had intended this drawing for T. E. Lawrence's book The Seven Pillars of Wisdom. See also 615.

679-96 D E S I G N S F R O M 'THE APES OF G O D ' Lewis's novel The Apes of God (London, 1930), carried designs on the front and spine of the jacket, on the title page, the final page, and the half-title pages of the prologue and each of the thirteen parts. The latter are designated here by the titles of the parts. Ref.: All the designs except that on the spine of the original jacket are reproduced in the Penguin Modern Classics edition (1965). 679

680

MISS OLIVIA

D E S I G N O N THE SPINE OF THE J A C K E T

Ref.: H-R (pi. 11). 681

674

D E S I G N ON THE F R O N T OF THE J A C K E T

Ref.: H-R (pi. 11).

TITLE P A G E D E S I G N

WYNDHAM

Exh. : *Contemporary Art Society, Grosvenor House, June-July 1923. Coll. : Richard Wyndham.

682

DEATH-THE-DRUMMER

683

DICK

684

THE V I R G I N

685

THE E N C Y C L I C A L

675

Pen and ink, 2,\ in. (5 5 cm.) high, on a sheet 6 j x 8 J in. (16 5 x 22 cm.), unsigned. Poetry'Room, State University of New York at Buffalo.

MISS BABS

YOUNGMAN

Pencil and wash, 20 x 14 in. (51 x 35 5 cm.). Exh. : *Contemporary Art Society, Grosvenor House, London, June-July 1923. Coll. : CAS.

1930 676

ABSTRACT: HARBOUR

PI.

Il6

686

BE N O T T O O F I N I C A L

687

THE S P L I T - M A N

688

APE-FLAGELLANT

689

PAMELA FARNHAM'S

690

LESBIAN-APE

691

CHEZ LIONEL K E I N , E S Q .

692

W A R N E D FOR D U T Y A T L O R D

TEA-PARTY

OSMUND'S

Pen and ink, wash, 9J x 1 1 in. (24 x 28 cm.), inscribed 'Wyndham Lewis. 1930.' Vint Collection.

Pen and ink, 5 in. (12-5 cm.) high, on a sheet 8 x 5 ^ in. (20-5 x 14 cm.), unsigned. Poetry Room, State University of New York at Buffalo.

677

693

MR Z A G R E U S A N D THE S P L I T - M A N

694

L O R D O S M U N D ' S LENTEN P A R T Y

695

THE G E N E R A L S T R I K E

696

D E S I G N ON FINAL P A G E

D E S I G N FOR J A C K E T OF

'THE A P E S OF G O D '

PI.

g2

Ref.: A proof print is in the Poetry Collection, State University of New York at Buffalo. The version used on the final jacket is a different one (see 679).

393

DRAWINGS 1 9 3 0 : I 9 3 I 697

FIGURE

PL

95

1931

95

Pencil and wash, 9 X 8^ in. (23 x 21-5 cm.), inscribed ' W y n d h a m Lewis. 1 9 3 1 . ' and, on reverse, 'Alsop jr. (grandson of Pres. Roosevelt the First)'. Mrs Joseph Alsop.

Pen and ink, 9^ x 3f in. (24 x 9-5 cm.), unsigned. Poetry Collection, State University of N e w Y o r k at Buffalo.

698

FIGURE

PI.

705

Pen and ink, x 4 in. (18 5 x 10 cm.), unsigned. Poetry Collection, State University of N e w Y o r k at Buffalo.

699

706

JOSEPH ALSOP

BERBER

HAND

Cut-out of a hooded figure, seated.

707

A B E R B E R S T R O N G H O L D IN T H E V A L L E Y

OF T H E SOUS

A H A N D OF B A N A N A S

Ref.: Reproduced on a printer's pull, inscribed 'Wyndham Lewis' and 'Printer's pull " A hand of bananas". Half-title for Apes of God', in the Poetry Collection, State University of N e w Y o r k at Buffalo. See also 904.

701

Pl.

97

Pen and ink, watercolour, pencil, inscribed 'Wyndham Lewis. 1 9 3 1 . ' R e f . : Reproduced in Wyndham Lewis, 'The Kasbahs of the Atlas', Architectural Review, January 1933 (colour).

708

BERBER VILLAGE

PL

97

Pencil, 5f x 12$ in. (14 5 x 3 1 5 cm.), unsigned. Private Collection.

N U D E W I T H A R M S UP

Chalk, pen and ink, watercolour, 15 x 15^ in. (38 x 40 cm.), inscribed 'Wyndham Lewis 1930'. Exh.: * T 9 i . Coll.: Leicester Galleries (1956).

702

100

Pen and ink, watercolour, about 12 x 6 in. (30 x 1 5 cm.), unsigned. Omar S. Pound.

Pen and ink, unsigned. Ref.: There is a reproduction in the Department of Rare Books, Cornell University. Similar to 695.

700

PL

709

BOY S HEAD

Pencil, 7 X 9 in. (18 X 23 cm.), unsigned. Private Collection. Exh.: (?) L G 2 6 , as Berber Boy. A naturalistic drawing carried out in Africa; the head is 3^ in. (9 cm.) high.

P O R T R A I T OF A L A D Y

Pen and ink, wash, 13 X 12^ in. (33 X 3 1 5 cm.), inscribed ' W y n d h a m Lewis 1930'. Merlyn Evans.

710

703

Pencil and wash on carton, x 12^ in. (16-5 x 31 cm.), inscribed 'Wyndham Lewis'. Private Collection.

SELF-PORTRAIT WITH HAT

PI.

pp

Pencil and wash, 1 1 ^ X 8 in. (29 X 20-5 cm.), inscribed ' W . Lewis. 1930.' Vint Collection. Exh.: R G R E 1 0 4 .

7 0 4 P I C T U R E S OF A T O W E R

Ref.: O n 14 October 1930, Lewis wrote to C . H. Prentice 'I have a number of pictures (some of a tower, a special set)'. See Letters, p. 196.

394

711

DESERT SOUKH

DESERT SOUKH

Inscribed 'Wyndham Lewis 1 9 3 1 ' . E x h . : (?) 'French and English Contemporary Artists', Z w e m m e r Gallery, December 1934-January 1935 (No. 36). Ref.: Reproduced in Wyndham Lewis, 'The Kasbahs of the Atlas', Architectural Review, January 1933. Similar to 712.

D R A W I N G S 193 I 712 DESERT SOUKH

PI. 97

713

DESIGN FOR ' I S L A M I C SENSATIONS'

PL

719

A portrait of a woman adorned with a massive necklace and other jewellery and wearing a shawl over her head. Lewis explains in his article that the 'Islamised Berbers w h o in 1 9 1 0 came up out of the Western Sahara and invaded Morocco . . . were called " B l u e M e n " because of their indigo cottonades... with which their bodies became stained.'

97

Pencil, x 11 in. (21 5 X 28 cm.), inscribed ' W y n d h a m Lewis.' and 'Design for "Islamic Sensations.'" J . F. Cullis. Exh.: Z w e m m e r 1957, as 1920. R e f . : Reproduced in Everyman, 26 November 1 9 3 1 . Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, N o . 72). 720 714 ELECTION FANTASIA

Mixed media and newspaper collage, unsigned. Ref.: Reproduced in Time and Tide, 24 October 1 9 3 1 . A full-page political cartoon with satirical figures, a snake, a chain and newspaper cuttings. The caption reads 'ELECTION FANTASIA. "Let's all go off our Standards!" (With acknowledgments to Marx Bros.)'

715 FRENCH SOLDIER IN MOROCCO

Pen and ink, inscribed ' W L ' . Ref.: Reproduced in Wyndham Lewis, 'Filibusters in Barbary. Turning Darks into Whites', Everyman, 12 November 1 9 3 1 .

716

PORTRAIT OF A 'BLUE W O M A N '

Pencil and wash, 14 x 9^ in. (35-5 x 25 cm.), inscribed inscribed 'Wyndham Lewis 1 9 3 1 ' . Omar S. Pound. Ref.: Reproduced in Wyndham Lewis, 'The Blue Sultan', The Graphic, 7 November 1 9 3 1 .

Pencil and watercolour on carton, 7 x 16 in. (18 x 40-5 cm.), inscribed 'Wyndham Lewis'. Andrew Dickson White Museum of Art, Cornell University.

A HUT OF PETROL TINS

Inscribed ' W . Lewis'. R e f . : Reproduced in Wyndham Lewis, 'Filibusters in Barbary. Petrol-tin T o w n ' , Everyman, 24 December I93ISee Lewis's book Filibusters in Barbary (London,

PORTRAIT OF A L A D Y

Pencil, 13 x 10 in. (33 x 25-5 cm.), inscribed'Wyndham Lewis 1 9 3 1 ' . Wakefield City Art Gallery.

721

PORTRAIT OF A L A D Y

PI.

100

Pencil and wash, 14 X 9 J in. (35-5 x 25 cm.), inscribed 'Wyndham Lewis. Dec. 7. 1 9 3 1 . Boston'. Whitworth Art Gallery, University of Manchester. T h e sitter may be Mrs Archibald Alexander. Mrs Alexander remembers that Lewis did a drawing of her in 1 9 3 1 , but she does not know if this is it.

722

THE QUEEN OF THE HIGH TABLE

Inscribed 'W. Lewis'. Ref.: Reproduced in Wyndham Lewis, 'Filibusters in Barbary. The High Table: The Packet to Africa', Everyman, 29 October 1 9 3 1 . The 'queen of the high table' travelled on the boat Lewis took to Africa, as described in Filibusters in Barbary. The drawing shows the head and shoulders of a doll-like young lady.

1 9 3 2 ) , p- 90. 723 717

A KASBAH IN THE ATLAS

PI.

97

Ref.: Reproduced in Wyndham Lewis, 'The Kasbahs of the Atlas', Architectural Review, January 1933.

718

N A O M I MITCHISON

Inscribed'Wyndham Lewis. 1 9 3 1 . ' Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Time and Tide, 30 May 1 9 3 1 ; Thirty Personalities and a Self-portrait.

THE RED HORSE

Coll.: Theodore Spencer. The information about this drawing comes from John L. Sweeney.

724 MRS SALTONSTALL

Pencil and wash, 14 x in. (35-5 x 24 cm.), inscribed 'Wyndham Lewis. Boston. Dec. 1 9 3 1 ' . Exh.: * T 9 3 . Coll.: Leicester Galleries (1956).

395

DRAWINGS 725

1931

: 1932

SELF C A R I C A T U R E

PL

726

THE SHEIK'S THIRD

officers, bandy-legged and grasping toy cutlasses of filigreed brass, transfixed in attitudes of studied naval decorum, gazed in different directions.' (Filibusters in Barbary, p. 19).

gg

Inscribed 'Wyndham Lewis. 1 9 3 1 . ' and, at a later date, 'Self-portrait'. Ref.: Reproduced in Time and Tide, 14 February 1 9 3 1 , p. 183, as A Self Caricature by Wyndham Lewis; Blasting and Bombardiering.

732

VICTORIAN

SAVAGE

Inscribed 'Wyndham Lewis.' Ref.: Reproduced in Time and Tide, 1 1 July 1 9 3 1 . A portrait caricature of a grim and disapproving old lady; according to one hypothesis, one of the contributors to Time and Tide w h o had expressed disapproval of Lewis's articles on Berlin published in that journal in the previous months.

WIFE

Pencil and gouache, 17^ X I I | in. (45 x 30 cm.), inscribed 'Wyndham Lewis'. Exh.: * T i 2 2 . Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, N o . 64). According to the Tate catalogue, this was 'one of a number of oriental subjects done at the time of the artist's visit to Morocco.' 727

THEODORE SPENCER

PI.

100

Pencil and wash, n f x 8f in. (30 x 22 cm.), inscribed 'Theodore Spencer B y Wyndham Lewis. 6. Dec. I93I-'

733

J . F. Cullis. 728

MRS T H E O D O R E S P E N C E R

PL

100

Pencil and wash, 14 x in. (35 5 x 24 cm.), inscribed 'Wyndham Lewis. 1 9 3 1 . December. 6.' Victoria and Albert Museum, London.

729

T H E T O M B OF T A C H E F I N

Ref.: Reproduced in Wyndham Lewis, 'Filibusters in Barbary. The Mouth of the Sahara', Everyman, 7 January 1932. Sketch of a costumed form lying underground. Above, a f e w lines indicating houses and tall palms. See Filibusters in Barbary, p. 105. 730 T U T PL g8 Pencil and wash, 1 1 x 9^ in. (28 x 24 cm.), inscribed 'Wyndham Lewis. 1 9 3 1 . ' Mrs Stephen Raphael. Exh.: L G 30; T 92, as Tutsi. Tut was the Lewises' dog. See also 742, 744-5, 768, 780 and 794. 731

T W O JAPANESE OFFICERS

PL

gj

Pencil, 7 x 6 in. (18 X 15-5 cm.), inscribed 'Wyndham Lewis.' Omar S. Pound. Passing through Marseilles in 1 9 3 1 , Lewis found the city full of Japanese sailors. ' A few miniature

396

1932 THE HON. ANTHONY

ASQUITH

Inscribed 'Wyndham Lewis 1932'. Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

734

IVOR B A C K

PL

103

Inscribed 'Wyndham Lewis 1932.' Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

735

STELLA

BENSON

Inscribed 'Wyndham Lewis. 1932'. Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

736

DR M E Y R I C K B O O T H

PL

Pencil, i i j X 9 J in. (29 X 24 cm.), inscribed 'Wyndham Lewis.' Vint Collection.

737

DR M E Y R I C K

BOOTH

Inscribed 'Dr. Meyrick Booth by Wyndham Lewis. I932-' Exh.: Lefevre Galleries 1932. R e f . : Reproduced in Thirty Personalities and a Selfportrait.

101

DRAWINGS 738

G. K . C H E S T E R T O N

PL

10J

Inscribed Wyndham Lewis. 1932.' E x h . : Lefevre Galleries 1932. R e f . : Reproduced in Thirty Personalities and a Selfportrait.

739

746

PL

105

Pencil and watercolour, 1 3 x 9 in. (33 x 23 cm.), inscribed 'Wyndham Lewis. 1932.' Wakefield City Art Gallery. Exh.: Lefevre Galleries 1932; T 9 5 . Ref.: Reproduced in Thirty Personalities and a Selfportrait.

T H E M A R C H I O N E S S OF C H O L M O N D E L E Y

Inscribed 'Wyndham Lewis 1932.' E x h . : Lefevre Galleries 1932. R e f . : Reproduced in Thirty Personalities and a Selfportrait.

747-51

c . B. C O C H R A N

PL

DESIGNS F R O M ' E N E M Y OF T H E S T A R S ' Pl.

94

Lewis's book Enemy of the Stars (London, 1932) contained the play of the same title and the related essay, 'Physics of the Not-self'. 747

740

T H O M A S EARP

1932

102

Inscribed 'Wyndham Lewis 1932'. E x h . : Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

THE T R U L Y

WISE

Pen and ink, watercolour, 9 X 7 in. (23 x 18 cm.), inscribed 'Wyndham Lewis.' W. S. Lieberman. Exh.: T 56, as c. 1920; Z w e m m e r 1957. R e f . : Reproduced on the cover of Enemy of the Stars. 748

741

PI.

NOEL C O W A R D

104

Inscribed 'Wyndham Lewis. 1932'. E x h . : Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait; Blasting and Bombardiering.

Ref.: Reproduced on the title page of the book Enemy of the Stars, and on the cover of Geoffrey Grigson, A Master of our Time (London, 1951). 749

R e f . : Reproduced on the half-title page of the play 'Enemy of the Stars'. 750

742

CURLED-UP DOG

PL

98

Pen and blue ink, ink wash, watercolour, wash, on ruled paper, 12-J x 8 in. (32-5 x 20-5 cm.), inscribed 'Wyndham Lewis. 1932.' Private Collection.

743

R E V . M . c . D ' A R C Y , S.J.

PL

751

Ref.: Reproduced on the half-title page of'Physics of the N o t - s e l f .

102

Inscribed ' W Lewis. 1932.' Exh.: Lefevre Galleries 1932. R e f . : Reproduced in Thirty Personalities and a Selfportrait; Blasting and Bombardiering.

744

PI.

D O G ASLEEP

Pen and blue ink, ink wash, watercolour, wash, on ruled paper, 8 x 1 2 J in. (20-5 x 32 5 cm.), unsigned. Private Collection.

745

DOG LOOKING

UP

Pencil, 8f x 12 in. (22 x 30-5 cm.), unsigned. Private Collection.

Ref.: Reproduced on p. 47 of Enemy of the Stars.

752

MISS E D I T H E V A N S

Pl.

104

Pencil and wash, 14^ x 9 | in. (37 5 x 24-5 cm.), inscribed 'Miss Edith Evans.' and 'Wyndham Lewis 1932-'

Ashmolean Museum, Oxford. Exh.: Lefevre Galleries 1932. R e f . : Reproduced in Thirty Personalities and a Selfportrait. 98

753

MISS E D I T H E V A N S

Pencil and wash, 1 3 t x 9$ in. (34 x 24 cm.), inscribed 'Wyndham Lewis 1932' and 'Miss Edith Evans.' M r and Mrs David Marshall. Exh.: R G R E 54. Ref.: Reproduced i n j . C . Irwin, 'The Contemporary Theatre', in Flower of Cities (London, 1949). 397

DRAWINGS 754

1932

MRS D E S M O N D

drawn in detail but the chair back is only sketched in.

