Penguin Labyrinths and the Thief’s Journal

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Detail from La Havane by René Portocarrero; photo by C. Marker.

This week’s book finds are a pair of titles I hadn’t come across before in these particular editions, another haul from the vast continent that is the Penguin Books back catalogue. Labyrinths I’ve had for years in a later edition (see below) but the cover of this one seems more suited to Borges (as much as he can be illustrated) than the somewhat bland Surrealism of illustrator Peter Goodfellow. René Portocarrero (1912–1985) was a Cuban painter with a post-Picasso style who specialised in hallucinogenic profiles like the one here. And it’s a guess but I’d bet the “C. Marker” who photographed the painting is French filmmaker Chris Marker (who I compared to Borges last year), director of La Jetée and Sans Soleil. Marker worked as a photo-journalist for many years and made a documentary entitled ¡Cuba Sí! in 1961.

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Winsor McCay’s Hippodrome souvenirs

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A cover design by the great cartoonist and pioneer animator. Typical of a compulsive fantasist to add a huge dragon head to an otherwise regulation piece of Chinoiserie. No date or any indication as to whether McCay’s work was also featured inside but there’s another design of his for the same establishment here. The latter version could almost be a page from Little Nemo in Slumberland.

Bud Plant’s Winsor McCay page

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The art of Jessie M King, 1875–1949

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The Fisherman and His Soul : Her Feet were Naked
from A House of Pomegranates by Oscar Wilde, 1915.

A delicate piece of Orientalism illustrating Wilde’s book of fairy tales. Jessie Marion King’s work is a fascinating amalgam of the decorative post-Beardsley style exemplified by Harry Clarke and the Glasgow Style of Charles Rennie Mackintosh’s Arts and Crafts movement. It’s unfortunate that her associations with Mackintosh sometimes overshadow her career as an illustrator despite her being as talented and productive as many of her male contemporaries.

The rest of the Wilde illustrations can be seen at Art Passions along with a number of other works.

Jessie M King biography page

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Lussuria, Invidia, Superbia

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Or Lust (1919), Envy (1919) and Pride (1918). Very Beardsley-esque posters by Carlo Nicco for a series of Italian films from the silent era starring Francesca Bertini. Doubtless the prolific Ms. Bertini’s demonstrations of the Seven Deadly Sins inspired similar promotional artwork for the other films in the series but these are the only ones visible from this Flickr collection of Italian cinema memorabilia. As with Alla Nazimova’s Salomé (and Gabriel D’Annunzio’s excessive Salammbô-esque epic, Cabiria), this confirms again that fin de siècle Decadence lived on in the early days of cinema, having been banished (for a time) from the worlds of art and literature.

Via Fabulon. (Thanks Thom!)

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The art of George Sheringham, 1884–1937

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Baptism of Dylan, Son of the Wave from The Cauldron of Anwn (c. 1902).

About the artist:

George Sheringham was born in London. He studied art first at the Slade School (1899–1901) before leaving for Paris, where he studied from 1904–1906. Chiefly known as a designer of stage sets and decorative artist he was also illustrator of works by Arthur Conan Doyle and Max Beerbohm. He was the author of Drawing in Pen and Pencil (1922) and Design in the Theatre (with James Laver, 1927). An invalid from 1932, he continued to paint flowers until his death.

About the work:

This striking series of paintings were commissioned by the 8th Lord Howard de Walden (Baron Seaford) to illustrate his Celtic poem, The Cauldron of Anwn. It has been suggested that they were part of a decorative sceme for de Walden and it is therefore likely that they were part of his remodelling on the interior of Seaford House in Belgravia which he undertook from 1902 onwards. The modifications at Seaford House included the panelling of the dining room and installation of an onyx staircase and frieze carved from marble imported from South America. No expense was spared and it is said that to ensure a supply of the right kind of marble, Baron Seaford bought the mine.

The series of The Cauldron of Anwyn reflects Sheringham’s interest in oriental ornamentation and also reflects modern approaches to book illustration. A close comparison can be drawn between Sheringham’s work and that of Edmund Dulac and Sheringham’s work is also suggestive of a more exotic continental approach to decoration. Sheringham had studied at the Slade School between 1899 and 1901 and in Paris between 1904 and 1906. The qualities of his work were recognised in Paris before they were in Britain and his first exhibits were at the Paris Salon. He was born and lived in London all his life and became well known as a decorative artist, applying his talents to costume and scenery design for various theatrical productions. He also illustrated many books including The Happy Hypocrite and Design in Theatre and this interest in intricate decoration was transposed into his interior design work.

The Cauldron of Anwyn at ARC.

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