‘In Paddington there was a Jewish butcher and the chickens were terribly old and blue and a friend saw talcum powder on them.’
Notes
PROLOGUE
1Nanos Valaoritis, ‘Problems of an Empire’, Botteghe Oscure, no. 20, 1957, pp. 435–6.
1: ‘I LOVE GERMAN POETRY BUT I LOATHE THE GERMAN LANGUAGE’
1Magnus Linklater, ‘Throwing a pot of paint at the artist’, The Times, 22 August 1995.
2David Sylvester, ‘Recanting, No way, Brian’, Guardian, 25 August 1995.
3Geoffrey Holme (ed.), The Studio Year Book: Decorative Art 1934 (London: Studio, 1934).
4Frank Auerbach, conversation with the author, 14 September 2012.
5Gabriele Ullstein, conversation with the author, 6 October 1998.
6Clement Freud, Freud Ego (London: BBC Books, 2001), p. 12.
7Sigmund Freud, Moses and Monotheism (London: Hogarth Press, 1939), p. 134.
8Annie Freud, conversation with the author, 29 May 2012.
9Michael Molnar (ed.), The Diary of Sigmund Freud, 1929–39 (London: Hogarth Press, 1992), p. 114.
10Richard ‘Wolf’ Mosse, interview with the author, 27 November 1998.
11Freud Museum Archives, London.
12Michael Hamburger, conversation with the author, 11 December 2000.
13Bertrand Russell, ‘Why Are Alien Groups Hated?’, Everyman, 6 October 1933.
14F. Yeats-Brown, editorial, Everyman, 31 January 1933. Everyman was known as the ‘First Fascist Organ’ from January 1933 to its closure in August of that year. ‘Germany is pre-War’ refers to the years of confidence before 1914.
2: ‘VERY MUCH A SLIGHTLY ARTISTIC PLACE’
1Freud Museum Archives.
2Ibid.
3Ibid.
4Clement Freud, Freud Ego (London: BBC Books, 2001), p. 16.
5Glenys Roberts, ‘The Forgotten Freud’, Daily Mail, 23 April 2009.
6Quoted in Michael Molnar, Looking through Freud’s Photos (London: Karnac Books, 2015), p. 116.
7Poem ‘Blythburgh 1910’ by Humphrey Jennings, 1943, quoted in Marylou Jennings, Introduction, Humphrey Jennings: Film-maker, Painter, Poet (London: BFI, 1982), p. 6.
8Nikolaus Pevsner, Buildings of England: London North (Harmondsworth: Penguin, 1952), p. 198.
9Jack Baer, letter to the author, 21 October 1998.
10This fund was formally set up in November 1937.
11Adrian Heath, letter to the author, 18 October 2012.
12Richard Dorment, ‘Master of the Art of Dealing’, Daily Telegraph, 30 July 2001.
13W. H. Auden and John Garrett, The Poet’s Tongue (London: George Bell, 1935), p. vii.
3: ‘MY MOTHER STARTED WORSHIPPING IT SO I SMASHED IT’
1Sigmund Freud, Moses and Monotheism (London: Hogarth Press, 1939), p. 93.
4: ‘TO CUT A TERRIFIC DASH’
1Lawrence Gowing, Lucian Freud (London: Thames & Hudson, 1982), p. 8.
2Peter Noble, Reflected Glory (London: Jarrolds, 1958).
3Frank Auerbach, conversation with the author.
4Also ‘Everything that you can imagine is real.’
5Felicity Hellaby, phone conversation with the author, 19 February 2012.
6T. W. Earp, Introduction, Flower and Still Life Painting, ed. Geoffrey Holme (London: Studio, 1928), p. 19.
7John Bensusan-Butt, ‘Baronet with Palette’, Essex County Standard, 16 October 1959, quoted in Richard Morphet, Cedric Morris (London: Tate Gallery, 1984), p. 93.
8Sigmund Freud, letter to Marie Bonaparte, August 1939, cited in Mark Edmundson, The Death of Sigmund Freud (London: Bloomsbury, 2010).
5: ‘A PRIVATE LANGUAGE’
1LF (Lucian Freud) letter to Cedric Morris, n.d., Cedric Morris papers, Tate Archive, London.
2David Kentish, letter to Joan Warburton, n.d., Joan Warburton papers, Tate Archive.
3LF letter to Cedric Morris, n.d., Cedric Morris papers, Tate Archive.
4LF letter to Arthur Lett-Haines, n.d., Tate Archive.
5LF recollection of conversation with William Coldstream, n.d.