FLOWER

Inscribed 'Wyndham Lewis 1932.' Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

755

N E W M A N FLOWER

PI.

762 Pencil and wash.

102

Inscribed 'Wyndham Lewis 1932.' Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

756

DESMOND HARMSWORTH

PL

Full-face with the body turned slightly to the left. The sitter's left arm lies along the top of a sofa, over which her head and shoulders are visible. The dress is shaded in pencil only, the flesh and hair being heightened with wash. 763 Pencil and wash. The sitter is shown full-face, with an elaborate corsage on her lapel.

102

Pencil, 122 X 10 in. (32 X 25-5 cm.) sight size, inscribed 'Wyndham Lewis 1932.' Lord Harmsworth. Exh.: Lefevre Galleries 1932. R e f . : Reproduced in Thirty Personalities and a Selfportrait.

764 Pencil and wash. Near-profile, looking to the left. The shoulders and collar of the dress are faintly outlined in pencil. 765 Pencil and wash.

7S7-66

T h e sitter is shown full-face with her head resting on the folded fingers of her right hand. The lines of the cuff and shoulders are faintly sketched in pencil.

T E N P O R T R A I T S OF MRS D E S M O N D

HARMSWORTH

All 15 x 1 1 in. (38 x 28 cm.) and inscribed 'Wyndham Lewis 1932'. Nos. 760-6 are head and shoulders views, some showing the arms or a hand as noted. N o . 757 is the only example to make much of the hands. Lady Harmsworth remembers that the drawings were done at Lewis's Percy Street studio, about one a day, over a period of ten days or a fortnight. All ten are in the possession of Lord and Lady Harmsworth.

766 Pencil and wash. Half-face looking downwards and to the left. The sitter's right elbow is on the arm of the chair and her head rests on her right hand. In the foreground her left arm lies along the other arm of the chair.

757 PL 104 Pencil. Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait-, H - R (pi. 34). 758 Pencil.

PL 100

759 Pencil.

PL 100

767

MARGARET

HARMSWORTH

Pencil, 15 x 1 1 in. (38 x 28 cm.), inscribed'Gift baby for Dorothy Harmsworth' and ' W . L . 1932'. Lord and Lady Harmsworth. A little girl with a doll. The mother's hands are visible, one holding the child, the other an artist's manikin.

760 Pencil. The sitter's body is facing slightly to the right, but the head is seen full-face. 761 Pencil. The sitter is seen in profile to the left, her head leaning against the back of a chair, looking upwards. The head, neck and right shoulder are

398

768

H E A D A N D P A W S OF T U T

Pencil, 1 i f x 9 J in. (30 x 24-5 cm.), unsigned. Private Collection. See note to 730.

DRAWINGS 769

AUGUSTUS JOHN

PI.

10}

Inscribed 'Wyndham Lewis 1932.' Exh.: Lefevre Galleries 1932. R e f . : Reproduced in Thirty Personalities and a Selfportrait; Blasting and Bombardiering.

770

HENRY J O H N

PI.

775

1932

PI.

M I S S M A R I E NEY

102

776

WING COMMANDER

ORLEBAR

PI.

Pencil, 13 x 10 in. (33 x 25 5 cm.), inscribed 'Wyndham Lewis 1932.' Vint Collection. E x h . : Lefevre Galleries 1932; R G R E 6 5 . R e f . : Reproduced in Thirty Personalities and a Selfportrait.

Pencil, 10 x 8 in. (25-5 x 20 5 cm.), inscribed 'Wyndham Lewis. 1932.' City Art Gallery, Leeds. Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait ; Blasting and Bombardiering.

771

777

HENRY J O H N

Pencil and wash, 13 x 10 in. (33 x 25-5 cm.), inscribed 'Wyndham Lewis 1932'. Exh.: RGRE96. Details from Charles Handley-Read's notes on the R G R E . His sketch shows a drawing very similar to 770.

772

CONSTANT LAMBERT

PI.

10J

DAVID LOW

PI.

778

PL

10J

VISCOUNTESS RHONDDA

PI.

IO4

103

104

Pencil, 1 5 x 1 1 in. (38 X 28 cm.), inscribed 'Wyndham Lewis 1932'. Fitzwilliam Museum, Cambridge. E x h . : Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

V I S C O U N T ROTHERMERE

PL

105

Pencil and watercolour, 13^ x $>f in. (33-5 x 25 cm.), inscribed ' W y n d h a m Lewis 1932'. Exh.: Lefevre Galleries 1932. R e f . : Reproduced in Thirty Personalities and a Selfportrait. Sold at Sotheby's, 22 J u l y 1964 (No. 138). 780

S E A L Y H A M A T REST

PL

g8

Pencil and wash, inscribed ' W L . ' Exh.: Beaux Arts 1938. Ref.: Reproduced in Wyndham Lewis the Artist, as Sleeping Dog; Rude Assignment, as Mr. Tut.

781 DUNCAN MACDONALD

PI.

Pencil, 13 x 9 I in. (33 x 25 cm.), inscribed 'Wyndham Lewis 1932.' Graves Art Gallery, Sheffield. Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

779

Pencil, 1 1 x 8 in. (28 x 20-5 cm.) sight size, inscribed 'Wyndham Lewis. 1932.' The County Council of the West Riding of Yorkshire Education Committee, Wakefield. E x h . : Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, N o . 68).

774

J . B. PRIESTLEY

105

Inscribed ' W y n d h a m Lewis 1932'. Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

Pencil, 10 x 9^ in. (25 5 x 23 5 cm.), inscribed 'Wyndham Lewis. 1932.' M r and Mrs Michael Ayrton. Exh.: Lefevre Galleries 1932; R G R E 9 2 ; Z w e m m e r 1957R e f . : Reproduced in Thirty Personalities and a Selfportrait. Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, N o . 71). 773

IO4

Inscribed ' W y n d h a m Lewis 1932'. Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

SELF-PORTRAIT

PL

pp

Pencil, 13 X 10 in. (33 x 25-5 cm.), inscribed 'Wyndham Lewis 1932.' J . F. Cullis. Exh.: Lefevre Galleries 1932, as Wyndham Lewis, Esq.; Z w e m m e r 1957. R e f . : Reproduced in Thirty Personalities and a Selfportrait.

399

DRAWINGS 782

I932 : 1933

SELF-PORTRAIT W I T H HAT

99

PL

Pen and ink, wash, 10 x 7^ in. (27 5 x 2 1 5 cm.), inscribed ' W L 1932.' National Portrait Gallery, London. Exh.: R G R E 53 (reproduced in catalogue). Ref.: Reproduced in Wyndham Lewis, 'What it feels like to be an Enemy', Daily Herald, 30 May 1932, and captioned 'A special self-sketch for the Daily Herald'. Coll.:J. Paton Walker.

783

IVOR S T E W A R T - L I B E R T Y

PL

102

Inscribed 'Wyndham Lewis 1932.' Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

784

A . J . A. S Y M O N S

A . J . A.

101

PL

SYMONS

MISS R E B E C C A W E S T

PL

ll6

789

H E A D OF A W O M A N

PL

125

Pen and ink, NF X6F in. (30 X 17 cm.), inscribed 'Wyndham Lewis.' Piccadilly Gallery, London.

790

H E A D OF A W O M A N L O O K I N G

DOWN

Pencil, 13 x 10 in. (33 X 25 5 cm.), inscribed 'Wyndham Lewis 1933'. Private Collection. A portrait of the artist's wife, in near-profile, looking to the right. 791

Unsigned. Exh.: Lefevre Galleries 1932. Ref.: Reproduced in Thirty Personalities and a Selfportrait.

786

B O A T S IN P O R T

Pencil and gouache, 74 X 9 J in. (19-5 X 25 cm.), inscribed 'Wyndham Lewis. 1933'. Vint Collection. Exh.: (?) 'French and English Contemporary Artists', Zwemmer Gallery, December 1934-January 1935, as A Spanish Port; R G R E 98, as The Harbour; T 98.

The sitter is Sylvia Lynd. This drawing is listed under 1933 due to an oversight; the style is similar to that of the other 1934-7 ink drawings on pi. 125.

Pencil, 12 x 10 in. (30 x 25-5 cm.), inscribed 'Wyndham Lewis.' Vint Collection. Exh.: R G R E 6 4 , as 1939; T96.

785

788

PL

H E A D OF A W O M A N L O O K I N G

DOWN

Black chalk, iof x 8^ in. (27-5 x 2 1 5 cm.), unsigned. Private Collection. A portrait of the artist's wife, in near-profile, looking to the left. 105

792

NAOMI MITCHISON

PL

124

Black chalk, 13 x 10 in. (33 x 25 5 cm.), inscribed 'Wyndham Lewis. 1932'. Dame Rebecca West. Exh.: Lefevre Galleries 1932; T94. Ref.: Reproduced in Thirty Personalities and a Selfportrait; Blasting and Bombardiering; Rude Assignment.

Pencil and wash, 1 1 x 9 m. (28 x 23 cm.), inscribed 'Wyndham Lewis 1933'. Vint Collection.

1933

Pencil and watercolour, iof x 14^ in. (27 5 x 36-5 cm.), inscribed 'Wyndham Lewis 1933'. Exh.: R G R E 4. Details from Charles Handley-Read's notes on the R G R E . His sketch shows a dog lying down. See note to 730.

793

794 787 AGANATON Colour plate II Pen and ink, gouache, 10 x 1 1 ^ in. (25 5 X 29 cm.), inscribed 'Wyndham Lewis. 1933.' and 'AGANATON'. Hugh Kenner. Exh.: R G R E 88 and T 97, as Creation Myth No. 1; Zwemmer 1957, as Creation Myth. Ref.: Reproduced in H - R (pi. 10). Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, N o . 67).

400

NAOMI MITCHISON

Pencil and colour. Coll.: Arthur Crossland (sold at *Christie's, 9 March 1956, No. 69). MR T U T

795-800 DESIGNS FOR ' O N E - W A Y S O N G ' One-Way Song (London, 1933) contained five poems by Lewis: 'Engine Fight-Talk', 'The Song of the Militant

DRAWINGS

Romance', 'If So the M a n You are', ' O n e - W a y Song' and 'Envoi'. T h e designs were reproduced on the jacket, title page and o n the half-title pages of the first four poems, both in the original edition and the re-issue (London, I 9 6 0 ) . 795

JACKET DESIGN

796

TITLE PAGE D E S I G N

797

ENGINE FIGHT-TALK

PEKINESE

Pencil and wash. Exh.: * Z w e m m e r 1957. 807

PORTRAIT

808

IF SO T H E M A N Y O U ARE

800

O N E - W A Y SONG

Pen and ink, 8^ x 7 in. ' O n e - W a y Song.' Private Collection.

809

(21X18

SPARTAN PORTRAIT

cm.), inscribed 1934 810-41

801-5

D E S I G N S FOR ' O N E - W A Y S O N G ' ( N O T U S E D )

8 0 1 / T I T L E PAGE

PI.

95

PI.

P5

Pencil, 12 x 7f in. (30-5 x 19 5 cm.), unsigned. Poetry R o o m , State University of N e w York at Buffalo. ENGINE FIGHT-TALK

Pencil, 12 X 7^ in. (30 5 x 19-5 cm.), inscribed 'Engine Fight-talk'. Poetry R o o m , State University of N e w York at Buffalo. O N E - W A Y SONG

Pencil, 12 X 7F in. (30-5 x 19-5 cm.), inscribed ' O n e - W a y Song' and 'design for one-way song W y n d h a m Lewis.' Poetry R o o m , State University of N e w York at Buffalo. ENVOI

Pencil, 9 x 6 in. (23 x 15 cm.), inscribed 'ENVOI'. Department of Rare Books, Cornell University. Figure with a head similar to that in 795. 805

124

Inscribed ' W y n d h a m Lewis 1 9 3 3 ' . Exh.: Beaux Arts 1938, as Naomi Mitchison. Ref.: Reproduced in Wyndham Lewis the Artist. T h e sitter is N a o m i Mitchison. F r o m a p h o t o graph.

I L L U S T R A T I O N S FROM Pis

' B E Y O N D THIS LIMIT'

804

PL

PORTRAIT HEAD

THE S O N G OF THE M I L I T A N T R O M A N C E

799

803

¡24

Exh.: * Z w e m m e r 1957.

Pen and ink, 10^ x in. (26 5 x 17 cm.), unsigned. Poetry R o o m , State University of N e w York at Buffalo.

802

PL

Pencil and wash, 14 x 10 in. (35-5 x 25-5 cm.), inscribed ' W y n d h a m Lewis. 1 9 3 3 . ' R. M . Calder. Coll.: Malcolm Young.

Pen and ink, 10 X 7 in. (25-5 X 18 cm.), unsigned. Poetry R o o m , State University of N e w York at Buffalo. 798

806

1933 : 1934

H E R A L D I C FIGURE

Pencil, i 2 f x 8 in. (32 5 x 20-5 cm.), unsigned. Department of Rare Books, Cornell University. Similar in style to 801.

117 117 117 117 ¡19

825

842

SIR S T A F F O R D CRIPPS

812 813 814 95

PI. Pi PI. PI. PI.

Frontis. Page 10 Page 13 Page 17 Page 19 Page 21 Page 23 Page 24 Page 25 Page 27 Page 28 Page 29 Page 31 Page 33 Page 37 Page 41

810 811

PI.

11J-120

T h e 32 drawings listed below were reproduced in Beyond this Limit (London, 1 9 3 5 ) , a book produced in collaboration with N a o m i Mitchison, w h o wrote the text (see p. 126); the illustrations have n o captions and are identified here b y reference to the pages on which they appear.

815 816 817 818 819 820 821 822 823 824

PI. 119 PI. 119 PI. 119 PI. 119 PI. 119 PI. 118 PL 118

826 827 828 829 830 831 832

833 834 835 836

837 838

839 840 841

Page Page Page Page Page Page Page Page Page Page Page Page Page Page Page Page

45 47 49 51 53 55 57 59 61 65 71 75 77 81 85 89

PL 120 PL 120 Pl. 120 Pl. ¡20 PL 118

Pl. 120

PL

118

PI.

12$

Pen and ink, watercolour, 12^ x 9^ in. (32 X 23 5 cm.), inscribed ' W y n d h a m Lewis.' Cecil Higgins Art Gallery, Bedford.

401

DRAWINGS

1934 : 1936

Ref.: Reproduced in The London Mercury, October 1934, p. 530, opposite Sir Oswald Mosley (845), with the caption Two Dictators.

1935 848

Possibly N o . 68 in the sale of the Arthur Crossland collection at Christie's, 3 February 1956. 843

NAOMI MITCHISON

Pencil and colour. Coll.: Arthur Crossland (sold at *Christie's, 9 March 1956, N o . 69).

849 844

MONKS

PL

116

Pencil, pen and ink, ink and watercolour washes, gouache, on wood, 13 x 8 m. (33 x 20-5 cm.), inscribed 'Wyndham Lewis. 1934.' J . Alan White. Exh.: T 100. Ref.: Reproduced in H - R (pi. 12). 845

SIR O S W A L D M O S L E Y

PI.

PI.

77

Pi.

Il6

Pen and ink, gouache, 1 8 x 1 1 ^ in. (45-5 x 29 5 cm.), inscribed 'Wyndham Lewis 1934'. British Council, London. Exh.: (?) 'French and English Contemporary Artists', Z w e m m e r Gallery, December 1934-January 1935, as Sea, Mountains and Lakes; T 9 9 , as From the Sea to the Mountains. Ref.: Reproduced in Wyndham Lewis the Artist; Rude Assignment, as The Sun Sets. Coll.: Stephen Spender. A photograph in the possession of Mrs Lewis is inscribed 'Lakeside', and a reproduction in the possession of the author, 'Atlas Sunset'.

402

PI.

I24

P O R T R A I T OF A L A D Y

PI.

I24

The sitter is Naomi Mitchison.

851

H E A D OF MISS H E L E N A P O W E L L

Pencil and wash, 15 x in. (38 x 29 cm.), inscribed ' W y n d h a m Lewis. 1935.' City Art Gallery, Leeds.

852

STUDIO SIESTA

PI.

127

Pencil and wash, 15 x 16 in. (38 x 40-5 cm.), inscribed 'Wyndham Lewis 1935.' City Art Gallery, Bristol. Exh.: R G R E 9 1 ; Z w e m m e r 1957. Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, N o . 64).

Usually dated 1934, but the Tyro-like heads suggest it was begun c. 1921.

SUNSET-ATLAS

A GLASS OF P L Y M O U T H GIN

12¡

Pen and ink, ink and watercolour washes, gouache, 15^ x 22^ in. (38-5 x 56 cm.), inscribed 'Wyndham Lewis.' Museum of Modern Art, N e w York. Francis E. Brennan Fund. Ref.: Reproduced in H - R (pi. 15).

847

124

Pencil and wash, 12^ x i o | in. (32 5 x 27-5 cm.), inscribed 'Wyndham Lewis 1935.' Geoffrey Bridson.

850

Possibly N o . 67 in the sale of the Arthur Crossland collection at Christie's, 3 February 1956.

ROMAN ACTORS

PI.

Pencil and wash, 14 x 1 0 J in. (35 5 x 26 5 cm.), inscribed 'Wyndham Lewis 1935'. Mercury Gallery, London.

