Max Beerbohm Prints

Total Page:16

File Type:pdf, Size:1020Kb

Max Beerbohm Prints Max Beerbohm Caricatures A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Helen Farr Sloan Extent 5 items Access Restrictions Unrestricted Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation Max Beerbohm Caricatures, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Biography of Max Beerbohm Max Beerbohm was born in London, England on Aug. 24, 1872. He was educated at Charterhouse and Merton College, Oxford. He was a critic, essayist and caricaturist. He contributed to the famous Yellow Book while still an undergraduate at Oxford. As a half brother of the actor-manager Herbert Beerbohm Tree, Max was a brilliant dramatic critic of the Saturday Review from 1898 to 1910, succeeding George Bernard Shaw. In 1910 he married an American actress, Florence Kahn and went to live in Rapallo, Italy (except for the duration of the two World Wars). A charming, witty, and elegant man, Beerbohm was a brilliant parodist and the master of a polished prose style. His works include A Christmas Garland (1912), a collection of parodies on such authors as Joseph Conrad and Thomas Hardy; Zuleika Dobson (1911), an amusing satire on Oxford; Seven Men (1919), stories; and And Even Now (1920) and Mainly on the Air (1947), essays. Beerbohm was accomplished at drawing, and he published several volumes of excellent caricatures, including The Poet’s Corner (1904) and Rossetti and His Circle (1922). He was knighted in 1939 on his return from Italy, where he had lived from 1910. A month before his death he married Elizabeth Jungmann. He died in Rapallo, Italy aged 84 on May 20, 1956. Description of the collection Print 1: Dante Gabriel Rossetti, in his back garden. Print 2: Dante in Oxford Proctor: “Your Name and College?” Print 3: Mr. Rudyard Kipling Takes a Bloomin’ Day AH, on the Blasted ‘Eath, along with Britannina, ‘his Gurl. Print 4: Samuel Taylor Coleridge, Table-talking. Print 5: Scene: The B… Mr. Austin Dobson and Mr… 2 .
Recommended publications
  • German Jews in the United States: a Guide to Archival Collections
    GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ...................................................................................................
    [Show full text]
  • Wallace Nethery Papers
    http://oac.cdlib.org/findaid/ark:/13030/kt9v19s0q2 No online items Finding Aid for the Wallace Nethery Papers 1931-2000 Processed by Jamie Henricks. William Andrews Clark Memorial Library University of California, Los Angeles 2520 Cimarron Street Los Angeles, CA 90018 Phone: (323) 731-8529 Fax: (323) 731-8617 Email: [email protected] URL: http://www.humnet.ucla.edu/humnet/clarklib/ ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the Wallace MS.2007.017 1 Nethery Papers 1931-2000 Descriptive Summary Title: Wallace Nethery Papers, Date (inclusive): 1931-2000 Collection number: MS.2007.017 Creator: Nethery, Wallace 1910-1996 Extent: 4 boxes (1.5 linear feet) Repository: University of California, Los Angeles. Library. William Andrews Clark Memorial Library Los Angeles, California 90095-1490 Abstract: This collection contains material created and collected by Wallace and Corry Nethery. Correspondence, drafts, research notes, and ephemera are included for a number of Nethery's books. Materials related to Nethery's work as a librarian at the University of Southern California are included as well. Photocopies of letters to, from, and about Elisabeth Jungmann are numerous. The subject matter for most of the books and papers relate to Max Beerbohm, Charles and Mary Lamb, Elisabeth Jungmann, and miniature books. Materials are in English, German, and Dutch. Physical location: This collection is stored at the Southern Regional Library Facility. Please contact Clark Library staff at least 2 weeks in advance if you would like to view the materials in this collection. Language of Material: Collection materials in English Access Collection is open for research.
    [Show full text]
  • MAX BEERBOHM AS a LITERARY CRITIC by BEVERLY JOAN
    MAX BEERBOHM AS A LITERARY CRITIC by BEVERLY JOAN NORBY B.A., University of British Columbia, 1949 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1967 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by h.i>s representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ENGLISH The University of British Columbia Vancouver 8, Canada Date October, 1967 ABSTRACT The purpose of this thesis has been to define Max Beerbohm's critical literary principles, to evaluate his con• tribution to aesthetic criticism and thereby to determine his place in the critical tradition. The methods of investi• gation have been: to study the formative influences on the development of his critical principles and to evaluate the results of their application in Max's essays and dramatic criticisms. From this study it is evident that as a man and as an artist Max was "formed" during the Eighteen-nineties. By nature he was an intellectual dandy who always preferred strong, narrow creative personalities like himself. He was detached, fastidious, witty, and humane, and he was noted for his wisdom and sound common sense, even as a very young man.
