The Savoy – Page 10 – { feuilleton }

Aubrey by John Selwyn Gilbert

Aubrey Beardsley photographed by Frederick Evans (1894).

I’ve been going through the Coulthart VHS library recently, transferring to DVD recordings which can’t be purchased or found online. Among these is a drama from the BBC’s Playhouse strand, Aubrey by John Selwyn Gilbert, broadcast in 1982. This follows the life of artist Aubrey Beardsley from the time of Oscar Wilde’s arrest in April 1895—which event resulted in Beardsley losing his position at The Yellow Book—through the foundation of The Savoy magazine, to his tubercular death in March 1898.

John Dicks as Aubrey.

Playhouse was a BBC 2 equivalent of Play for Today (which usually ran on BBC 1) and Aubrey like many other dramas of the period was shot on video in the studio. This was done for convenience as well as being cheaper than shooting on film, since scenes could be filmed using several cameras simultaneously. The drawback is that the image looks very harsh, and historical works such as this often seem unreal and artificial as a result. That aside, this was an excellent production with some great performances, especially Ronald Lacey as Leonard Smithers and Rula Lenska as Aubrey’s sister, Mabel. The details of Beardsley’s life are very accurate, down to his beloved Mantegna prints on the walls, and many of the scenes are arranged to correspond with his drawings, the production design being largely monochrome.

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New things for February

Fenella Fielding, May 2005.

A few things of interest in the Coulthart world this month.

• The Independent on Sunday this weekend ran a feature by Robert Chalmers on film and stage actress Fenella Fielding which included some discussion with my Savoy colleague Dave Britton about the recordings Savoy has been making with Fenella for the past few years. I was fortunate to meet Ms Fielding myself a couple of years ago, during one of the sessions at Lisa Stansfield’s studio in darkest Rochdale, north of Manchester. As well as having the opportunity to chat to La Fielding (as Kenneth Williams used to call her), I got to take a few photos outside the studio, the best of which can be seen above. The IoS interview is an interesting one, revealing some details about Ms Fielding’s mysterious past and confirming what we knew already, that she’s not overly enamoured of her work with the ruffians from the North.

• Also in the Savoy orbit, Michael Butterworth and I were interviewed for the second number of Trespass magazine before Christmas and I’m told the issue featuring that interview has now been published although I’ve yet to see a copy. Considering I spent most of my portion of the piece ranting intemperately about the art world, that may turn out to be a good thing.

Trespass–Issue 2: January–February 2008

Alasdair Gray tells us why Lanark took so long to write and what he thinks of Gordon Brown. Savoy: a look at the obscenity trials and establishment outrage that mark this infamous publisher’s history. ‘Transgender Adventures’: a frank account of life in the sexual margins featuring Pia. ‘Not a Pursuit for a Lady’: a modern take on Tennyson’s The Lady of Shalott. ‘Stop Talking and Move’: Nottingham’s parkour crew—a growing subculture. Sarah Maple: vote for her or you’re an islamaphobasexistracialist. Also the best of poetry, art and short fiction, including Catherine Smith, A. F. Harrold, Sascha Akhtar, Bernadette Cremin, David Gaffney and Anthony Cantons.

• And finally, the Savoy boys and myself receive a note of thanks in Elric: The Stealer of Souls by Michael Moorcock, one of a new series of reprints from Del Rey. Elric was and is Moorcock’s greatest fantasy character, not so much a hero as an anti-hero, and for me the early stories, which this first volume features, have always been the best. The books in this new series collect a lot of ephemeral material along with the stories (I helped source the picture of Zenith the Albino, the old pulp character Elric is based on) and all have new introductions. The intro for this volume is by Alan Moore and it’s a tremendous piece of writing. You couldn’t ask for better company.

Engelbrecht again

I’m surfacing this week from a busy couple of months having finished (more or less) two substantial book designs. I mentioned the redesign of The Exploits of Engelbrecht a couple of weeks ago and it’s been a pleasure to have another bash at this. The original design wasn’t bad as such, especially compared to the rudimentary first edition from 1950, it’s more that the production standards were raised so much by the Savoy titles which followed that I frequently felt dissatisfied with it. You can see the new cover above and I’ll post some additional examples nearer publication (ETA for that is still vague).