Inscribed 'Wyndham Lewis'. Ref.: Reproduced in The London Mercury, October 1934. P- 531 opposite Sir Stafford Cripps (842), with the caption Two Dictators.

846

T H E C H A I N SMOKER

Pencil and wash, n f x 15^ in. (30 x 39 cm.), inscribed ' W . Lewis 1935'. Exh.: Probably L G 1 2 (as A Cigarette), according to H - R , p. 95Ref.: Reproduced in H - R (pi. 35). Coll.: Charles Handley-Read.

I93

FATHER J. S T A N L E Y MURPHY

PL

I46

Coloured chalks, 19^ x 12^ in. (49 5 x 32 cm.), inscribed ' W y n d h a m Lewis 1 9 4 4 ' . Mrs Margaret Neil. Exh.: T 1 0 8 . T h e sitter is the founder-chairman of the Christian Culture Series, Assumption University, Windsor, Ontario. See also P 112-21 (note).

1048

PORTRAIT

PL

143

Black and coloured chalks, pencil, wash, 14^ x 11 in. ( 3 7 5 x 2 8 cm.), inscribed ' W y n d h a m Lewis 1 9 4 4 ' . Private Collection. T h e sitter is the artist's wife.

1049

Black chalk, 12^ x ' W y n d h a m Lewis. A . J . Smith.

H E A D OF A

162

Coloured chalks, 10J x 14^ in. (27-5 x 37 cm.), inscribed ' W y n d h a m Lewis St Louis 1 9 4 4 ' . M r and Mrs Merle Fainsod. Coll.: Mrs E. W . Stix.

IO4O

1044

Coloured chalks, on dark grey paper, 18 X 12 in. (45'5 x 3°'5 cm.), inscribed ' W y n d h a m Lewis 1944' and, on reverse, 'head of a Canadian'. A n d r e w Dickson W h i t e Museum of Art, Cornell University. Similar to 978 but of a different sitter.

Black chalk, 14! x 9^ in. (37-5 x 23 5 cm.), inscribed ' W y n d h a m Lewis 1 9 4 4 ' . Marshall McLuhan.

A study for P 108.

PI.

A half-length portrait.

1045

S T U D Y FOR P A I N T I N G OF DR E R L A N G E R

FANTASY

GRAHAM

Coloured chalks, 14 x 11 in. (35 5 x 28 cm.), inscribed ' W y n d h a m Lewis 1 9 4 4 ' . Mrs David T . Graham.

Black and coloured chalks, 11 X 14^ in. (28 x 37 cm.), inscribed ' W y n d h a m Lewis 1 9 4 4 ' . J. F. Cullis. Exh.: RGRE 56.

Black and coloured chalks, on blue paper, 17I x in. (45 x 30 cm.), unsigned. A n d r e w Dickson W h i t e Museum of Art, Cornell University.

1039

MRS D A V I D T.

1944

P O R T R A I T OF A Y O U N G

LADY

Black and coloured chalks on grey paper, 185 x 12^ in. ( 4 6 5 x 3 2 cm.), inscribed ' W y n d h a m Lewis 1 9 4 4 ' . J. S. Steward. T h e sitter is Miss Pauline Bondy. Similar to 1036, without hat, looking to the right and d o w n . 415

DRAWINGS IOJO

I944 : I945 PI.

READING THE NEWSPAPER

Black and coloured chalks, 14^ x i o j in. ( 3 7 X 2 6 5 cm.), inscribed 'Wyndham Lewis M r and Mrs Merle Fainsod. Coll.: Mrs E. W . Stix. A portrait of the artist's wife.

I43

1057

1944'.

1058 1051

T E A C U P S : S T U D Y FOR P O R T R A I T

Chalk, 14J x 11 in. (38 x 28 cm.), inscribed ' W y n d h a m Lewis 1944'. Exh.: * T 107. Coll.: Leicester Galleries (1956).

1052

PI.

TEA T I M E

143

Black chalk, 13 x in. (33 X 24 cm.), inscribed ' W y n d h a m Lewis 1 9 4 4 . ' Mayor Gallery, London. Sold at Sotheby's, 14 December 1967 (No. 46).

1053

THREE O ' C L O C K

PI.

CORINNE

Black chalk, 15^ X 10J in. (39 X 26-5 cm.), signed and dated 1945. Ref. : Sold at *Sotheby's, 12 November 1958 (No. 13). Coll. : L. Goodman.

144

MRS H E N R Y F O R D

Coloured chalks, inscribed ' W y n d h a m Lewis 1 9 4 5 ' . The subject is seated with her hands in her lap, facing slightly to the left. Her dress has a white cravat collar and white cuffs. Information f r o m a photograph in the possession of the author. 1059

A H I G H L A N D OFFICER

Coloured chalks and pencil on brown paper, 20 x 14 in. (5 1 x 35'5 cm.), inscribed ' W y n d h a m Lewis 1945'. The Hon. Christopher Lennox-Boyd. The subject is seated with arms folded and wears a kilt. 1 0 6 0 J O H N S. N E W B E R R Y

Coloured chalks on brown paper, 22^ x 16^ in. ( 5 6 5 x 4 2 cm.), inscribed ' W y n d h a m Lewis 1 9 4 5 ' . Detroit Institute of Arts. Frontal view of head and shoulders, the hands folded.

Black chalk, 10J x 14J in. (27 5 x 38 cm.), inscribed ' W y n d h a m Lewis 1944' and '3. o'clock.', and, on reverse, 'Nellie'. Private Collection. A portrait of Mrs Paul Martin.

1061

J O H N S. N E W B E R R Y

Coloured chalks, 19! x 15 in. (50 x 38 cm.), inscribed ' W y n d h a m Lewis 1 9 4 5 ' . Museum of Modern Art, N e w York. Similar to 1060. 1945 1054

B A T H I N G SCENE

PI.

16J

Pen and ink, black chalk, watercolour, wash, gouache, I4f x 11 in. (37-5 X 33 cm.), unsigned. Private Collection.

1055

CHILDREN PLAYING

Pen and ink, pencil, watercolour, 14I x 8f in. (37 x 22 cm.), inscribed 'Wyndham Lewis'. Mrs Anne W y n d h a m Lewis.

1056

CHILDREN

PLAYING

Pen and ink, pencil, watercolour, 14I x 8f in. (37 x 22 cm.), inscribed ' W y n d h a m Lewis'. Mrs Anne W y n d h a m Lewis. Similar to 1055.

416

PL

l6j

1062

P O R T R A I T OF M I S S X

PI.

142

Coloured chalk on blue-green paper, i8£ x n ^ in. ( 4 6 - 5 x 2 8 - 5 cm.), inscribed 'Wyndham Lewis 1 9 4 5 ' . Detroit Institute of Arts. The sitter is Miss Edith Ferry. 1063

H E A D OF w . R. V A L E N T I N E R

Black and coloured chalks, 16^ X I3§ in. ( 4 2 5 X 3 4 cm.), inscribed ' W y n d h a m Lewis Estate of the late W . R. Valentiner. IO64

1945'.

A Y O U N G BOY SEATED

Coloured chalks, 24 X 17^ in. (61 X 45 cm.), inscribed ' W y n d h a m Lewis' and 'June 1 9 4 5 ' . Magdalene Street Gallery, Cambridge. The same sitter as in 1069.

DRAWINGS

1940-5 1065

1072 PL

H E A D OF A N N E

I45

Black and coloured chalks on light-red paper, 9J x in. (24-5 x 18-5 cm.), unsigned. W . Michel. FATHER E. C .

GARVEY

Pencil. Father Murphy (see 1047 and note to PI 12-21) remembers that Lewis carried out a pencil portrait of the sitter, who was on the staff of Assumption University, Windsor, Ontario.

1067

PI.

HANDS

145

1068

H E A D F R O M THE C A S T I N G

SHOP

Pencil, 22^ x 18 in. (57 x 45-5 cm.), unsigned. Ref.: Photograph (A. C. Cooper Ltd, negative No. 1 539 1 5) at the British Council, London. Coll.: Lefevre Galleries. All information from a note on the back of the photograph, which shows a young workman with curly hair, wearing protective glasses, looking slightly to the left. Possibly identical with a picture of the same title, but stated to be 14^ x 10J in. (37x27-5 cm.), sold at Sotheby's, 12 November 1958 (No. n ) .

1069

H E A D OF A B O Y

PI.

MAN'S

HEAD

Black and coloured chalks, i 8 f x 13 in. (46 5 x 33 cm.), unsigned. Seen by the author at the late Douglas Duncan's Picture Loan Society in Toronto. An elderly man's face looking slightly to the left; unfinished apart from the eyes, nose and mouth. Lewis discarded the picture and used it as backing for another drawing.

1075

MRS W I L L I A M

O'BRIEN

Coloured chalks. The Rt. Hon. Malcolm MacDonald. R e f . : Rude Assignment, p. 130.

1076

PI.

SEATED W O M A N

144

Black chalk, 18$ x 14 in. (47 5 x 35 5 cm.), unsigned. Private Collection. A portrait of the artist's wife.

1077

S T U D Y OF A M A N ' S

FACE

Black chalk, on grey paper, 10J x 7| in. (27-5 x 19-5 cm.), unsigned. Private Collection. Head of a middle-aged man, full-face, with piercing gaze. Unfinished below the mouth.

H E A D OF A B O Y

Coloured chalks. The Rt. Hon. Malcolm MacDonald.

1071

HEAD

145

Coloured chalks, 14 X 12 in. (35-5 x 30 5 cm.), unsigned. Andrew Dickson White Museum of Art, Cornell University. The detail reproduced is slightly under half actual size. The drawing extends below the shoulders.

1070

MAN'S

Coloured chalks, 17 x 13^ in. (43 x 34 5 cm.), unsigned. Andrew Dickson White Museum of Art, Cornell University. Head and shoulders of a rotund man, nearly fullface, looking slightly to the left.

1074

Black and coloured chalks, on green paper, 19 x 12^ in. (48-5 x 32 cm.), unsigned. Private Collection.

MACDONALD

Coloured chalks. The Rt. Hon. Malcolm MacDonald.

1073 1066

MALCOLM

1940-5

P O R T R A I T OF D O U G L A S L E P A N

Ref.: Mentioned in an unpublished letter from Lewis to Felix Giovanelli of 13 August 1943 (quoted in Sheila Watson, 'Canada and the Artist', Canadian Literature, Winter 1968.

1078

S T U D Y OF A M A N ' S

FACE

Black chalk, on grey paper, 10J x 8^ in. (27-5 X 2 1 5 cm.), unsigned. Private Collection. A companion piece to 1077, also of a middle-aged man, but with a soft, babyish face, and the head slightly bent backwards and to the right. The right-hand side of the head and the chin are unfinished.

417

DRAWINGS

1946 : I949

1946 1079

1087 ANNE

PI.

145

PL

162

Coloured chalks, 20^ x 16 in. (52 x 40-5 cm.), inscribed ' W y n d h a m Lewis 1 9 4 6 ' . Coll.: Leicester Galleries, London.

PL

M E X I C A N SCENE

¡62

Pen and ink, pencil, watercolour, 14 x 19^ in. (35'5 * 49 cm.), inscribed ' W y n d h a m Lewis 1 9 4 7 . ' Brighton Art Gallery and Museum.

1948 1080

A COLLOQUY

Pen and ink, coloured chalks, 10 x 13 in. ( 2 5 - 5 x 3 3 cm.), inscribed ' W y n d h a m Lewis T h e H o n . Christopher Lennox-Boyd. Exh.: T n o .

1081

1088 1946'.

1082

PI.

NEGRO HEAVEN

Pen, black and coloured chalks, 19J x 14 in. (49'5 x 35 5 cm.), inscribed ' W y n d h a m Lewis Glasgow Art Gallery and Museum. Exh.: R G R E 8 4 ; T 109.

POLITICAL

l6j

1089

HOUSEWIFE

PI.

FANTASIA

LION AND MARTYRS

PI.

163

Black and coloured chalks, watercolour, gouache, 9 ! X 13J in. (25 x 35 cm.), unsigned. Private Collection. This and the following drawing are dated by comparison with the similar 1086, but all three may have been begun in 1 9 4 2 (see note to 1 0 0 4 ) .

LION AND

PI.

WILLIS FEAST

147

MARTYRS

Black chalk, 9 x 1 4 in. (23 x 35 5 cm.), unsigned. Private Collection.

1090

WILLIS FEAST

PI.

I47

PI.

I44

Coloured chalks, 16 X 12 in. (40-5 x 30-5 cm.), inscribed ' W y n d h a m Lewis 1 9 4 8 ' . Rev. Willis Feast.

163

Pen and ink, black and coloured chalks, 17 x 13 in. (43 x 33 cm.), inscribed ' W y n d h a m Lewis. N o v . 1 9 4 7 ' . W . Michel.

1085

Pencil, coloured chalks, wash, 15J X 14^ in. (39'5 x 37 cm.), inscribed ' W y n d h a m Lewis 1 9 4 8 ' . Hamet Gallery, London. Exh.: T i n . Similarities to 1008 suggest that this w o r k was begun in 1942.

Coloured chalks, 20 x 16 in. (51 x 40-5 cm.), inscribed ' W y n d h a m Lewis 1 9 4 8 ' . Rev. Willis Feast.

1947

1084

l66

1946'.

Black chalk, 19^ x 14 in. (49 x 35 5 cm.), signed and dated 1946. Ref.: Sold at *Sotheby's, 12 N o v e m b e r 1958 (No. 12).

1083

PI.

THE C O W J U M P E D OVER THE M O O N

1091

LYNETTE

Black chalk, 15 x i o j in. (38 x 27-5 cm.), inscribed ' W y n d h a m Lewis 1 9 4 8 ' . Private Collection. Ref.: Reproduced in H - R (pi. 45). A portrait of Mrs Lynette Roberts.

1092

LYNETTE

Black chalk, 14I x 105 in. ( 3 7 x 2 5 - 5 cm.), inscribed ' W y n d h a m Lewis 1 9 4 8 ' . Exh.: T 112, as Portrait of Mrs Rhys. Coll.: Leicester Galleries ( 1 9 6 4 ) . A portrait of Mrs Lynette Roberts, similar to 1091. T h e sitter's b o d y is facing right, in a more upright pose and the face looks to the left and down.

See note to 1084 which this resembles. 1949 1086

LION AND

MARTYRS

A coloured drawing, 12^ X 9J in. (32 x 25 cm.), inscribed ' W y n d h a m Lewis 1 9 4 7 ' . O m a r S. Pound. See note to 1084 which this resembles. 418

IO93

THE ASCENT

Pen and ink, watercolour, 2 i j x I 2 j in. (54'5 x 3 2 cm.), inscribed ' W y n d h a m Lewis. Exh.: RGRE45.

PL

1949'.

167

DRAWINGS 1094

S T U D Y F O R P O R T R A I T O F T . S. E L I O T

PI.

I49

Black chalk, 2 i j x 12^ in. (54-5 x 32 cm.), inscribed ' W y n d h a m Lewis 1949'. R e f . : H - R , p. 8 2 . C o l l . : Eric J . N . Bramall; Basil Wright (sold at Sotheby's 13 December 1961, N o . 237). Probably a study for p 124. 1095

S T U D Y F O R P O R T R A I T O F T . S. E L I O T

Pi.

PL

I44

1102

S K E T C H FOR P O R T R A I T OF STELLA

NEWTON

Pencil, 1 7 ! x 1 5 ^ in. (45 x 38-5 cm.), unsigned. A n d r e w Dickson White Museum of Art, Cornell University.

1

Similar to 1 1 0 1 .

Probably a study for p 124.

1103

FANTASY

Pen and ink, watercolour, coloured chalks, 1 4 I x IOF in. (37-5 X 27-5 cm.), inscribed ' W y n d h a m Lewis. 1949'. Arthur Giardelli.

PI.

166

PL

THE GEOGRAPHER

T H E K I N G PLAYS (see 9 9 5 ) .

KEEP

T W O HORSEMEN

PL

l68

I have seen this in reproduction only, but it w o u l d seem to be a design of c. 1 9 1 2 with, presumably, additions in 1949.

167

Pen and ink, watercolour, 16 x IOJ in. (40-5 x 26-5 cm.), inscribed ' W y n d h a m Lewis 1949.' Anthony d ' O f f a y . Exh.: R G R E 4 4 .

1098

OF

Pencil, 16^ x 15 in. (42 x 38 cm.), unsigned. Private Collection.

Pen and ink, watercolour, wash, gouache, 8f x 1 3 ^ in. ( 2 2 x 3 4 - 5 cm.), inscribed ' W y n d h a m Lewis. 1 9 4 9 ' . Private Collection. 1097

S K E T C H FOR P O R T R A I T

STELLA N E W T O N

Coloured chalks, 15-5 x 1 1 ^ in. ( 3 8 - 5 X 2 8 - 5 cm.), inscribed ' W Lewis 1949 (of T . S. Eliot)'. Private Collection.

1096

II0I

I 9 4 9 : I94OS

SMILING

1104

PL

l66

Pen and ink, wash, gouache, 22 x 14^ in. (56 x 37'5 cm.), inscribed ' W y n d h a m Lewis 1949.' M r and Mrs W . D o g e Hutchinson. Exh.: R G R E 4 6 ; T 1 1 3 . R e f . : Reproduced in H - R (pi. 25).