    [Show full text]
  • Enoch Soames Max Beerbohm
    Enoch Soames Max Beerbohm El tema del diablo ha dado origen a innumerables leyendas e invenciones. Pocas tan afortunadas como ésta de Max Beerbohm, ensayista y caricaturista inglés, nacido en Londres en 1872 y muerto en Rapallo en 1956, educado en Oxford, sucesor de Bernard Shaw como crítico literario de la Saturday Review, autor de: A defense of cosmetics (1896), The happy hypocrite (1897), More (1899), Zuleika Dobson (1911), Seven men (1919), And even now (1920). Uno de los resortes más eficaces de Enoch Soames es el fondo de realidad contra el que se mueven los protagonistas. Existió el Café Royal, existieron Rothenstein y The Yellow Book (y desde luego Whistler y Beardsley), existió ese Londres finisecular con su atmósfera casi parisiense, Chesterton nos asegura que existe el príncipe de las tinieblas, y en cuanto a Enoch Soames sólo en el futuro se dijo (se dirá) que nunca llegó a existir. Cuando el señor Holbrook Jackson dio al mundo un libro sobre la literatura del 90, busqué ansiosamente en el índice el nombre de Soames, Enoch. Temía que no estuviese. Y no estaba. Sin embargo, figuraban todos los demás. Muchos escritores a quienes yo olvidara por completo o sólo recordaba vagamente, resucitaron ante mí, con sus obras, en las páginas del señor Holbrook Jackson. El libro era tan minucioso como brillante. De ahí que la omisión descubierta por mí fuese la evidencia más cabal de que el pobre Soames no había dejado huella alguna en la literatura de su década. Creo que soy la única persona que lo notó... ¡tan lamentable había sido el fracaso de Soames! Y es inútil alegar que, si hubiera conquistado algún mediano éxito, quizá se habría esfumado de mi memoria, como los demás, para retornar tan sólo al llamado del historiador.
    [Show full text]
  • 'Useless Art' Or 'Practical Protest': the Fin
    ‘Useless Art’ or ‘Practical Protest’: The Fin-de-Siècle Artist between Social Engagement and Artistic Detachment Author: Jutta Mackwell PhD The University of Edinburgh 2007 Abstract This thesis follows recent scholarly interest in the British fin de siècle, focussing on the artist and the notion of art within the context of capitalisation and rapidly changing social strata. It claims that the artist can be understood as a socially orientated rather than purely economically motivated player, who tries to position himself and his art within a distinctly transformed cultural landscape. It demonstrates how many texts and art works of the fin de siècle are permeated by a socio-critical and didactical discourse, which serves to legitimize the artist and his art work on the one hand, and aims at the aesthetic education of his audience on the other. This approach allows for a reconciliation of the paradoxical co- existence of socio-critical engagement and the concept of ‘art for art’s sake’ in fin-de-siècle art works. Chapter One, “Leaving the Ivory Tower,” provides a temporal framework for the discussion of the fin de siècle by tracing the development of the eighteenth-century, idealized notion of the artist through the writings of John Ruskin, Matthew Arnold and Walter Pater. It also gestures towards the connection of this tradition to Theodore Adorno’s understanding of ‘social art’. Examining Oscar Wilde’s “The Critic as Artist” within the context of this temporal trajectory, this chapter aims to establish an understanding of the paradoxical demands that face the artist in the light of capitalisation and the development of a mass readership at the end of the nineteenth century.
    [Show full text]
  • Culture and Fantastical Fiction 1843-1973 Paul Mcadam
    Durham E-Theses Negotiating the real: Culture and fantastical ction 1843-1973 McAdam, Paul How to cite: McAdam, Paul (2005) Negotiating the real: Culture and fantastical ction 1843-1973, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2864/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk McAdam 1 Abstract Paul McAdam Negotiating the Real: Culture and Fantastical Fiction 1843-1973 This dissertation examines the growth and practice of two distinct reading techniques, with reference to fantastical fiction from 1843 to 1973. While acknowledging that specific reading practices are not exclusive to particular groups or individuals, it is proposed, broadly, that readers fall into two categories: those who tend to be distanced from the text and approach it analytically; those who tend to embrace the text and immerse themselves in its narrative.