Maurice Richardson’s tales of the dwarf surrealist sportsman are classics of eccentric comedy and it’s been a privilege having the opportunity to reintroduce them to a new audience. I intended the new dust jacket to be reminiscent of an old theatre or boxing poster and the brown and red design will be printed on uncoated textured paper to augment that effect. In addition to this volume I’ve also designed an edition of Jeff VanderMeer‘s Ambergris novel Shriek: An Afterword for Wyrm Publishing. Once again, I’ll post more details of that closer to release.

So now I take a deep breath and see what’s next. There’s another book project imminent but I’ve been asked not to say anything about that for the time being (don’t you love a mystery?). In spare moments such as these I’ve been trying to keep working on the collected edition of the Reverbstorm comics I created with Dave Britton for Savoy. That series has always been an important part of my work, more important in many ways than The Haunter of the Dark, and it’s frustrating to have over 250 pages of some of my best artwork sitting around virtually unseen. I was supposed to have the book finished off last year but other projects kept intervening. One of the resolutions for this year has been to at least complete the scanning and re-lettering, then we’ll see where it fits into Savoy’s schedule. Watch this space.

Mervyn Peake in Lilliput

This month I’ve been redesigning the Savoy Books edition of The Exploits of Engelbrecht by Maurice Richardson, in preparation for a reprint. This has involved scanning the covers of the issues of Lilliput, the magazine where Richardson’s tales of the dwarf surrealist sportsman first appeared, and one number of these, from May 1950, also includes a feature about nursery rhymes illustrated by Mervyn Peake. The paintings were reprinted in Mervyn Peake: The Man and his Art in 2006 but shrunk onto a single page so this is a chance to see them at a larger size. Also reproduced below is the accompanying article by Leslie Daiken and the Arcimboldo-style cover by Ronald Ferris. Some of the earlier covers by Walter Trier—all of which featured a man, a woman and a dog in a variety of guises—can be seen at VTS.

Update: For more about Mervyn Peake, see also Peake Studies.

“How many miles to Babylon?”
“Three score miles and ten.”
“Can I get there by candle-light?”
“Yes, and back again.
If your heels are nimble and light
You may get there by candle-light.”

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Ave Atque Vale!

Aubrey Beardsley illustrates Catullus for The Savoy, no. 7 (1896).

Farewell then, Mister Aitch, now he’s decided to call it a day at the wonderful and unique Giornale Nuovo. He’d been blogging (must we call it that? It seems we must…) for five years which probably makes him first generation in the concentrated timescale of web-existence. Five years is a long time to be doing anything never mind regularly throwing hard-won morsels of research to the browsing hordes.

His posts will be missed here since it was his journal, along with a handful of others (Bldg Blog, The Nonist, BibliOdyssey among them), which confirmed for me that this discipline could have a purpose beyond mere diaristic vanity, something I enjoy reading but had no desire to engage in myself. One of the specialist concerns at Giornale Nuovo was the etching or engraving and Mister Aitich managed to cover this area so comprehensively I frequently found that artists I’d considered writing about were already discussed there in far greater detail than I could summon the energy (or the book resources) for myself. Those book resources are a thing of wonder and I remain eternally jealous of Mister Aitch’s library.

Happily Giornale Nuovo will remain online as an archive, which is good to hear. This raises again the spectre of what’s to happen to all this energy and activity when we let it go. Books regularly outlive their creators but all these fragile electronic media are dependent on the whims of webhosts and developing technology. Do we want this work to survive for the benefit of future historians or not? Or should we celebrate it as ephemeral and transient? What happens when the web advances beyond Unix networks, PHP and HTML? The British Library has already expanded its deposit scheme to encompass electronic works but online publications differ from their paper equivalent in that the publisher—legally obliged in the UK to send one copy of every printed volume to the British Library—is invariably also the author. What happens if the author dies before they have a chance to submit their work which then sinks into the swamp of a billion other weblogs? When do you decide to submit a work which is forever unfinished?

I’ll leave those questions to librarians and the scholars at the Long Now Foundation who consider some of the issues presented by the prospective obsolescence of present technology. In the meantime we’ll raise a farewell toast to Mister Aitch and wish him all the very best. Don’t be hesitant in browsing his archives, there’s a wealth of eclectic, eccentric and neglected culture there deserving of your attention.