1105

R e f . : R G R E 4 7 . Listed in the catalogue (as 1 9 4 9 ) , but, according to Charles Handley-Read's notes, not exhibited and not at the Gallery.

W H A T T H E SEA IS L I K E A T N I G H T

WOMEN

Pen and ink, watercolour, 1 0 J x 1 4 in. ( 2 7 - 5 x 3 5 - 5 cm.), inscribed ' W y n d h a m Lewis. Mrs Anne W y n d h a m Lewis.

PI.

166

1949.'

Exh.: R G R E 4 8 . 1099

PL

THE NATIVITY

I55

Mrs Lewis has told me the drawing was begun in Canada in the early forties.

Pen and ink, pcncil, coloured chalks, watercolour, 1 1 ^ x 1 7 J in. (28-5 x 44-5 cm.), inscribed (in pencil, erased) ' W y n d h a m Lewis 1941' and (in ink) ' W y n d h a m L e w i s 1949'.

1940s

M a y o r Gallery, London. E x h . : (?) T 1 0 6 .

1106

Pen and ink, 12 x 9^ in. (30-5 x 24 cm.), unsigned. A n d r e w Dickson White Museum of Art, Cornell University.

H E A D OF STELLA

Pen and ink, watercolour, gouache, 12 x 9 ' in. (30-5 x 24 cm.), unsigned. A n d r e w Dickson White Museum of Art, Cornell University.

A simple sketch of a round-headed, winged f i g ure, with legs drawn up as if flying.

1107 1100

ANGEL

T h e Tate catalogue entry agrees with the above as to title and measurements but gives the inscription o f The King Plays ( 9 9 5 ) . B o t h were in the possession of the Leicester Galleries at the time. 1 have not been able to discover which of the t w o was actually exhibited.

NEWTON

Pencil, 1 5 x 1 1 in. (38 x 28 cm.), unsigned. Private Collection. Similar to the head in 1101.

COMPOSITION

PI.

164

419

DRAWINGS 1940S : 195O 1108

COMPOSITION

Pl.

164

Pen and ink, 1 2 x 9 ^ in. (30-5 X 24 cm.), unsigned. Private Collection.

1109

DRAWING

PL

164

Pen and ink, 14 X 8 in. (35-5 x 20-5 cm.), unsigned. W . Michel.

1118-23 S T U D I E S OF H O R S E S , AFTER L E O N A R D O Pen and ink, unsigned. Evidently studies after drawings by Leonardo, here identified by their plate numbers in A. E. Popham, The Drawings of Leonardo da Vinci (New York, 1945; London, 1946), which may in fact have been Lewis's source. 1118

FIVE H E A D S

x

1110

H A N G E D MAN A N D FIGURES

Pen and ink, i o j x Private Collection.

NIL

PL

164

in. (27-5 x 16-5 cm.), unsigned.

1119

HANGED MAN AND SOLDIERS' HEADS

Pen and ink, iof x 6^ in. (27-5 x 16 5 cm.), unsigned. Private Collection. Similar to m o . A closer view of the hanged man and of t w o heads, similar to those in the foreground of 1 n o . I I I 2 RIDERS AND ANIMALS PL 164 Pen and ink, 8^ x 6^ in. ( 2 1 5 x 1 6 cm.), unsigned.

1113-17 RIDING

7 i i n - ( 2 7'5 x 19 cm.). Andrew Dickson White Museum of Art, Cornell University. Cf. Popham, pi. 66.

S T U D I E S FOR A P A I N T I N G OF A

1120

REARING HORSE

x 8f in. (20 x 2 1 5 cm.). Private Collection. Cf. Popham, pi. 84B. 1121

R E A R I N G H O R S E A N D D E T A I L OF A H E A D

Pen and ink studies, all unsigned. The painting was never carried out. 1 1 1 3 H O R S E A N D R I D E R A N D H O R S E B E I N G LED

1123

1 2 X 9 I in. (30-5 x 24 cm.). Andrew Dickson White Museum of Art, Cornell University.

10J x 8f in. (27-5 x 21-5 cm.). Private Collection. Cf. Popham, pis 59 and 61.

HORSES A N D RIDERS

PL

HORSES A N D RIDERS

1124 PL

165

7 x 1 1 in. (18 X 28 cm.). Private Collection. 1116

Pl.

167

T W O H E A D S A N D A LEG

l6$

11 x in. (28 x 26 cm.). Private Collection. 1115

165

T W O HEADS

i o | x 8f in. (27 5 x 21 5 cm.). Private Collection. Cf. Popham, pl. 66.

1114

Pl.

x 10J in. (19 5 X 27 5 cm.). Mr and Mrs Michael Ayrton. Cf. Popham, pl. 85. 1122

SCHOOL

GALLOPING HORSE

8f x 10J in. (21-5 x 27-5 cm.). Private Collection. Cf. Popham, pi. 203.

LEGS OF A R E A R I N G H O R S E A N D FOUR H E A D S

SUNSET IN PARADISE

Pen and ink, coloured chalks, watercolour, gouache, 8 X 1 2 in. (20-5 X 30-5 cm.), inscribed ' W y n d h a m Lewis' and, on reverse, 'Sunset in paradise'. Andrew Dickson White Museum of Art, Cornell University.

11 x 7 ! in. (28 x 19-5 cm.). Private Collection. 1117

R E A R I N G H O R S E A N D RIDER

10J x 8$ in. (27 x 22 cm.). Private Collection. Possibly based on the steeply rearing horse at the left-hand edge of pi. 203 in A. E. Popham, The Drawings of Leonardo da Vinci (New York, 1945; London, 1946). See also the next entry.

420

1950 1125 APE Pl. g2 Inscribed ' W . Lewis 1950'. Ref.: Reproduced on the jacket of Rude Assignment. Probably a design of c. 1929.

DRAWINGS II25A

1131

J A C K E T D E S I G N FOR R E I S S U E OF ' T A R R '

The book was reissued in June 1951 with a dust jacket designed by Lewis. Mrs Lewis has informed me her husband's eyesight had become too poor for him to finish the work, and she filled in some of the colour, spending perhaps three-quarters of an hour on the task. The work may be considered almost entirely Lewis's, as confirmed by numerous similarities to 1093 and 1097.

1950: undated

THE A R C H I T E C T

Pen and ink, X n j i n . (18 5 x 30 cm.), signed. Coll.: John Quinn (sale catalogue No. 4 1 1 c ) . 1132

BERBER

HORSEMAN

Watercolour. Exh.: 'French and English Contemporary Artists', Zwemmer Gallery, December 1934-January 1935.

D R A G O N IN A C A G E ( s e e 1 6 4 ) .

1133

1126

Pencil and colour. Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, No. 66).

PI.

WALPURGISNACHT

167

Pen and ink, 17 x 30 in. (43 x 76 cm.), inscribed 'Wyndham Lewis 1950'. Omar S. Pound.

1134

Probably begun in America.

1127

RED F I G U R E S C A R R Y I N G B A B I E S

Colour plate

1135

XVI

Pen and coloured inks, watercolour, gouache, 12^ x 15 in. (32 x 38 cm.), inscribed ' W L 1951'. Private Collection. Exh.: T 114. The Tate catalogue has the following note: 'The artist's last finished watercolour. He originally described it as "Poilus taking their babies to visit the graves of their mothers", but later said they were not beings who inhabit this world.' The picture was probably completed in 1950.

Undated Drawings listed without date in exhibition or sale catalogues. A number may prove to be identical with items listed elsewhere in this catalogue. A few extant works which I am unable to date are also included. AFRICAN

Leaping figure with legs and arms spread apart. APRIL A P P E A R A N C E

Exh.: T & P 3 6 . 1130

AT A CAFE

Exh.: L G u .

CANUTE

1136

COMMUNISTS

Pen and ink. Exh.: 'French and English Contemporary Artists', Zwemmer Gallery, December 1934-January 1935. P O R T R A I T OF N A N C Y

CUNARD

Pencil and colour. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, N o . 71).

1138

DESIGN

Exh.: L G 24.

DANCER

Pen and ink, 5 in. (12 5 cm.) high, on a sheet iof x 7 in. (26-5 x 18 cm.), unsigned. Department of Rare Books, Cornell University.

1129

CANDELAIO

Pen and ink, approximately 10 x 7 in. (25 5 X 18 cm.). Coll.: Hugh Gordon Porteus. The drawing showed waves and, in the background, Canute on his throne.

1137

1128

IL

Pen and ink, 8^ X 6f in. ( 2 1 5 x 1 7 cm.). Coll.: John Quinn (sale catalogue N o . 273A). An 'impression of the human form'.

1951

AND VISITING GRAVES

THE C A B B Y

1139

DINAH

Pen and ink, x 3^ in. (18-5 x 8 5 cm.). Coll.: John Quinn (sale catalogue N o . 10c). 1140 A DOG Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, N o . 13). Lot 13 consisted of seven items, some in pen and ink, some in 'pencil and colour', titled A Dog, Nude Figure Studies and Portraits of Women.

421

undated

DRAWINGS 1141

DON'S

WIFE,

HARVARD

1 1 5 2

Exh.: L G 7.

1142

AN

w .

GILL,

ESQ.

Exh.: T & P 3 1 . O. R. Drey, reviewing the exhibition in The Nation (16 April 1921), refers to this as a 'fine line pen' drawing.

ENCOUNTER

Watercolour. Exh.: 'French and English Contemporary Artists', Z w e m m e r Gallery, December 1934-January 1935.

11 53

GIRL AND

BOOK

Exh.: Beaux Arts 1938. 1143

EDITH

EVANS

Exh.: Beaux Arts 1938.

1154

See also 752-3.

1144

MISS E D I T H

GIRL'IN

SWEATER

PI.

l68

Pen and ink, 5f x 3 \ in. ( 1 4 - 5 X 9 cm.), irregular, unsigned. Private Collection.

EVANS

Exh.: L G 10. See also 752-3.

11 5 5

GIRL

READING

Exh.: L G 1 6 . 1145

FIGURE

AT

TABLE

Drawing. Exh.: 'French and English Contemporary Artists', Z w e m m e r Gallery, December 1934-January 1935.

1156

1157 1146

FIGURE

Watercolour. Exh.: 'French and English Contemporary Artists', Z w e m m e r Gallery, December 1934-January 1935.

1 1 4 7

FIGURE W I T H

GOOSSENS

GOTHIC

HEAD

Exh.: L G 20.

COMPOSITION

BIRD HELMET

Pen and ink, watercolour, 12 x unsigned. Private Collection.

MRS EUGENE

Exh.: L G 2 8 .

PL

1158

l68

HEAD

OF A

GIRL

Pencil. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, No. 72).

in. (30 5 x 20-5 cm.), 1159

HEAD

OF A

WOMAN

Exh.: L G 2 9 . 1148

FIRE

Pen and ink, 9 x 1 5 m. (23 x 38 cm.). Coll.: John Quinn (sale catalogue No. 277A).

1149

FLOWER-WOMAN

1160

HEAD

OF A

WOMAN

Pen and ink. Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, N o . 73).

Exh.: L G 2 1 . 1161 1150

FROANNA

See also 949, P 82.

Exh.: L G 2 3 .

11 51

THE

GERMAN

STUDENT

Pencil and colour wash, 15 x 12 in. (38 x 30-5 cm.). Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, N o . 66).

422

HEDWIG

Exh.: L G 2 2 .

1162

DRAWING

OF T H E

COUNTESS

OF

INCHCAPE

Exh.: LG. Purchased at the exhibition, though not listed in the catalogue.

DRAWINGS 1163

THE INVALID

Exh.: L G 1 7 . See also P46.

1175

A LADY FROM BOSTON

Exh.: LG4. See also 721, 724.

1165

L A D Y S E A T E D IN A R M C H A I R

Exh.: T & P 1 7 .

1166

LADY WITH A POODLE

Pencil and colour. Coll.: Arthur Crossland (sold at Christie's, 9 March 1956, No. 66).

1167

LADY WITH

CIGARETTE

Exh.: T & P 3 8 .

1168

L A D Y W I T H CLASPED HANDS

Exh.: T & P 2 9 . See also 468. L A D Y W I T H LEGS C R O S S E D

BELLA MEDLER (NO.

2)

Exh.: T & P 4 2 .

1177

MONK AND BIRD

Watercolour. Exh.: 'French and English Contemporary Artists', Zwemmer Gallery, December 1934-January 1935.

1178

P O R T R A I T OF H A R O L D

MUNRO

Pencil and colour. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, No. 69).

1179

NORSK

Exh.: Beaux Arts 1938.

1180

NUDE (CROUCHING)

(NO.

I)

(NO.

2)

Exh.: T & P 7 .

I L8L 1169

I)

Exh.: T & P 4, bt by Sydney Schiff.

1176 1164

BELLA MEDLER (NO.

undated

NUDE (CROUCHING)

Exh.: T & P 1 1 .

Exh.: T & P 3 2 . 1182 1170

LADY WITH

CLOAK

Exh.: T & P 3 3 . 1171

MAN'S HEAD

Exh.: T & P 2 0 . O. R. Drey, reviewing the exhibition in The Nation (16 April 1921), refers to this as a 'fine line pen' drawing.

1173

MARY

Exh.: T & P 4 3 .

1174

Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, No. 13). See note to 1140.

LADY W I T H CLOAK

Exh.: L G 2 .

1172

NUDE FIGURE STUDIES

MEDITATION

Exh.: L G 1 5 .

1183

A NUDE

MODEL

Pencil and colour. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, No. 62).

1184

NUDE

(RESTING)

Exh.: T & P 3 5 .

1185

NUDE

(SEATED)

Exh.: T & P 10.

1186

NUDE (SEATED)

(NO.

2)

Exh.: T & P 1 6 .

423

DRAWINGS 1187

undated

NUDE STANDING

Exh.: T & P 8, bt by Sydney Setoff.

1188

NUDE STUDY

1198

D R A W I N G OF EZRA P O U N D

Exh.: T & P . Purchased at the exhibition, though not listed in the catalogue.

Exh.: T & P 2 1 . 1199 1189

EL O J O

Pen and wash, 1 2 ^ x 6 ^ in. (32-5X16-5 cm.). Coll.: John Quinn (sale catalogue No. 2 7 3 B ) . An 'impression of the human form'.

1200 1190

ON THE SHORE

Pen and ink, 8 x 9 J in. ( 2 0 - 5 X 2 5 cm.). Coll.: John Quinn (sale catalogue No. 1 3 6 A ) . Described as a 'pen and ink impression'.

S T U D Y FOR ' P R A X I T E L L A '

Exh.: T & P . Purchased at the exhibition, though not listed in the catalogue.

P R I M I T I V E DÉSHABILLÉ

Ink and wash, 1 0 J x 8F in. (27-5 x 22 cm.). Coll. : John Quinn (sale catalogue No. 1 4 2 A ) .

1201

READING

Exh.: L G i . 1191

PAGAN APPEARANCE

Exh.: T & P 6 .

1192

PEEPING

Exh.: Beaux Arts 1938.

1193

PORTRAIT

Pencil and wash. Exh.: Zwemmer 1957.

1194

P O R T R A I T OF THE ARTIST

Exh.: T & P 2 2 . 1195

P O R T R A I T OF A M A N

Pen and ink, colour. Coll. : Arthur Crossland (sold at Christie's, 3 February 1956, No. 67).

1202

A R E A D I N G BOY

Pencil and colour. Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, No. 64).

1203

READING NIETZSCHE

Exh.: LG6. See note to P 51.

1204

MISS s .

Exh.: LG 19.

1205

SEATED FIGURE

Exh.: T & P 2 4 .

1206

SEATED FIGURE

Exh.: T & P 4 1 . 1196

P O R T R A I T S OF W O M E N

Coll. : Arthur Crossland (sold at Christie's, 3 February 1956, No. 13). See note to 1140.

1207

1208 1197

EZRA P O U N D , E S Q .

Exh. : T & P 14, bt by Sydney Schiff. O. R. Drey, reviewing the exhibition in The Nation (16 April 1921), refers to this as a head 'in simple contours'.

424

SEATED GIRL

Exh.: LG 14.

SEATED W O M A N

Exh.: L G 5 . 1209

SIESTA

Exh.: LG9.

DRAWINGS undated 1210

S K E T C H E S OF F I S H E R M E N A N D BARGEES

Pen and ink. Ref.: Forbes Watson, ed., TheJohn Quinn Collection (New Y o r k , 1926) states that there were eleven drawings in this portfolio. Coll.: John Quinn (sale catalogue N o . 11).

I2II

VILLAGE

PL

168

1215

VILLAGE

PL

168

Pen and ink, 1 0 J x 17^ in. (27 5 x 44 cm.), irregular, unsigned. Private Collection.

THE S T U D E N T

Watercolour. Exh.: 'French and English Contemporary Artists', Z w e m m e r Gallery, December 1934-January 1935.

I2I2

1214

Black chalk, iof x 15 in. (26-5 X 38 cm.), unsigned. Private Collection.

S T U D Y OF A W O M A N

Exh. : T & P, bt by Miss M. S. Davies. Purchased at the exhibition, though not listed in the catalogue.

1216

P O R T R A I T OF E. W A D S W O R T H

Pencil and colour, 12 x 10 in. (30 5 X 25 5 cm.). Coll.: Arthur Crossland (sold at Christie's, 3 February 1956, N o . 70). 1217

THE WIFE

Watercolour. Exh.: 'French and English Contemporary Artists', Z w e m m e r Gallery, December 1934-January 1935. 1218

W O M A N W I T H CLASPED H A N D S

Exh.: L G 8. 1213

S T U D Y OF A W O M A N R E S T I N G O N HER A R M

Exh.: T & P . Purchased at the exhibition, though not listed in the catalogue.