    [Show full text]
  • Introduction the Fighting Nineties: the Age of the Critical Function
    Cambridge University Press 978-1-107-10974-2 - Literature and the Politics of Post-Victorian Decadence Kristin Mahoney Excerpt More information Introduction The Fighting Nineties: The Age of the Critical Function In December 1928, the Leicester Galleries hosted an exhibition of the works of Max Beerbohm titled “Ghosts.” The exhibition included caricatures of Oscar Wilde, Lord Queensberry, John Lane, Walter Pater, Henry Harland, and Aubrey Beardsley. In the exhibition catalog, Beerbohm characteristi- cally apologizes for his own anachronism, feigning embarrassment at the irrelevance of his work to the modern moment. He lives in Italy now, he notes, and it’s very hard to keep up: “So very many people with faces and figures unknown to me have meanwhile become famous that I have abandoned all hope of being ‘topical.’”1 Nevertheless, he suggests that per- haps the visitors to the gallery won’t mind “looking at some people who flourished in past days.”2 He first addresses his fellow specters from the Victorian era: “Those of you who are as old as – or almost (and even that is saying much) as old as I – will perhaps like to have the chords of memory struck by the drawings on these walls.”3 But he continues to suggest that “eventheyoung...mayconceivablyfeelaslightthrill”whilecontemplat- ing the “ghosts” in the gallery.4 “I have noticed,” he writes, “that the young in this era have what those in my own era hadn’t: a not unfriendly interest in the more or less immediate past.”5 This “not unfriendly interest” in the late-Victorian period had been on the rise since the publication of Holbrook Jackson’s well-received The Eighteen-Nineties in 1913.
    [Show full text]
  • Max Beerbohm
    Max Beerbohm: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Beerbohm, Max, 1872-1956 Title: Max Beerbohm Art Collection Dates: 1880s-1946, undated Extent: 5 boxes, 2 oversize folders, 2 framed paintings (154 items) Abstract: The collection consists of 151 original works by Beerbohm and one reproductive print. The works consist mainly of caricatures of early twentieth century London celebrities and political figures. In addition, there are two drawings of Beerbohm done by Sir Osbert Lancaster and by Frank Richardson. Access: Open for research. A minimum of twenty-four hours is required to pull art materials to the Reading Room. Administrative Information Acquisition: Purchases (R307, R938, R1901, R2077, R2391, R2683, R2738, R3011, R3318, R3732, R3774, R3890, R4228, R4903, R5180, R5331) 1960-1970 Processed by: Alice Egan, 1997, and Helen Young, 2002 Repository: Harry Ransom Center, The University of Texas at Austin Beerbohm, Max, 1872-1956 Biographical Sketch Max Beerbohm, considered by some to be the best essayist, parodist, and cartoonist of his age, was born Henry Maximilian Beerbohm on August 24, 1872, in London, to Julius Ewald Beerbohm and his second wife, Eliza Draper Beerbohm. His early education was at a preparatory school in Orme Square, and then at Charterhouse. He attended Merton College at Oxford, 1890-1894, but did not receive a degree. While at Oxford, Beerbohm published caricatures and essays in the Strand and other periodicals. In 1893 he became acquainted with Sir William Rothenstein, who introduced him to Aubrey Beardsley and other members of the literary and artistic circle connected with the Bodley Head.
    [Show full text]
  • Ye Olde English Humourists
    TIF - Ye Olde English Humourists S. UNIAN SAMBAR August 2, 2019 A few of the British humorists (from left to right): Wyndham Lewis, A A Milne, Max Beerbohm | Howard Coster, CC BY-NC-ND 3.0, Wikipedia An affectionate tribute to the low-brow humorists of the British Empire who wrote in the early-mid 20th century. Or is this a symptom of "a post-colonial condition brought on by the native collaborator’s false nostalgia for colonial master narratives"? Is there any good reason for reading dreadfully anachronistic low-brow stuff from the days of the Empire, still less for enjoying it, and least of all for writing about it? Of course not, but there could be some lame excuses. Being a superannuated scholar in the humourless—indeed outrightly dismal—discipline of Economics which obliges one to relate human beings to such things as closed, compact, convex subsets of n-dimensional Euclidean space could be a major excuse for reading this species of literature. Also for taking pleasure in it, simply as an act of revenge for all those grim-death axioms and theorems which are inflicted on the economist by the compulsions of a life-time of wage-slavery and survival through scholarly publishing. And an excuse for writing about it is the canny suspicion that the author is not alone in his sneaking, shameful, guilty appreciation of the chuckle-headed and politically incorrect scribblings of a lost generation of English humourists, and that there are other closet aficionados of this brand of mentally arrested wit who might actually have some interest in (covertly) reading articles of the present type.
