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NATIONAL LIFE STORIES ARTISTS' LIVES Robert Medley Interviewed

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NATIONAL LIFE STORIES ARTISTS' LIVES Robert Medley Interviewed NATIONAL LIFE STORIES ARTISTS’ LIVES Robert Medley Interviewed by Andrew Lambirth C466/19 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/19/01-10 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Medley Title: Sir Interviewee’s forename: Robert Sex: male Occupation: Date and place of birth: 1905 Dates of recording: 1994.05.04, 1994.05.12, 1994.05.19, 1994.05.25, 1994.06.07, 1994.06.14, 1994.07.06, 1994.07.13 1994.07.27,1994.08.02, 1994.08.12, 1994.08.17 1994.05.04, 1994.05.12, 1994.05.19, 1994.05.25, 1994.06.07, 1994.06.14, 1994.07.06, 1994.07.13 1994.07.27,1994.08.02, 1994.08.12, 1994.08.17 Location of interview: Charterhouse, London Name of interviewer: Andrew Lambirth Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F4108-4117 Total no. of digitised tracks: Mono or stereo: Stereo Additional material: Copyright/Clearance: Full clearance. Copyright held by the British Library Board Interviewer’s comments: © The British Library Board http://sounds.bl.uk Robert Medley Page 1 C466/19/01 F4108 Side A F4108 Side A [Robert Medley talking to Andrew Lambirth on the 4th of May 1994.] Robert, to start at the beginning, what sort of background were you brought up to? Was it an artistic one? Well, yes of course it was an artistic one, of course it was, yes. My mother actually was a very good artist indeed, and she really ought to have made more of it out of her life, but unfortunately with six children she couldn't, because, she married my father when she was 22 I think, and my father was I think eight or nine, nine years or so older than she was, and he was a successful lawyer, a young successful lawyer, very successful indeed, with principally literary interests. And his ambition in life really was to have been a classical scholar; he was a very brilliant man in his own way. My grandparents on my father's side had really little money, because he was a non-conformist minister, and my grandmother didn't have much money, though she came from a rather aristocratic, or at any rate county family background much more. She was a Birrell and connected with the Greys, and that's where she was brought up. But my father was brought up a primitive Baptist you see, so, this was rather different. But when he was at Leys School he passed into Cambridge with a scholarship at the age of 16 having done everything, and then of course his parents couldn't afford to send him, and I think he felt this very much all his life I think. Do you think it embittered him? I don't think it embittered him exactly, but what it made him do, he wanted all his children to go to Cambridge and take Classics, because he wanted them all to have double firsts in Classics, and of course he was disappointed in the whole lot of us. Did none of you do that? None of us did, no. My elder brother really should have been an engineer but he had to go into the family business, into the law, and then my younger, Oliver, he went off into the Merchant Navy and then became a farmer in Rhodesia and finally came back here and made a rather successful farmer here. And he was always a problem boy. And then my next brother, Richard, of course, Father said he could have been a very good lawyer, had a good legal mind, but he really wanted to be a statistician, but anyway he died. And the war interrupted him, so that when he went to Cambridge he really wanted, he read mathematics and what he wanted to do was to be a statistician; he had a very accurate mind. Anyway, my father's © The British Library Board http://sounds.bl.uk Robert Medley Page 2 C466/19/01 F4108 Side A uncle, the Right Honourable Augustine Birrell of course was, he wrote belles-lettres as well as being Minister for Ireland for longer than anybody else ever. And he specialised in the law, and was a barrister in copyright, in fact it was really his, my father and my uncle, and my Uncle Austin, they really were engaged in copyright, because there was no copyright. And so my father was an authority in this of course, and through that, and of course because he was immensely well read, he knew all the great authors of the age, and that's why of course he left my father, George Moore left my father the copyright of all his books when he died. I see. And so did Granville Barker, which provided my father with quite a list. When Granville Barker died there was quite a handsome amount of money of course. But with George Moore it's been very useful, George Moore; you didn't make much out of George Moore for a number of years, and every now and again you got nothing at all, and sometimes £12. But recently there's been a slight revival, and so that's all right. They made a film of Esther Waters. But Granville Barker, directly his plays come on, all the remains of the family make quite a lot of money out of this, I'm glad to say; welcome little cheques of five or six hundred even come. So you make money out of them? Oh yes I do, because it's... And George Moore still? Yes. Oh no, George Moore has come to an end, and Granville Barker comes to an end in a year or two's time, so they're both practically at an end you see, it's 50 years. And all this, all the money has to be divided you see between my father's ultimate residuary legatees, which are first of all six children, and now of course I think four isn't it. But to return just briefly to your mother, did she actually go to art school? She went to a private studio, which was of course what girls did in those days. I can't remember the man, the name of the man who taught her unfortunately. He was a foreigner as far as I remember, and he was a very good teacher obviously, and one of the young people who used to go and teach there in the studios, which as far as I remember, my mother was saying, it was in that block of studios where Sandra Blow is now, you know, off, what's it called? © The British Library Board http://sounds.bl.uk Robert Medley Page 3 C466/19/01 F4108 Side A King's Road? The Fulham Road. It's off the Fulham Road, that's right. And, you can see they're nice handsome studios, and he ran a class there, and one of the two teachers, young, was Augustus John, and my mother, she had a life drawing of hers in charcoal with a charcoal detail, or a pencil drawing, by Augustus John on the corner of it. Great. Anyway this teacher gave my mother a little oil painting of a model dressed as a monk, which was the kind of thing people did in those days for quick poses. It was really a very good painting, absolutely direct. And my mother had a very good true eye, and she had a very good instinct, she had a very good instinct as to what was a good painting and what was not. She knew exactly if one was telling a lie, or gingering things up or not; she had a beautiful eye, very good. Did she give you encouragement or any kind of instruction? She very sensibly didn't, but I was encouraged of course in a general kind of way. I mean for instance, I mean we all, all the children had a little paint, we all had little paint-boxes, and I had little...we had...I had a sketch-book. Oh yes she always provided me with a sketch-book and a few water-colours and a pencil. And of course at home, we had quite nice pictures at home, they bought C.J. Holmes and... Who? C.J.
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