See also 1 1 6 8 . 1219

THE W R I T I N G TABLE

Exh.: T & P 3 7 .

425

PICTURES

OF U N K N O W N

The following titles appear in various sources without any indication as to whether the works were paintings or drawings. The titles are listed below under sources in chronological order ; exhibition numbers are given in square brackets.

U 12

CLASSIC GROUP

U 1 3

GROUP

U 14

UL

THE ARCHITECT (NO.

I)

[7]

U 2

THE ARCHITECT (NO. 2 )

[8]

See also 12 and 1 1 3 1 .

^

AU M A R C H É

VIRGIN AND CHILD

U 1 5

SHAFTS

MAN AND

WOMAN

DEMOCRATIC

COMPOSITION

In the catalogue of the 1956 Tate Gallery exhibition (No. 1 1 5 ) it is suggested that this picture may be the same as The Crowd (p 18).

[36] [37]

April 1921 'Tyros and Portraits'

July 1 9 1 3 'VI Allied Artists' Association U 5

TWO

I do not know whether this entry in the exhibition catalogue represents one picture or two.

December 1 9 1 1 Second Camden T o w n Group U3

[191]

[190]

June 1915 Vorticist Exhibition

June 1 9 1 1 First Camden T o w n Group

U 4

MEDIUM

U 1 6

THE S C H O O L OF T Y R O S

[27]

O . R. Drey, reviewing the exhibition in The Nation (16 April 1921), noted that this picture was 'missing on opening day'.

HEAD

See Appendix I.

October 1 9 1 3

U 1 7

TYROS (SHOWMEN) BREAKFASTING

[25]

Post-Impressionist and Futurist Exhibition U 6

DESIGN

U 7

GROUP

[97] [98]

U 8

NOSTALGIA

U 9

PORTRAIT

1940S

[189] [L90]

December 1913-January 1914 English Post-Impressionists, Cubists and Others UIO

A P R È S - M I D I D ' U N FAUNE

U N

BROTHERS

426

[192]

[170]

Titles mentioned in an undated list of'Commissioned Portraits' made out by Lewis in the forties when applying for a position teaching art at various colleges in the United States. (The list is now in the Department of Rare Books, Cornell University.) UL8

C O U N T E S S OF D R O G H E D A

U 1 9

SIR R O N A L D

STORRS

ADDENDA 1920

1909 THE

CELIBATE

Pen and ink, watercolour, gouache, 1 4 ! x 1 1 J in. (37-5 x 28-5 cm.), inscribed 'Wyndham Lewis 1909'. Anthony d'Offay. The picture, which I have seen only in a photograph, shows a frontal view of a large, standing, partly draped figure occupying approximately the right half of the picture area. The composition is proto-Vorticist, with a striking background of large light-coloured ovals in the centre and beamlike structures in the upper corners. The inscribed date is puzzling, since the style and composition are in every respect close to the portraits of 1 9 1 1 and the 'Timon' drawings of 1912. But, since Lewis is not known to have ante-dated his pictures (he tended, if anything, to think that a later date improved the prospects of a sale), some part of the drawing must have been done in 1909. Until further early works are discovered, to add to our meagre knowledge of the period, it will be difficult to decide which part this might be. The title is inscribed on the mount. Possibly item 25 in the ' 1 9 1 7 List'.

SELF-PORTRAIT WITH

HAT

Pencil and wash, 1 3 J x 1 1 in. (35 x 28 cm.), unsigned. Mrs Anne Wyndham Lewis. Coll.: Agnes Bedford. Similar in composition and style to 423; the eyes are not filled in.

1921 LADY

READING

Pencil, pen and ink, gouache x 95 in. (41-5 x 23-5 cm.), inscribed 'Wyndham Lewis 1 9 2 1 . ' Anthony d'Offay. Full-length rendering of the same sitter, table and books as in No. 464 and also in the 'ornamental' style. The pose is more nearly frontal and there is a striking black background and a magnificently executed potted plant on the table.

427

APPENDIX EXHIBITIONS Titles o f works b y Lewis w h i c h appeared in the catalogues o f major one-man shows and other major or historically important exhibitions are listed b e l o w w i t h their original exhibition numbers where applicable. T h e catalogue numbers assigned to the w o r k s in this b o o k are also given (in italics, on the left), so that further information m a y be looked up in the main catalogue; plate references are also given where applicable. W h e r e there is no further information b e y o n d that recorded in this appendix an asterisk is added to the catalogue number. In the case o f the earlier exhibitions prices given in the catalogues have been noted as a possible aid in identification and determination o f media. A l l the exhibitions were held in London unless otherwise noted. W h e r e Lewis w r o t e an introductory piece for an exhibition catalogue the text has been reprinted here.

July 1912 ' T h e London Salon o f the Allied Artists' Association Ltd (fifth year)', Royal Albert Hall P2 1013 Creation The Times (30 July 1912, p. 8) liked 'the one Cubist picture' in the show. 'It is not intelligible, but w e are persuaded the artist means something b y it, because the design, considered abstractly, has a lucidity and precision w e have never found in pure nonsense pictures such as the w o r k s o f most o f the Futurists.' I conclude that this w o r k was an oil painting f r o m its listing in the catalogue a m o n g 'large paintings and decorative works'. There is some confusion about the identity o f the picture, w h i c h I am unable to clear up, for Frank Rutter, in Art in my Time (London, 1933), p. 145, remembers 'Kermesse' as having been shown at this exhibition. A n d C l i v e Bell, rev i e w i n g the Post-Impressionist and Futurist E x hibition in The Nation (25 O c t o b e r 1913) hails a Kermesse 'altered and greatly i m p r o v e d since its last appearance at the London Salon' o f the A A A .

A p r i l - M a y 1904 'Thirty-second Exhibition o f M o d e r n Pictures held b y the N e w English A r t C l u b ' , Dudley Gallery *7 123 Study o f a Girl's Head

June 1911 ' T h e First Exhibition o f the C a m d e n T o w n G r o u p ' , C a r f a x Gallery U1 U 2

7 T h e Architect (No. 1) 8 T h e Architect (No. 2)

December 1911 ' T h e Second Exhibition o f the C a m d e n T o w n Group', C a r f a x Gallery Pi *LJ 3 *U 4

35 Port de M e r (20 gns) 36 A u Marché (20 gns) 37 Virgin and Child (20 gns) The Times (11 December 1911, p. 12) reported that ' M r . W y n d h a m Lewis exhibits three g e o metrical experiments w h i c h many people will take for bad practical jokes . . .' T h e prices suggest that N o s 36 and 37 may also have been paintings.

I

O c t o b e r - D e c e m b e r 1912 Second Post-Impressionist Exhibition, Grafton Galleries *P 6 112 Mother and Child P2 128 Creation C f . note to preceding exhibition entry. 194 D r a w i n g for T i m o n o f Athens 195 T h e Thebaid See 196 A Masque o f T i m o n •P/s 17-20 91- < 197 A Feast o f O v e r m e n 108 T i m o n 198 "30 46

201 T i m o n 199 A m a z o n s 200 Creation

PL 13

T h e exhibition catalogue states that N o s 194-8 and 201 were 'exhibited b y courtesy o f T h e C u b e Publishing C o . ' . T h e C u b e Press was the publisher o f Lewis's portfolio Timon of Athens. In his review o f this exhibition the anonymous art critic o f The Athenaeum devoted most o f his attention to Lewis, finding the T i m o n drawings, in particular, 'one o f the most n o t e w o r t h y features o f the exhibition'. ' W h e n [Lewis] figured

429

APPENDIX I

exhibitions (1912 : 1914)

in " T h e C a m d e n T o w n G r o u p " , ' he continues, 'he seemed to hover between a flat linear convention and the plastic vision on which he has n o w happily decided.. . . T h e furious and violent contrast of interpenetrated forms is always his theme, and to maintain the dominance of the main planes against the exaggeration of his details, he conceives t h e m as continued into surrounding space there to spend their force or set u p reactionary curves in the void.' Examples of this are 'the device by which the lines of j a w and shoulder in the large Mother and Child are maintained against furious competition, or the way in which the arch of the back of Adam in Creation is enhanced by an opposing curve set against it.' According to the same review, 'the smaller Creation' shows the parentage of the Book of Kells as well as of Egyptian sculpture. December 1912 ' T h e T h i r d Exhibition of the C a m d e n T o w n Group', Carfax Gallery *P 3 25 Danse (30 gns) T h e art critic o f The Athenaeum in his review finds Lewis an exception to a general 'distrust of, if not scorn for, invention and imagination' which he sees as characterizing the exhibition. 'His Danse, while not quite so g o o d as [his] g r o u p of small drawings shown among the Post-Impressionists at the Grafton, is by far the best large painting that he has done. This design has the momentary, precarious balance of a kaleidoscope pattern, and w e feel that the raising or depression of the poised toe of one of the figures would induce an immediate shifting of all the other angles of the structure. Much, n o doubt, has been sacrificed to the violence of the play of these angles—greater elasticity of movement, for example, might easily have been secured without departing f r o m the chosen convention, had the artist consented to the notation of the slight tilt of a pelvis, the slight bending of a supporting limb, whereby the weight of a figure poised on one leg is distributed and the balance maintained. T h e imaginative interest of the dance is somewhat lessened b y the formal starring of the figure f r o m a centre, which makes it a rather obviously mechanical marionette.' The Times (19 December 1912, p. 9) wrote that Dance [sic] seems to belong to a different world f r o m all the other pictures in the r o o m . . . though w e see n o dance in it, we d o see a kind of geometrical logic. . . . W e like this better than most cubist pictures.' American Art News, 'London Letter' (signed L. G.-S.) finds the w o r k 'an ingenious geometrical arrangement, all the more

430

puzzling since at times it does actually bear a remote resemblance to the subject chosen.' (11 January 1913,?- 5)April 1913 ' T h e C o n t e m p o r a r y Art Society', Goupil Gallery P5

139 The Laughing W o m a n

July 1913 ' T h e London Salon of the Allied Artists' Association Ltd (sixth year)', Royal Albert Hall 141 142 P8

889 Drawing (5 gns) 890 Drawing (5 gns) 998 Group ( £ 3 ° ) PI. 27 N o s 889 and 890, as printed in the body of the exhibition catalogue, were Group and Head, each priced at ,£18, which were replaced, according to the errata section, b y t w o pictures called Drawing. N o s 889-90 were listed under the heading 'oil paintings, water colours, pastels, etc.', N o . 998 under 'large paintings and decorative works'.

October 1913 'Post-Impressionist Galleries P4 *U6 *U7 46 + 156 *U8 *U9

84 97 98 187 188 189 190

and

Futurist Exhibition',

Dore

Kermesse Design Group Creation PI. 13 Two Workmen Nostalgia Portrait

Creation and Two Workmen were sold for a total of twelve guineas according to a letter to Lewis f r o m the Dore Galleries, dated 28 October 1913, n o w in the Department of Rare Books, Cornell University. I conclude f r o m the price that the t w o pictures were drawings. December 1913-January 1914 'Exhibition of the w o r k of English Post-Impressionists, Cubists and Others', Public Art Galleries, Brighton The catalogue contains twoforewords: one by J. B. Manson, speaking for the more conservative section of the exhibition, and the one by Lewis, reprinted here. THE CUBIST

ROOM

Futurism, one of the alternative terms for m o d e r n painting, was patented in Milan. It means the Present, with the Past rigidly excluded, and flavoured strongly with H . G. Wells' dreams of the dance of monstrous and arrogant machinery, to the frenzied clapping of men's hands. But futurism will never mean anything else, in painting, than the art practised by the five or six

APPENDIX

Italian painters grouped beneath Marinetti's influence. Gino Severini, the foremost of them, has for subject matter the night resorts of Paris. This, as subject matter, is obviously not of the future. But we all foresee, in a century or so, everybody being put to bed at 7 o'clock in the evening by a state-nurse. Therefore the Pan Pan at the Monaco will be, for Ginos of the future, an archaistic experience. Cubism means, chiefly, the art, superbly severe and so far morose, of those w h o have taken the genius of Cézanne as a starting point, and organized the character of the works he threw up in his indiscriminate and grand labour. It is the reconstruction of a simpler earth, left as choked and muddy fragments by him. Cubism includes much more than this, but the 'cube' is implicit in that master's painting. T o be done with terms and tags, Post Impressionism is an insipid and pointless name invented by a journalist, which has been naturally ousted by the better word 'Futurism' in public debate on modern art. This room is chiefly composed of works by a group of painters, consisting of Frederick Etchells, Cuthbert Hamilton, Edward Wadsworth, C. R. W . Nevinson, and the writer of this foreword. These painters are not accidentally associated here, but form a vertiginous, but not exotic, island in the placid and respectable archipelago of English art. This formation is undeniably of volcanic matter and even origin; for it appeared suddenly above the waves following certain seismic shakings beneath the surface. It is very closely knit and admirably adapted to withstand the imperturbable Britannic breakers which roll pleasantly against its sides. Beneath the Past and the Future the most sanguine would hardly expect a more different skeleton to exist than that respectively of ape and man. Man with an aeroplane is still merely a bad bird. But a man who passes his days amid the rigid lines of houses, a plague of cheap ornamentation, noisy street locomotion, the Bedlam of the press, will evidently possess a different habit of vision to a man living amongst the lines of a landscape. As to turning the back, most wise men, Egyptians, Chinese, or what not, have remained where they found themselves, their appetite for life sufficient to reconcile them, and allow them to create significant things. Suicide is the obvious course for the dreamer, w h o is a man without an anchor of sufficient weight. The work of this group of artists for the most part underlines such geometric bases and structure of life, and they would spend their energies rather in showing a different skeleton and abstraction than formerly could exist, than a different degree of hairiness or dress. All revolutionary painting today has in common the rigid reflections of steel and stone in the spirit of the artist ; that desire for stability as though a machine were being built to fly or kill with; an alienation f r o m the traditional photographer's trade and realisation of the value of colour and form as such independently of what

i exhibitions

(1914)

recognisable form it covers or encloses. People are invited, in short, to entirely change their idea of the painter's mission, and penetrate, deferentially, with him into a transposed universe, as abstract as, though different to, the musician's. I will not describe individually the works of my colleagues. In N o . 165 o f E . Wadsworth, No. 161 of Cuthbert Hamilton, Nos 169 and 181 of F. Etchells, No. 174 of C. R. W . Nevinson, they are probably best represented. Hung in this room as well are three drawings by Jacob Epstein, the only great sculptor at present working in England. He finds in the machinery of procreation a dynamo to work the deep atavism of his spirit. Symbolically strident above his work, or in the midst of it, is, like the Pathé cock, a new-born baby, with a mystic but puissant crow. His latest work opens up a region of great possibilities, and new creation. David Bomberg's painting of a platform announces a colourist's temperament, something between the cold blond of Severini's earlier paintings and Vallotton. The form and subject matter are academic, but the structure of the criss-cross pattern new and extremely interesting. P2 168 Creation ( £ 2 5 ) *Uio 170 Après-midi d'un faune ( £ 2 5 ) pl 2 P 8 171 Group ( ^ 3 ° ) -7 *Ui3 190 Group ( £ 9 ) *U 12 191 Classic Group ( ¿6) *Un 192 Brothers (¿¿9) These pictures were listed under the heading 'Oils etc.' (as against 'Watercolours etc.'). March 1914 'The First Exhibition of Works by Members of the London Group', Goupil Gallery 143 43 Enemy of the Stars (drawing for sculpture) (¿10) PI. 24 *i?3 44 Time ( £ 1 0 ) *175 45 Vermicelli (£ 10) Pi 1 68 Eisteddfod (£40) P g 78 Christopher Columbus ( £ 7 0 ) May-June 1914 'Twentieth-century Art', Whitechapel Gallery P13 25 Slow Attack PI. 22 July 1914 'The London Salon of the Allied Artists' Association Ltd (seventh year)', Holland Park Hall P12 1546 Plan of War Pi. 22 No. 1546, as printed in the body of the exhibition catalogue, was The ABC which was replaced, according to the errata section, by Plan of War. 167 1547 Night Attack 171 1548 Signalling 431

APPENDIX I e x h i b i t i o n s ( 1 9 1 4 : 1 9 1 5 )

August 1 9 1 4 Scarborough Arts Club A letter from Edward Wadsworth to Lewis, dated 1 1 August 1 9 1 4 (Department of Rare Books, Cornell University), refers to 'our Leeds pictures' (see Appendix II) exhibited at the Scarborough Arts Club.