    [Show full text]
  • Mary Lago Collection Scope and Content Note
    Special Collections 401 Ellis Library Columbia, MO 65201 (573) 882-0076 & Rare Books [email protected] University of Missouri Libraries http://library.missouri.edu/specialcollections/ Mary Lago Collection Scope and Content Note The massive correspondence of E. M. Forster, which Professor Lago gathered from archives all over the world, is one of the prominent features of the collection, with over 15,000 letters. It was assembled in preparation for an edition of selected letters that she edited in collaboration with P. N. Furbank, Forster’s authorized biographer. A similar archive of Forster letters has been deposited in King’s College. The collection also includes copies of the correspondence of William Rothenstein, Edward John Thompson, Max Beerbohm, Rabindranath Tagore, Edward Burne-Jones, D.S. MacColl, Christiana Herringham, and Arthur Henry Fox-Strangways. These materials were also gathered by her in preparation for subsequent books. In addition, the collection contains Lago’s extensive personal and professional correspondence, including correspondence with Buddhadeva Bose, Penelope Fitzgerald, P.N. Furbank, Dilys Hamlett, Krishna Kripalani, Celia Rooke, Stella Rhys, Satyajit Ray, Amitendranath Tagore, E.P. Thompson, Lance Thirkell, Pratima Tagore, John Rothenstein and his family, Eric and Nancy Crozier, Michael Holroyd, Margaret Drabble, Santha Rama Rau, Hsiao Ch’ien, Ted Uppmann, Edith Weiss-Mann, Arthur Mendel, Zia Moyheddin and numerous others. The collection is supplemented by extensive files related to each of her books, proof copies of these books, and files related to her academic career, honors, awards, and memorabilia. Personal material includes her journals and diaries that depict the tenuous position of a woman in the male-dominated profession of the early seventies.
    [Show full text]
  • Postmaster & the Merton Record 2020
    Postmaster & The Merton Record 2020 Merton College Oxford OX1 4JD Telephone +44 (0)1865 276310 Contents www.merton.ox.ac.uk College News From the Warden ..................................................................................4 Edited by Emily Bruce, Philippa Logan, Milos Martinov, JCR News .................................................................................................8 Professor Irene Tracey (1985) MCR News .............................................................................................10 Front cover image Merton Sport .........................................................................................12 Wick Willett and Emma Ball (both 2017) in Fellows' Women’s Rowing, Men’s Rowing, Football, Squash, Hockey, Rugby, Garden, Michaelmas 2019. Photograph by John Cairns. Sports Overview, Blues & Haigh Ties Additional images (unless credited) Clubs & Societies ................................................................................24 4: © Ian Wallman History Society, Roger Bacon Society, Neave Society, Christian 13: Maria Salaru (St Antony’s, 2011) Union, Bodley Club, Mathematics Society, Quiz Society, Art Society, 22: Elina Cotterill Music Society, Poetry Society, Halsbury Society, 1980 Society, 24, 60, 128, 236: © John Cairns Tinbergen Society, Chalcenterics 40: Jessica Voicu (St Anne's, 2015) 44: © William Campbell-Gibson Interdisciplinary Groups ...................................................................40 58, 117, 118, 120, 130: Huw James Ockham Lectures, History of the Book
    [Show full text]
  • 19Th Century English Literature, Presentation Copies, Private Press, Artists' Books, Original Art, Letters, Children's Book
    LONDON BOOK FAIR 2016 19th Century English Literature, Presentation Copies, Private Press, Artists’ Books, Original Art, Letters, Children’s Books, African History, Travel, & More Pictured Above: Original Drawings by Max Beerbohm, Items 8* & 9* CURRENCY CONVERSION: $1 = £0.7 * Due to unexpected importation restrictions and fees, several items on this list are not at the fair 1. [Anvil Press] Racine, Jean; John Crowne (translator); Desmond Flower (foreword); Fritz Kredel (illustrator). Andromache: A Tragedy. Freely Translated into English in 1674 from Jean Racine's "Andromaque" Lexington KY: Anvil Press, 1986. Number 11 of 100 copies. According to an article by Burton Milward, the Anvil Press was part of the resurgence of fine press printing in Lexington, led by Joseph Graves, who was influenced and taught by Victor Hammer. The Anvil Press was unusual in that it was an association comprised of ten members, inspired and guided by Hammer and his wife, Carolyn. Their books were printed on any one of the several presses owned by members of the group, and were sold at cost. Bound with black cloth spine and red paper covered boards with red paper title label to spine. Pristine with numerous illustrations by Fritz Kredel. In matching red paper dust jacket with black title to spine and front panels. Creasing to jacket and minor wear to edges. Printed in red and black inks at the Windell Press in Victor Hammer's American & Andromaque uncial types. 51 pages. (#27468) $825 £577 1 2. [Barbarian Press] Barham, Richard; Crispin Elsted, editor and notes; Illustrated by John Lewis Roget and Engraved by the Brothers Dalziel.
    [Show full text]