March 1 9 1 5 'The Second Exhibition of Works by Members of the London Group', Goupil Gallery P17 Pig

83 The C r o w d Colour plate VI 84 The Workshop PL 30

June 1 9 1 5 'Vorticist Exhibition', Dore Galleries NOTE

FOR

CATALOGUE

This is the first exhibition of a group of painters, to w h o m the name Vorticist has been given. Their work has been seen in various exhibitions, the London Group, The Allied Artists and elsewhere; also Blast was started principally as a vehicle for the propagation of their ideas, and as a sort of picture-gallery, too. But this is the first time in England that a Gallery has been used for the special exhibition of nothing but the works of this tendency by English artists. In addition to the Vorticist Group several other artists similar in aim have been invited to exhibit, and the show includes specimens of the work of every notable painter working at all in one or other of the new directions. B y Vorticism we mean (a) A C T I V I T Y as opposed to the tasteful P A S S I V I T Y of Picasso; (b) S I G N I F I C A N C E as opposed to the dull or anecdotal character to which the Naturalist is condemned; (c) E S S E N T I A L M O V E M E N T and A C T I V I T Y (such as the energy of a mind) as opposed to the imitative cinematography, the fuss and hysterics of the Futurists. (a) Picasso in his latest work is rather in the same category as a dressmaker, he matches little bits of stuff he finds lying about. He puts no life into the other pieces of cloth or paper he sticks side by side, but rather C O N T E M P L A T E S T H E I R B E A U T Y , placing other things near them that please. His works are monuments of taste, but too much natures-mortes the whole time. (b) The impression received on a hot afternoon on the quays of some port, made up of the smell of tar and fish, the heat of the sun, the history of the place, cannot be conveyed by any imitation of a corner of it. The influences weld themselves into an hallucination or 432

dream (which all the highest art has always been) with a mathematic of its own. The significance of an object in nature (that is its spiritual weight), cannot be given by stating its avoirdupois. What a thing spiritually means to you can never be rendered in the terms of practical vision, or scientific imitation. (c) Moods, ideas and visions have movements, associating themselves with objects or an object. An object also has an E S S E N T I A L movement, and essential environment, however intimate and peculiar an object it may be—even a telephone receiver or an Alpine flower. It is difficult to condense in a short foreword these ideas in such a w a y as to dispel the suspicion and puzzlement of the Public in looking at these pictures. In the second number of BLAST, which is appearing in a week's time, there is a full and detailed exposition of them. A point to insist on is that the latest movement in the arts is, as well as a great attempt to find the necessary formulas for our time, directed to reverting to ancient standards of taste, and by rigid propaganda, scavenging away the refuse that has accumulated for the last century or so. Artists today have an immense commercialized mass of painting and every form of art to sanify or destroy. There has never been such a load of sugary, cheap, anecdotal and in every w a y pitiable muck poured out by the ton—or, rather, such a spectacle socially has never been witnessed before. There is not a little grocer in Balham, bromedic Baroness in Bayswater, or dejected Princess who has not a gross of artists closely attending to his or her needs, aesthetically. Let us give a direct example of h o w this revolution will w o r k in popular ways. In poster advertisement by far the most important point is a telling design. Were the walls of London carpeted with abstractions rather than the present mass of work that falls between two stools, the design usually weakened to explain some point, the effect architecturally would be much better, and the Public taste could thus be educated in a popular w a y to appreciate the essentials of design better than picture-galleries have ever done. As to the popular acceptance of such abstract works as are found here, definite P O P U L A R acceptance should never be aimed at. But it must be readily admitted that the audience of modern music, of more thoughtful plays, etc., will need some other food, in the matter of painting, than the perpetual relaxed and pretty professional work found still in almost any contemporary Exhibition. Regarding the present war as a culmination of a friction of civilizations, Germany, had she not an array of great artists, musicians and philosophers to point to, would be much more vulnerable to the attacks that her truculent methods of warfare call forth on all hands.

APPENDIX I exhibitions ( 1 9 1 7 : 1 9 1 9 )

England as a civilizing power, cannot make herself too strong in those idealer ways in which Germany traditionally excels. W e feel that in efforts and initiative we are necessary to this country. After the war, Kultur (reform-kleids, Gluckesque nymphs, and melodramatic pedantry) demolished, England must no longer neglect her organization for Art and kindred things as has usually happened in the past. Pictures + t f ^ \ ?170 U15 Pip

(a) T w o Shafts Man and W o m a n (b) Red Duet PL 28 (c) Democratic Composition (d) Workshop PI. 30

Drawings 204 (a) Design for 'Red Duet' *207 (b) Harsh Design *20I (c) A Ceremonious Scene

PI. 26

*I99

(d) B a t h e r s

*203 *202

(e) Design for Painting (f) Design for'Conversation in Jack' The catalogue is divided into sections covering 'Pictures', 'Drawings' and 'Sculpture'. It is not clear whether the term 'pictures' means oil paintings only, or is intended to include coloured drawings as well. A poster for this exhibition may have existed (see H-R, p. 38) but I have not been able to locate a copy.

January 1917 Vorticist Exhibition, Penguin Club, N e w York Discussions between Ezra Pound and John Quinn about holding a Vorticist exhibition in N e w York began in the spring of 1915; their complex course can be traced in the original correspondence, n o w in the John Quinn Memorial Collection, Manuscript Division, N e w York Public Library, and a summary can be found in Ben L. Reid, The Man from New York (New York, London, 1968). Quinn seems to have either owned or subsequently purchased all of Lewis's works in the exhibition (more than 45 out of a total of 75 pictures shown). Lewis's exhibits are probably represented by the total of his works later in the Quinn sale except for the war pictures listed on P- 449Reid (p. 292) states that Quinn composed and proof-read the exhibition catalogue, but I have not been able to locate a copy and Professor Reid has kindly informed me that he has not seen one either.

February 1919 'Guns by W y n d h a m Lewis', Goupil Gallery FOREWORD The public, surprised at finding eyes and noses in this exhibition, will begin by the reflection that the artist has conceded Nature, and abandoned those vexing diagrams by which he puzzled and annoyed. The case is really not quite that. All that has happened is that in these things the artist has set himself a different task. A Tchekov story, or the truth of a drawing by Rembrandt, is a highly respectable thing, and in the highest degree worth doing. I never associated myself to the jejune folly that would tell you one week that a Polynesian totem was the only formula by which the mind of Man—the Modern Man, Heaven help him! — might be expressed: the next, that only by some compromise between Ingres and a Chinaman the golden rule of self-expression might be found. M y written work is hardly, after all, a monument of abstraction! 'Abstract Art', expressionism, cubism, or what not is a fanatic, if you will, but a perfectly sincere insistence on the fundamentals of design or colour. The multitudinous formulae that present themselves to the artist and stimulate his curiosity or challenge his sense of adventure are investigated, combined, new formulae evolved. At the present day the GrecoRoman, Renaissance tradition, equally with the naturalism of the 19th century in France, or of the flat facilities that flourish by the Chinese sea, are not a fetish or a thing exclusively imbibed or believed. The Artist 'takes what he will', like the gentleman in the Purple Mask. As a logical development of much of the solidest art in this very various world there is nothing so devilish or mad in any of the experiments in art that prevailed in the years preceding the War. That much said, and turning to this exhibition: there is very little technically abstruse in it; except in so far as it is always a source of astonishment to the public that an artist should not attempt to transcribe Nature literally, without comment, without philosophy, without vision. I have attempted here only one thing: that is in a direct, ready formula to give an interpretation of what I took part in in France. I set out to do a series dealing with the Gunner's life from his arrival in the Depot to his life in the Line. Some episodes or groupings may, for the physical interest I took in them, or in their arrangement, somewhat impair the scheme, looked at from the standpoint of the illustrator, and I have not yet got my series. The War has, so far, been reflected in art with the greatest profusion. But the same can be said of life at any time; and we are not much the wiser. Whatever we may think about that, it is certain that the philosophy of the War, all the serious interpretation of it, has yet

433

A P P E N D I X I exhibitions ( 1 9 1 9 )

to b e d o n e . T h a t c o u l d not, f o r a h u n d r e d reasons, be a c c o m p l i s h e d d u r i n g the W a r . T h i s is in n o w a y m e a n t to disparage the g o o d w o r k relating to the W a r , in painting, that has b e e n d o n e so far. B u t all the W a r j o u r n a l i s m , in painting and w r i t i n g , w i l l cease w i t h the p u n c t u a l i t y and netteté o f a pistol shot w h e n the w a r curtain goes d o w n . It w i l l then be the turn o f those w i t h experience o f the subject, the inclination, the m o o d , to m a k e the true record. T r u t h has n o place in action. T h i s s h o w , then, pretends n o t h i n g , in e x t e n t : I m a k e o n l y the claim f o r it in k i n d that it attempts to g i v e a personal a n d i m m e d i a t e expression o f a tragic event. E x p e r i m e n t a t i o n is w a i v e d : I h a v e tried to d o w i t h the pencil and brush w h a t story-tellers like T c h e k o v o r Stendhal did in their b o o k s . It m a y b e useful to consider W a r as subject-matter, its possibilities a n d appeals t o the artist. Since w a r - a r t has been discussed as a result o f the universal conditions o f w a r p r e v a i l i n g and since artists, such as w e r e not in the A r m y , h a v e turned their subject-matter f r o m the A c a d e m y r o s e b u d into the k h a k i b r a v e ; or those in the outer fashion, f r o m the c u b e d c o c k n e y into the c u b e d T o m m y ; e v e r since the art-critic, he also, has b e e n f o r c e d to d r a g his e y e and p e n a w a y f r o m the N y m p h and P r e t t y L a d y and f i x t h e m on a m u d d y fight ; w h a t artist's n a m e has been m o s t f r e q u e n t l y heard? Uccello: that is the n a m e w e h a v e m o s t f r e q u e n t l y heard. N o w , in an automatic w a y p e o p l e b e g a n to accept that n a m e , and the picture that hangs in the N a t i o n a l G a l l e r y a b o v e that n a m e , as t y p i f y i n g w h a t the artist can d o w i t h W a r . Détaillé, Meissonier w e r e banal illustrators; V e r e s t c h a g i n w a s a ' w a r artist' p r i m a r i l y ; U c c e l l o w a s the o n l y great master, in a h a n d y place, w h o c o u l d g i v e us an e x a m p l e o f w a r as subject matter. U c c e l l o ' s battle-piece is a m a g n i f i c e n t still-life, a p a g e a n t o f a r m o u r s , cloths, etc., the trappings and w a r d r o b e o f W a r , b u t in the lines and spirit o f it, as peaceable and b l a n d as a n y tapestry representing a civic b a n q u e t c o u l d be. It does not b o r r o w f r o m the fact o f W a r a n y e m o t i o n , a n y disturbing o r dislocating v i o l e n c e , terror o r c o m p a s s i o n — a n y o f the p s y c h o l o g y that is p r o p e r to the events o f W a r . A J a p a n e s e w a r r i o r , w i t h his f e r o c i o u s m a s k , is m o r e f r i g i d than the classic masks o f M a n t e g n a ' s despairing w o m e n . U c c e l l o ' s battle-piece is a p e r f e c t l y placid p a g e a n t r y . It w a s easier, n o d o u b t , w i t h so m u c h o b v i o u s splendour at that p e r i o d to retain this aloofness. B u t , in a n y case, the principal thing is that this is a p u r e l y i n h u m a n picture, in the sense that the artist's attitude w a s that o f the g o d f o r w h o m b l o o d and death m e a n n o m o r e than bird's p l u m a g e and the scintillations o f steel. A n o t h e r great artist has g i v e n us a rich and m a g n i f i cent w o r k dealing w i t h w a r f r o m a v e r y different angle. G o y a ' s 'Desastres de la G u e r r a ' , a series o f etchings d o n e in his o l d age, is an alternately sneering, blazing, a l w a y s f u r i o u s satire directed against Fate, against the F r e n c h ,

434

against e v e r y f o l l y that culminates in this j a g g e d h o r r o r . T h i s w a r - a r t is as passionate as U c c e l l o ' s is cold. B o t h are e q u a l l y great as painting. Y o u k n o w V a n G o g h ' s scene in a prison y a r d ? T h e n y o u k n o w h o w h e w o u l d treat w a r . Y o u k n o w V e l a s q u e z ' Surrender of Breda'? T h a t is his w a r . It is clear, then, that an artist o f a certain t y p e w o u l d a p p r o a c h a n y disturbance o r calamity w i t h a child-like and u n r u f f l e d curiosity and p r o c e e d to arrange N i s s e n huts, shell-bursts, elephants, c o m m a n d i n g officers, aeroplanes, in patterns, j u s t as h e w o u l d p r o c e e d w i t h flowers in a vase, or m o r e delectable and p e a c e f u l objects. A n o t h e r c o m e s at pictorial expression w i t h o n e o r other o f the attendant genii o f passion at his e l b o w , e x c i t i n g h i m to m a k e his w o r k a ' w o r k o f a c t i o n ' ; the M a n o f A c t i o n h a v i n g his counterpart in the w o r k s o f the m i n d . S u c h general r e m a r k s m a y help in the reading o f these pictures.

313 280 294 309

1 0 Studies f o r Pictures G u n s in O p e n Near Menin Road PI. 34 13 Shell-humping W h e n fresh supplies o f a m m u n i t i o n reach a h e a v y B a t t e r y b y l o r r y , f a t i g u e parties o f 11 12

the m e n c a r r y the shells to the B a t t e r y and stack t h e m in lots o f f i f t e e n or t w e n t y near *2#2

*301 *284

322 293 288 k 2Ç0 *275 k 2 34

14

15 16

17 18 19 20 21 21a

the guns. Kieffer's M e n T e n o r f i f t e e n W e s t Indians, s o m e t i m e s in c h a r g e o f an officer, are attached to batteries to help w i t h s h e l l - h u m p i n g and h e a v y fatigues in times o f stress. T h e Officers' Mess L o o k - o u t f o r S . O . S . O p e r a t i o n s Post Signallers are sent u p to [a] spot f r o m w h i c h the lines can be seen, to report o n S . O . S . ' s . Walking Wounded PI. 33 N e a r B a t t e r y Position The Menin Road PI. 34 M e n ' s Quarters Duck-board Track T h e W a y o f the S u n T h i s title refers to the m e t h o d e m p l o y e d in coiling rope.

302

22

O f f i c e r and Signallers A n o f f i c e r w i t h a f e w signallers g o u p f r o m the B a t t e r y position to the front-line, o r a point near it, to o b s e r v e the fire o f their o w n B a t t e r y and other Batteries in the g r o u p , in the case o f S i e g e guns.

287

23

The Map Room o r the B a t t e r y C o m m a n d e r ' s post is the

APPENDIX I exhibitions (1919) o w n Batteries, barrages, and so on. It is their duty to range their Batteries on different objectives, give details of the result of fire, accounts of hostile shelling, movements, etc.

dug-out in the Battery position from which the fire of the Battery is directed, and where the calculations for the new targets, ranging, etc., are worked out. "314 k 3>5 295

24 Study 25 Study 26 The No. 2

PI. 35

Each [member] of the gun crew has his number, each having a particular function. The N o . 4 for instance is the man w h o lays the gun and nothing else. It is the N o . 2 who fires the gun, by jerking a lanyard, wire or cord, so producing the series of explosions which cause the discharge. 308

27 The Rum Ration

Pi. 33

At the nightly serving out of the rum ration in a Battery, an officer has always to be present. The sergeant is here seen with the rum bottle, and men coming in through the door of the dug-out with their dixies. 267 326 278

28 Battery Position in a Wood 29 Ypres Salient 30 Group for 'Mark VII Platform' Trenches are dug for the platforms, the baulk of which the men are here seen lowering into place.

35 263 32S

31 Quiet Evening in Battery 32 Action 3 3 The Wheel Purchase

*37 k 272 2Ç1

*3i6 P23

is the attaching of a rope at the axle, whence it is carried around and over the top of the wheel; resorted to when guns get stuck in bad ground. 34 The Relief Arriving 3 5 Concentration on Battery 36 Men's Quarters Shelled In the case of S.O.S. when the guns are supporting the infantry, the gun crews remain at the guns whatever the shelling may be. In other cases when periodic and bad shelling occurs, the men scatter until it is over, otherwise in some Battery positions the personnel would too rapidly disappear. Similarly, when the men's quarters are badly shelled, the men get out of the w a y until the shelling has stopped. These notes apply principally to heavy guns. 37 Study of Gun Mechanism 38 Practice Barrage In this painting officers and signallers are seen in trenches or dug-outs within sight of the enemy, observing the fire of their

320 273 274 283 *28i

*34 271 *296 P24 P21

39 40 41 42 43

Tommies Conversing Drag-ropes PI. 34 ' D . ' Sub-section Relief PI. 34 Laying Hell-fire Corner, Nieuport

44 45 46 47 48

All cross-roads or turnings a good-deal shelled are called 'hell-fire corner' or 'hell-blast'. The Pill-Box The Battery Shelled O.P. T o Wipe Out Brigade Headquarters This is a dug-out not far from the front line; two soldiers are seen cooking in the foreground.

*32i 268

49 Waiting for R u m 50 Battery Pulling in (I) When a Heavy or Siege Battery pulls in to a new position the site for the guns has already been allotted, and in the case of a gun using a platform, the gun emplacement has to be dug out and the platform placed in position. The stores are brought up in lorries, unloaded and placed in a convenient position beside the gun to which they belong.

2J0

51

Battery Salvo Term denoting that every gun in the Battery, at a given signal, fires simultaneously.

269 264 312

52 Battery Pulling in (II) 53 Anti-Aircraft 54 S.O.S. A t the S.O.S. signal all Batteries instantly open up fire on fixed and pre-arranged targets, the object being to neutralise the fire of hostile batteries as far as possible, to block roads, etc.

All the pictures are believed to be drawings except those numbered 38, 47 and 48. The gallery's copy of the catalogue (preserved in the Tate Gallery research library) has the notation 'not received' against numbers 1 3 - 1 6 , 20, 21a, 3 1 , 42, 44and48. The following pictures, whose titles were added in ink in the gallery copy of the catalogue, were also exhibited: Six Studies (*3ii), Study for 'To Wipe Out' (318). The title Three Studies (*319)

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APPENDIX I exhibitions (1920) is also added with the notation 'received since exhibition'. January 1920 'Drawings by Wyndham Lewis', Adelphi Gallery This exhibition was announced in the 'Exhibitions of the Week' section of The Athenaeum, 16 January 1920 (p. 85) and in Colour, February 1920 (p. xvii). The drawing Ingenue (334) is stated by its owner, Manchester City Art Galleries, to have been shown at the exhibition (No. 12). I understand the Adelphi Gallery did riot have catalogues for its exhibitions at this time. March 1920 'Group X ' , Mansard Gallery FOREWORD The members of this group have agreed to exhibit together twice annually, firstly for motives of convenience, and with no theory or dogma that would be liable to limit the development o f a n y member. Each member sails his own boat, and may lift his sails to any wind that may seem to him to promise a prosperous cruise. On the other hand, the ten original members 1 have not come together so much by accident that they do not share certain fundamental notions in common. Clearly, should one brace his jib-boom, and pull up his top-gallant-sail, and steer a course that was undoubtedly going to bring him to port cheek by j o w l with such scurvy and abject craft as bear the euphonious names o f ' J a c k ' or 'Collier', he would be expected, and indeed in any case would, remain in that golden and vulgar port until the Crack of Doom, as far as his present companions are concerned. Group X , on the other hand, is not in the nature of a piratic community. They are a band of peaceful traders—naturally armed to the teeth, and bristling with every device to defend the legitimate and honourable trafficking that is the result of their enterprising toil. That much established, it still remains evident that the founding of this small community is not entirely fortuitous. When you speak of the unfettered development of the individual, you do not mean such development as has just been indicated, terminating in the gilded, sluggish port. And it is probable that the merchandise marked X will be known for a certain quality rather

1

The ten original members referred to were: Lewis, Jessie Dismorr, Frederick Etchells, Charles Ginner, C . J . Hamilton, E. McKnight Kauffer, William Roberts, William Turnbull, Edward Wadsworth and the sculptor Frank Dobson.

436

than another. X will not, and is not meant to, signify anything that can be made. It is unnecessary to review in detail the existing organizations for the exhibition of pictures in England. But the artists collaborating in this Group hold roughly the following opinions on the subject of two of the largest of them. The large official Exhibition at Burlington House appears to them to be beyond redemption. It is a large and stagnant mass of indescribable beastliness, that no effort can reform short of the immediate extinction of every man, woman and child at present connected with it. O f the 'outside' and so-called independent Societies, the New English Art Club is a large and costive society. It is choked with the successive batches of Slade talent, and is an obviously enervating and retrograde institution. Like any society that has existed so long, practically unpurged year after year, it has grown a constipated mass of art-school dogmas whose function is to nurse the young through its connection with the largest (independent, also) art-school in the country, the Slade School. But the Slade is enormously prolific. As an artschool, it is prone to producing geniuses very much of a pattern. The result is that the N e w English Art Club might be said to suffer intestinally from over-feeding on this particular delicacy—namely 'Genius'. This Victorian monstrosity, the favourite food of the N E A C , will eventually be the death of it. As to the London Group, several members of Group X have expressed their sentiments with regard to the utility of that n o w rather swollen institution (destined perhaps to become a N e w English Art Club up to date) by lately retiring from it. O f the 'certain fundamental notions' that this small collection of artists have been said to hold in common, the following may be taken as those that principally give them the solidarity necessary for them to thus go aside from the greater exhibiting bodies and form an independent Group. They believe that the experiments undertaken all over Europe during the last ten years should be utilized directly and developed, and not be lightly abandoned or the effort allowed to relax. For there are many people today who talk glibly of the 'victory' of the Cubist, Vorticist or Expressionist movements, and in the next breath of now putting the armour off and becoming anything that pays best, repairing wherever, after the stress of a few years, the softest time is to be secured. A group was formed some months ago, naming itself six and ten, 2 or something like that, which has

2 This group, called (as, one may suppose, Lewis well knew) the 'Seven and Five Society', was formed in 1920 by seven painters and five sculptors. For further information see Sir John Rothenstein, Modern English Painters: Lewis to Moore, p. 308 (note).

APPENDIX 1 e x h i b i t i o n s ( 1 9 2 0 : 1 9 2 1 )

used, to recommend itself, arguments on these lines: — 'We are the latest thing, if that is what you are looking for. W e have gone right back to the PreRaphaelites—that is so English, too, you know, as well as being le dernier cri. The Cubists were useful (not to us, of course, but to Art in general—vaguely—somehow); but that battle is over, that war is over! Let us, therefore, as occurs in the case of all wars, forget at once all about it, and also what it was supposed to be for. It was really, as we have very astutely seen (and tell you in confidence) for Pre-Raphaelitism all the time! And we are such a "spiritual" lot of chaps too!' W h y Pre-Raphaelitism (for which Dante Rossetti was a good deal responsible) should be particularly English it is difficult to see. Rowlandson, Fielding, are English enough—more English than any phase of Victorian Romanticism. The age of Elizabeth furnishes examples of art that are surely as 'national' as it is desirable to be: perfectly interpenetrated with Western European culture, and yet using that culture independently with a freedom considered barbarous by the French. I give this instance of the manoeuvres of one of the many associations of younger artists resolved to step into one well-trodden path or another, and call it new, and at the same time abuse the living movements still developing on the Continent of Europe, in order to indicate at the same time one of the tendencies with which Group X is in conflict. If you should wish to relate the artists of Group X to something English, Rowlandson would be the figure they would indicate rather than Madox Brown, as a model Islander. Also they would refer you to a time in English history when England formed part of Europe, participating intellectually in the life of France, Spain and Italy, rather than to a time when England took on a clammy cloak of provincial narrowness, as occurred in the Victorian period. Nothing more than these general indications of policy need be said in explanation of the founding of this small group. Painting Self-portrait Drawings 1 2 3 4 5 6

Self-portrait Self-portrait Self-portrait Self-portrait Self-portrait Self-portrait The only one of Lewis's works at this exhibition which is positively identifiable is 426 which was reproduced in the catalogue. The painting may possibly have been Self-portrait with Chair and Table (P32).

April 1921 'Tyros and Portraits', Leicester Galleries FOREWORD I have narrowed this exhibition to two phases of work. One is of work done directly in contact with nature, or with full information of the natural accidental form. The other phase is one which I have just entered, that of a series of pictures coming under the head of satire; grotesque scenes of a selected family or race of beings that will serve to synthetise the main comic ideas that attack me at the moment. What I mean by the term T y r o is explained in a further note. Unnecessary as it would appear to point out that these Tyros are not meant to be beautiful, that they are, of course, forbidding and harsh, there will, no doubt, be found people w h o will make this discovery with an exclamation of reproach. Swift did not develop in his satires the comeliness of Keats, nor did Hogarth aim at grace. But people, especially in this country, where satire is a little foreign, never fail to impeach the artist when he is supposed to be betraying his supreme mistress, Beauty, and running after what must appear the strangest gods. Most of the drawings are drawings from nature. It is important for an experimental artist and for experimental artists generally, to demonstrate that these activities are not the consequence of incompetence, as the enemies of those experiments so frequently assure the public. I do not know if all these drawings will be productive of that conviction, but some of them may. There are no abstract designs in this exhibition, and I have included no compositions or purely inventive work except m y new vintage of Tyros, wishing to concentrate attention on this phase of work. I will add one general indication of direction. There are several hostile camps within the ranks of the great modern movement which has succeeded the Impressionist movement. The best organised camp in this country looks on several matters of moment to a painter today very differently from myself. The principal point of dispute is, I think, the question of subjectmatter in a picture; the legitimacy of consciously conveying information to the onlooker other than that of the direct plastic message. Is the human aloofness and various other qualities, of which even the very tissue and shape of the plastic organisation is composed, in, say, a Chinese temple carving, to be regarded as compromising? M y standpoint is that it is only a graceful dilettantism that desires to convert painting into a parlour game, a very intellectual dressmaker's hobby, or a w a y w a r d and slightly hysterical chess. Again, abstraction, or plastic music, is justified and at its best when its divorce from natural form or environment is complete, as in Kandinsky's expressionism, or in the experiments of the

437

APPENDIX

i exhibitions

(1921)

1914 Vorticists, rather than when its basis is still the French Impressionist d o g m a of the intimate scene. Prototypes of the people w h o affirm and flourish this new taboo o f ' p u r e art', which is not even pure, will, in twenty years' time, be reacting obediently against it. T w e n t y years ago, 'art for art's sake' was the slogan of the ancestor of this type of individual. O u r present great general m o v e m e n t must be an emancipation towards complete h u m a n expression; but it is always liable in England to degenerate into a cultivated and snobbish game. M y Tyros m a y help to frighten away this local bogey. N O T E ON T Y R O S

This exhibition contains the pictures of several very powerful Tyros.* These immense novices brandish their appetites in their faces, lay bare their teeth in a valedictory, inviting, or merely substantial laugh. A laugh, like a sneeze, exposes the nature of the individual with an unexpectedness that is perhaps a little unreal. This sunny c o m m o t i o n in the face, at the gate of the organism, brings to the surface all the b u r r o w i n g and interior broods which the individual may harbour. U n d e r standing this so well, people hatch all their villainies in this seductive glow. Some of these Tyros are trying to furnish you with a m o m e n t of almost Mediterranean sultriness, in order, in this region of engaging w a r m t h , to obtain some advantage over you. B u t most of t h e m are, b y the skill of the artist, seen basking, themselves, in the sunshine of their o w n abominable nature. These partly religious explosions of laughing Elementáis are at once satires, pictures and stories. T h e action of a T y r o is necessarily very restricted; about that of a puppet w o r k e d with deft fingers, with a screaming voice underneath. There is none of the pathos of Pagliacci in the story of the Tyro. It is the child in h i m that has risen in his laugh, and you get a perspective of his history. Every child has its figures of a constantly renewed mythology. T h e intelligent, hardened and fertile crust of mankind produces a maturer fruit of the same kind. It has been rather barren of late. Here are a few large seeds. ?4gi 21 400 1175 40g

1 2 3 4 5

Study: Miss Iris Tree Girl Asleep PL 3 Lady in Windsor Chair Bella Medler (No. 1) Poet Seated PL 44

* [Lewis's note] T y r o — A n elementary person; an elemental, in short. Usually k n o w n in journalism as the Veriest Tyro. {All the T y r o s w e introduce to you are the Veriest Tyros.)

438

*ngi *u8o 1187 P33 *II85 *ll8i 423 433 1197 464 *u86 *n6s P30 P34 1172 *u88 *ug4 ?554 *120$ *Ui7 P31 U16 P27 1168 466 1152 *n6g *117Q 389 *1184 *ii2g *i2ig *II67 467 ?439 * 1206 *1176 *H73 410 P 2g

6 7 8 9 10

11 12

13 H 15 16

17 18

19 20 21

22 23 24

25 26 27 28

29 30 31 32 33 34 35 36 37 38 39 40

41 42 43 44 45

Pagan Appearance N u d e (Crouching) (No. 1) N u d e (Standing) Miss Iris Tree PL 66 N u d e (Seated) N u d e (Crouching) (No. 2) Self-portrait PL ¡3 Study for Painting (Seated Lady) PL 4g Ezra Pound, Esq. Lady Reading N u d e (Seated) (No. 2) Lady Seated in Armchair Praxitella PL 67 A T y r o about to Breakfast Man's Head N u d e Study Portrait of the Artist Sacheverell Sitwell, Esq. PL 59 Seated Figure Tyros (Showmen) Breakfasting A Reading of O v i d (Tyros) PL 74 The School of Tyros M r W y n d h a m Lewis as a T y r o PL 74 Lady with Clasped Hands Lady Reading (No. 2) PL 48 W . Gill, Esq. Lady with Legs Crossed Lady with Cloak Miss 'E' PL 44 N u d e (Resting) April Appearance T h e Writing Table Lady with Cigarette Lady Seated at Table C. B. Windeler, Esq. Seated Figure Bella Medler (No. 2) Mary Portrait of Girl PL 43 Portrait of the Artist as the Painter Raphael

According to a letter to the authorfrom the Leicester Galleries, the following pictures were bought at this exhibition but not listed in the catalogue: 347 *ng8 *ngg 1212 *i2iy

Ezra P o u n d PL 45 Drawing of Ezra Pound Study for Praxitella Study of a W o m a n Study of a W o m a n Resting on her A r m

The following painting was also bought at this exhibition: P28

Portrait of the Artist PL 66 A letter f r o m the Leicester Galleries to Lewis of 1921 states ' M r Rutherston cancels purchase of N o . 4 (>¿21) and N o . 22 (£12) and in exchange purchases the oil painting of yourself at 50

APPENDIX I e x h i b i t i o n s (1932 : 1937)

guineas.' The wording does not rule out the possibility that p 28 and p 29 are identical. But one would think, if this were so, the interesting title of P29 would have been passed along with the painting when Charles Rutherston gave it to the Manchester City Art Galleries. October 1932 'Thirty Personalities', Lefevre Galleries PREFACE This is a collection of thirty miscellaneous heads. I have been an unsystematic, if not a casual, head-hunter —an examination of my thirty heads will reveal no special selective design, except that every unit of this big bag of thirty is in some way remarkable, I think, and worthy of a place in the home of even the most particular head-hunter. So it is that that distinguished leader of catholic thought, Father D'Arcy, finds himself, almost literally, cheek by j o w l with the author of ' T h e Vortex': and Lord Rothermere is constrained alphabetically to consort with Viscountess Rhondda, and vice versa. The militant feminist, Stella Benson, alphabetically embraces our only great anti-feminist, Dr. Meyrick Booth. I have not planned these paradoxes; it is just as it happened. The thirty portraits included in this exhibition were all done (with the exception of two) 1 during the months of July and August, 1932. Coming from the workshop of an extreme experimentalist, they may at first be regarded rather as a demonstration of traditional draughtsmanship. They are not that. I have always practised side by side the arts of experiment and arts of tradition. To an artist there seems no contradiction in this—it only seems contradictory to the outsider, or the person imperfectly acquainted with the aims of the artist. There is no 'left' and no 'right' in the universe of art. There are merely an infinite variety of modes of expression. Some artists have within their reach many of these modes, others few. But that versatility or the reverse, again, does not stamp them as lesser or greater artists, necessarily. Even the scaleobsession—of big and of little masters—is foreign to the mind of the artist. For him there are only persons w h o are, once and for all, artists, and, of course, persons w h o are not. So this display of classic draughtsmanship does not signify in the least that I have repudiated the pictorial and plastic experiments with which my name has been mainly associated.

1

Only one picture in the exhibition did not date from 1932: Naomi Mitchison (718) of 1931. Another work, Drawing of James Joyce (396) of 1920, was not included in the exhibition, though it was reproduced along with all the others in the published portfolio Thirty Personalities and a Self-portrait.

But there is a further reason for the traditional character of thirty drawings. They one and all set out to be purely imitational—they are likenesses of people. But for them to be likenesses, elementary structure must be infinitely supplemented by the details of features and the planes proper to the particular head, marking it off from all other heads. Then there is the psychological content: all this rules out everything in the form of an abstract or sculptural statement. And practically all the problems of the experimental artist lie among the violent and arid generalizations, where Man, tout court, is of more importance than Mrs So and So, or Monsieur U n Tel—or Herr Dingsda. I move with a familiarity natural to me amongst eyeless and hairless abstractions. But I am also interested in human beings. 718 740 7S5 778 734 786 755 776 772 757 756 735 737 775 774 743 733 739 741 781 777 769 738 746 773 779 754 783 770 752

1 Miss Naomi Mitchison C. B. Cochran, Esq. PI. 102 3 A . J . A. Symons, Esq. PI. 104 4 Viscountess Rhondda 5 Ivor Back, Esq. PI. 103 6 Miss Rebecca West PI. 105 7 Newman Flower, Esq. PI. 102 PL 105 8 Wing Commander Orlebar 9 Constant Lambert, Esq. PI. 103 1 0 Mrs Desmond Harmsworth PI. 104 11 Desmond Harmsworth, Esq. PI. 102 1 2 Miss Stella Benson 13 Dr Meyrick Booth H Miss Marie Ney PI. 104 15 Duncan Macdonald, Esq. PI. 104 1 6 Rev. M. C. D'Arcy, S.J. PI. 102 17 The Hon. Anthony Asquith 1 8 Marchioness of Cholmondeley 19 Noel Coward, Esq. PI. 104 2 0 W y n d h a m Lewis, Esq. PL 99 2 1 J. B. Priestley, Esq. PL 103 2 2 Augustus John, Esq. PL 103 23 G. K. Chesterton, Esq. PL 103 2 4 Thomas Earp, Esq. PL 105 25 David Low, Esq. Pi. 103 2 6 Viscount Rothermere PL 105 2 7 Mrs Desmond Flower 28 Ivor Stewart-Liberty, Esq. PL 102 2 9 Henry John, Esq. PL 102 30 Miss Edith Evans PL 104 2

December 1937 'Paintings and Drawings by W y n d h a m Lewis', Leicester Galleries FOREWORD Three or four years ago I painted the first of these pictures and they are in some sort a series, from the Stations of the Dead to Inferno—the latter is still wet.

439

APPENDIX i e x h i b i t i o n s ( 1 9 3 7 )

It is considered by some people that the artist's business is to please, first, last, and all the time. Others believe that it is the function of the artist to translate experience, pleasant and unpleasant, into formal terms. In the latter case, as what we cxpcrience in life is not all pleasant, and the most terrible experience, even, is often the most compelling, the result is a tragic picture, as often as not. Bearing this in mind, one of the main questions to which this exhibition will give rise, in the mind of the general public, is answered. The art of tragedy is as much the business of the painter as it is the business of the dramatist. And many of these pictures belong to the tragic art. As to the manner of conveying the tragic, and the tragi-comic, impression. The canvas entitled Inferno will be plain sailing, I assume. In this composition (an inverted T, a vertical red panel, and a horizontal grey panel), a world of shapes locked in eternal conflict is superimposed upon a world of shapes, prone in the relaxations of an uneasy sensuality which is also eternal.

8 W o m a n with Clasped Hands 9 Siesta 1 0 Miss Edith Evans i l At a Café 1 2 A Cigarette PI. 124 PI. 56 13 Edward Wadsworth H Seated Girl 15 Meditation PI. 126 16 Girl Reading 17 The Invalid 18 'Enemy' Design 19 Miss S. 20 Gothic Head 2 1 Flower-woman 22 Hedwig 23 Froanna 24 Design 25 The Turban Hat PI. 60 26 Berber Boy 27 Cover Design for 'The Enemy'

1218 *i2og 1144 +1130 ?848 436 *1207 *U74 858 1163 648 * 1204

*U57 *ii4g 1161 *11$0 *1138 556 Ì709 633

from

*i 156

PI. 88 28 Mrs Eugene Goossens

Chaos is the outcome of a dream. I dreamed that a Princess,1 whose particularly graceful person is often present in the pages of our newspapers, was moving through a misty scene, apparently about to depart f r o m it, and with her were three figures, one of which was releasing a pigeon. This dream, with differences, was repeated, and it was so vivid that, having it in my mind's eye as plainly as if it were present to me, I painted it. As to the resemblance of the figure in the canvas to the princess in question—whose face you all know well, and whose beauty must have impressed itself on you as much as it has on me (though not with the same results)—the likeness is not material, and I have seen nothing but press pictures of my dream 'model'. Lastly there is a portrait of Miss Margaret Ann Bowes-Lyon, and there I had in the flesh a very beautiful, smiling girl before me. I hope I have not wronged those looks too much. However that may be, I would issue a challenge to Messieurs of the Royal Academy to do it better, if it is ever their good fortune to attempt it.

*1159 730

29 Head of a W o m a n Pi. 98 30 Tut

O n t h e o t h e r h a n d , t h e Departure

of a Princess

*iiÔ2

*1201

I Reading

875 1164 *1208 120 3 *H4i

2 3 4 5 6 7

Lady with Cloak Study of Young W o m a n A Lady from Boston Seated W o m a n Reading Nietzsche Don's Wife, Harvard

1 The late Princess Marina, Duchess of Kent, then much seen in newspaper photographs.

at the exhibition,

Drawing of the Countess oflnchcape

Paintings P55 P47

31 Nordic Beach PI. 106 32 Group of Three Veiled Figures plate

P53 P54 P57 P58 P45 P61 P63 P 48 P46 P49 P50

Drawings

440

The following work was purchased not listed in the catalogue :

33 34 35 36 37 38 39

Colour

XII

T w o Beach Babies Creation M y t h

PL 106

Colour plate

XIII

Sheik's Wife PI. 106 Cubist Museum PL 111 The Betrothal of the Matador PI. 106 Siege of Barcelona Colour plate IV Portrait of the Artist's Wife PL 129 40 Group of Suppliants PL 108 Colour plate XI 41 T h e I n v a l i d 42 The Inca (with Birds) PL 107 Colour 43 O n e of the Stations of the Dead plate I

P68

44 Departure of a Princess from Chaos PL 107 45 Inferno PL 110 46 Newfoundland PL 113 47 The Tank in the Clinic PL 108 48 Ann Lyon (Miss Margaret Ann Bowes-Lyon) 49 Panel for the Safe of a Great Millionaire

P52

50 Red Scene

P64 P72 P 67 P77 P73

PL 111

PL 107

but

APPENDIX I e x h i b i t i o n s ( 1 9 3 8 : 1949)

P 75, P74. P 56 P 6g

51 52 53 54

The Mud Clinic PL 1 og Masquerade in Landscape PI. 111 Queue of the Dead Players upon a Stage PI. 111

June-July 1938 'New Paintings and Drawings by Wyndham Lewis', Beaux Arts Gallery Paintings P86 *Pg2 P78 P87 *Pgo

1 Mr Stephen Spender Pl. 132 2 Polar Landscape Pl. 114 3 Daydream of the Nubian Pl. i2g 4 La Suerte 5 Harald in Sicily 6 Sevillian Marriage Pl. 106 7 Portrait of a Muse 8 Head PL 137 PL i2g 9 Mrs T . J . Honeyman 10 Mr T . S. Eliot PL 132 11 Figures on a Stage PL 111 12 The Lobster Fleet PL 136 13 Froanna 14 Arctic Summer: Coronation Gulf 15 Captain Cook in Ellesmere Land

P45 *P 93 P85 P63 P79 P6g *Pgi P71 *P 88 *P8g Drawings 834 1143 * 1153 461 go4 377 88g 8og *H7g *ng2 411 780

Roy Campbell PL 130 Edith Evans Girl and Book Girl Sewing PL 48 A Hand of Bananas Pl. g3 Helen PL 63 The Countess o f Inchcape PI. 127 Naomi Mitchison Pl. 124 Norsk Peeping Ezra Pound PL 43 Sealyham at Rest PL g8 The catalogue does not list titles for the drawings. Those given above have been kindly communicated to me by Mrs Lessore.

May 1949 'Wyndham Lewis', Redfern Gallery INTRODUCTION This assemblage o f paintings and drawings contains a few specimens o f quite 'abstract' work; much of abstracting tendency; and much work which is naturalistic. The presence o f work so different in kind, in what is largely a retrospective show, is not to be explained chronologically. In the days of 'vorticism',

I was at pains to put it on record that because I was 'abstracting' that did not mean I would abstain from work from nature. The first o f these modes o f expression did not appear to me to preclude in any way the second. T o illustrate this, last week I executed a 'semi-abstract' work and I was also completing two portraits which hang in this exhibition, in which M r T. S. Eliot and Mr Julian Symons can be seen exactly as they are in the flesh, their respective physiques in no way tampered with. The only way in which chronology applies is as follows. In the year or two prior to World War I, I attempted totally to eliminate from my work all reference to nature. This is not the place to expound my motives: it is enough to say that you will not find any work of mine later in date so 'abstract' as that. At that early period I reproached, even, the Paris school; o f 'nature-mortists', as I called tHem, for their inability to free themselves from the habit of naturalism. It was their practice to begin by painting a straight stilllife, or figure (as morte as was the 'nature-morte'), and then subject it to abstractions and distortions. For the work to be anchored in this way in a naturalistic subject-matter seemed ridiculous. There is an abstract world o f forms and colours: there is a visual language as abstract as a musical score. If you are going to be abstract, I argued, why worry about a lot o f matchboxes, bottles o f beer, plates o f apples, and picturesque guitars? W h y not turn your back upon familiar objects altogether—since by the time you had finished your picture they had, in any case, almost disappeared? Although I found the abstract too empty for my taste, and saw no reason on reflection, why I should dehumanise my vision, I still believe that, in art, the abstract is either (1) something to be used, merely in a humanly significant context, or is (2) a new language altogether, o f form and o f colour, not o f this world. Since that first period, then, I have made use o f abstractionist modes, employed stark simplifications, and availed myself o f stylistic habits which remained with me, to achieve some unusual effect, or to serve me in some expressionist excursion. It is legitimate to avail ourselves o f the abstract tongue in this way, in order to heighten or to flavour the concrete—provided there is no pretence o f being truly abstract—or no phoney scientific pretence. I may add it is most happily employed in conjuring up the unfamiliar, rather than in conferring an unfamiliar appearance upon the familiar. Another thing I might mention is this. Very few 20th century artists—to my way o f thinking too few— have painted people, except indirectly, in symbols and masks. Kokoschka, Modigliani, (though the latter is stylistic caricature), there are a few: but the African or Polynesian mask has almost banished from the walls of our galleries the individual. As to the 'long conspiracy o f silence' to which M r Ayrton with the generosity, and courage o f youth,

441

APPENDIX i e x h i b i t i o n s (1949)

alludes: that n o b o o k exists w i t h r e p r o d u c t i o n s o f m y w o r k ( w h e r e t h e r e are so m a n y such books), that t h e considerable b o d y o f w o r k , collected t h r o u g h t h e enterprise o f this gallery, here seen for t h e first time, should h a v e r e m a i n e d u n k n o w n f o r so l o n g , are the k i n d o f t h i n g s w h i c h I f i n d are a p t t o p r o v o k e t h e i m p a r t i a l observer, o r of course friend, to c o m m e n t . 1 Let us say (not t o i n d u l g e in truths that w o u l d lead straight t o suits f o r libel) that the 'conspiracy' dates f r o m 1913 —it has been, as M r A y r t o n says, l o n g : f r o m t h e t i m e in fact that I hustled the cultural Britannia, stepping u p that cautious pace w i t h w h i c h she prefers t o a d v a n c e . A p a r t f r o m a n y t h i n g else, f o r that o n e is never forgiven. Drawings and 499 114 524 794 453 888 856 881 876 125

86

Watercolours

I

W o m a n with Red T a m O'Shanter (1921)

2

T w o Figures (1912)

6

Heroic (1937)

12

145 146

17

373 590 351

121

T w o W o m e n (1912)

295 61 283 292

H3 '59 48 29 72 12

PI.

PI. 60

PI. 121 7 F l o w e r (1936) 8 W o m a n w i t h D o g (1936) 9 W o m a n in A r m - c h a i r (1936) 1 0 Later d r a w i n g of t h e ' T i m o n ' series (1913) PL 23 11 Kermesse (1912) PI. 11

13 G u n n e r (1918)

55 41 407 42

PL 7

3 N a n c y C u n a r d , Venice (1922) 4 M r T u t (1933) 5 C o l u m n Figures (1921)

14

W o m a n (1912)

PL 6

PI. 35 PL 6

19

Six-inch H o w i t z e r (1918) Artillery Scene (1918) PL 34 Planners (1913) PL 25 Portrait of an Englishman (1913) PL 22 T h e D a n c e of W o m e n ( 1 9 1 2 ) PL 12

20

Centauress I (1912)

21

N u d e (1920)

15 16 18

PL 6

Centauress II (1912) PL 5 PL 24 23 E n e m y of the Stars (1913) 24 Argol (1914) Pl. 24 PI. 13 25 Indian D a n c e (1912) PL 16 26 Abstract Design (1924) 27 D e s i g n for Kermesse (1912) 22

28

T h e G r e e n T i e (1909)

PL 2

2 9 M a d g e P u l s f o r d (1920)

PL 42

PL 63 3° P o r t r a i t (1923) PL 39 31 R e d N u d e ( 1 9 1 9 )

1 In a foreword to the catalogue, Michael Ayrton wrote that Lewis had been 'subjected to a long conspiracy of silence undertaken by such personages as find themselves compelled by their own inadequacy, so to attempt to discourage him'. Charles HandleyRead's book, The Art of Wyndham Lewis, was not published until 1951.

442

382 537 100 69 75 550 452 473 346 50 428 605 1097 1093 1104

PL 73 32 Ballet Scene (1913) 33 S i g n o r M a r c o n i (1922) 34 D e s i g n f o r ' T i m o n of A t h e n s ' (1913) 1s Dl 10 11. 35 36 37 38 39 40

41 42

43

Ballet Scene II ( 1 9 1 2 ) PL 7 M a n and W o m a n (1912) PL 5 Seated W o m a n (1922) C o c k n e y w i t h H a t (1920) Ezra P o u n d Seated (1921) Ezra P o u n d (1921) D e s i g n f o r B o x - l i d (1912) P o r t r a i t o f t h e Artist ( 1 9 2 1 ) P o r t r a i t of the Artist's W i f e (1924) PL 65

1098

PL 167 44 T h e G e o g r a p h e r ( 1 9 4 9 ) Pl. 167 45 T h e A s c e n t ( 1 9 4 9 ) 46 W h a t the Sea is Like at N i g h t (1949) PL 166 47 K e e p Smiling (1949)

1105

48

W o m e n (1949)

PL

490 5 S3 366 384 782

49 50 51 52 53 54 55 56 57 58 59

Prunella (1921)

PL 54

753 621 1045 500 S53 645 483 567 919 329

166

Portrait (1923)

C r o u c h i n g W o m a n (1919) PL 70 Back o f a W o m a n (1920) PL 39 Self-portrait (1932)

PL

99

D a m e Edith Evans (1932) S t u d y for ' E n e m y ' cover (1926) L a n d s c a p e (1944)

162

PL

W o m a n in Large H a t (1922)

Pl. 54

La B o u r g e o i s e (1936) Beach-scene (1933)

PL

90

Abstract (1921) PL 80 6 1 S t e p h e n H u d s o n (1922) PL 59 6 2 Ezra P o u n d (1938) PI. 41 63 M a r y W e b b (1919) 60

64

A . J . A. S y m o n s (1939)

PL

101

784 770 458 481 350 409 410 21 389 416 400

PL 102 65 H e n r y J o h n (1932) 66 French Peasant W o m a n K n i t t i n g (1921) 6 7 Seated W o m a n (1921) 68 R e a d i n g (1919) PL 41 PL 44 6 9 P o e t Seated, Ezra P o u n d ( 1 9 2 1 ) 7 0 P o r t r a i t o f a Girl S t a n d i n g (1920) PL 4 PL 3 71 Girl Asleep (1911) PL 44 72 M i s s ' E ' ( 1 9 2 0 ) PL 47 73 H e a d o f a Girl in Profile (1920) 74 L a d y in W i n d s o r C h a i r (1920)

334 440

PL 42 75 L ' I n g é n u e ( 1 9 1 9 ) Pl. 47 7 6 W o m a n K n i t t i n g (1920)

555 467 392 405

PL 60 77 T o p s y ( 1 9 2 2 ) 78 L a d y Seated at a T a b l e (1921) PL 47 79 Seated Girl (1920) 80 M a n w i t h a Pipe (1921) PL ¡1 8 1 L a d y Seated in an A r m c h a i r (1920) PL 49

433 62 879 1081

82

D r a w i n g (1913)

PL

21

83 W o m a n R e a d i n g (1936) PL 163 84 N e g r o H e a v e n (1946)

APPENDIX I exhibitions (i P 59, 55, 5 7 - 8 , 62, 67, 74, 1 4 3 , 1 4 8 - 9 , 295, 3 4 3 , 3 4 9 ,

3 5 8 , 388, 4 3 1 , 4 4 2 , 4 7 5 , 490, 504, 564, 5 7 2 , 590, 609, 665, 6 7 6 , 7 1 3 , 788, 8 5 2 , 860, 880, 900, 908, 9 2 1 , 9 2 7 ,

940,

1055, 1097, 1099, 1123; Ursula Pariser 65, 75, 160, 292, 3 8 2 ; Clay Perry 1 0 8 9 - 9 0 ; B. de Rachewiltz 1 7 0 ; Savoy Studios, Bradford 3 2 9 , 3 9 7 , 4 2 3 , 4 8 3 , 5 1 9 - 2 0 , 5 3 3 , 5 6 7 , 587, 637, 736, 770, 784, 788, 792, 924; Martin Schweig, St Louis, Mo. 1041; by permission o f Sheffield Corporation 308, 777; Slade School of Fine Art 1 - 2 ; Southampton Art Gallery (photo R. G. Lock) 118, 276, 288; State University o f New York at Buffalo (The Lockwood Memorial Library) 213, 253, 430, 616, 660, 922 ; by courtesy of the Trustees of the Tate Gallery, L o n d o n p 17, P 3 6 - 8 , P52, P6I, P84, P87, P99, P 1 0 5 , 2 7 , 6 9 , 114,

125,

145,

177,

330,

365-6,

417,

568,

589,

628;

Thomas Photos, Oxford P54; Lionel J. Tidridge, Windsor, Ontario p 112, PI 14, p 120; Charles Uht, New York 420; by courtesy o f the Victoria & Albert M u s e u m , L o n d o n 1 1 , 1 5 - 1 6 , 4 3 - 5 , 54, 80, 83, 88, 1 1 9 , 123-4,131,152,161-3,251-2,254-7,259>

5°°,

6 L

°,

728;

courtesy Wadsworth Atheneum, Hartford, Conn, (photo E. Irving Blomstrann) 146; Washington University Gallery of Art, St Louis, Mo. PI 10; Washington University School of Medicine Pio8; John Webb (Brompton Studio) P17, P25, P38, P76, 138, 162, 727, 1039; Welsh Arts Council, Cardiff P74; Andrew Dickson White Museum o f Art, Cornell University, Ithaca, N . Y . 562; Whitworth Art Gallery, Manchester 336, 658, 7 2 1 ; Charles Woolf, Newquay P123; Worcester Art Museum, Mass. 535.

455