6Stephen Spender, letter to Mary Elliott [1940], Stephen Spender papers, Watkinson Library, Trinity College, Hartford, Connecticut (previously in Sotheby’s sale July 2015).
7David Plante, Becoming a Londoner (London: Bloomsbury, 2013), p. 308.
8David Kentish, letter to Joan Warburton, January 1940, Warburton papers, Tate Archive.
9Ibid.
10Ibid.
11Ibid.
12Ibid.
13W. H. Auden, Poem XXX, Look, Stranger! (London: Faber & Faber, 1936).
14Ludwig Goldscheider, El Greco (London: Phaidon, 1938).
15Stephen Spender, ‘Exiles from This Land’, The Still Centre (London: Faber & Faber, 1939).
16LF letter to Joan Warburton, January 1940, Tate Archive.
17David Kentish, letter to Joan Warburton, 25 January 1940, Tate Archive.
18David Kentish, letter to Joan Warburton, 28 January 1940, Tate Archive.
19Stephen Spender, letter to Joan Warburton, n.d., Tate Archive.
20LF from memory.
6: ‘BORN NAUGHTY’
1Charles Baudelaire, ‘The Painter of Modern Life’ (1863), in Baudelaire: Selected Writings on Art and Artists (London: Penguin Books, 1972 (1951)), pp. 399–400.
2John Russell, Introduction to Hayward catalogue, Lucian Freud 1974 (London: Arts Council, 1974), p. 7.
3Geoffrey Grigson, Recollections (London: Chatto & Windus/Hogarth Press, 1984), p. 44.
4Ruthven Todd, letter to the author, 4 February 1972.
5Stephen Spender, ‘The Room above the Square’, The Still Centre (London: Faber & Faber, 1939).
6Ibid.
7Michael Wishart, High Diver (London: Blond & Briggs, 1977), p. 27.
8Ernst Freud, letter to Arthur Lett-Haines, 1940, Tate Archive.
9Ibid.
10LF letter to Stephen Spender, n.d., Stephen Spender papers, Tate Archive.
11LF quoting Cedric Morris.
12W. H. Auden, ‘The Capital’ (1939).
13LF letter to Stephen Spender [1940], Sotheby’s sale, 2 July 2015.
14The Comte de Lautréamont [Isidore Ducasse], The Lay of Maldoror, trans. John Rodker (London: Casanova Society, 1924).
15Ibid.
16David Gascoyne, Short Survey of Surrealism (London: Frank Cass, 1935), p. 10.
7: ‘I USED TO ALWAYS PUT SECRETS IN. I STILL DO’
1British Restaurants: An Inquiry Made by the National Council of Social Services (London: Oxford University Press, 1946), p. 3.
2Peter Noble, Reflected Glory (London: Jarrolds, 1958).
3Stephen Spender, New Selected Journals, 1939–1995, ed. Lara Feigel and John Sutherland with Natasha Spender (London: Faber & Faber, 2012).
4George Millar, Isabel and the Sea (London: William Heinemann, 1948), p. 364.
5Official Log-Book: Foreign-Going or a Home-Trade Ship, Ship 132840. Time Stamped 18 August 1941. Marine Safety Agency, Cardiff.
6George Millar, Isabel and the Sea (London: William Heinemann, 1948), p. 364.
7The Essential Work (Merchant Navy) Order made it compulsory for anyone leaving a ship to be retained in the Merchant Navy Reserve Pool.
8Ian Collins, John Craxton (Farnham: Lund Humphries, 2011), p. 44.
8: ‘SLIGHTLY NOTORIOUS’
1Manpower (London: Ministry of Information, 1944), p. 47.
2Felicity Hellaby, phone conversation with the author, 19 February 2012.
3In 1983, two years after she died, Mary Keene’s novel Mrs Donald, written in the early 1950s, was published, belatedly vindicating her claims. Mrs Donald, ed. Alice Thomas Ellis, with an epilogue by Keene’s daughter Alice (London: Chatto & Windus, 1983).
4LF recollection.
5One of eleven letters from LF to Felicity Hellaby sold by Sotheby’s London, 13 February 2014, now in a private collection.
6Ibid.
7Felicity Hellaby, phone conversation with t
he author, 19 February 2012.
8Winston Churchill broadcast, BBC, 15 February 1942.
9Natasha Spender, conversation with the author, 14 October 2008.
10LF letter to Felicity Hellaby (private collection).
11Ibid.
12Felicity Hellaby, phone conversation with the author, 19 February 2012.
9: ‘SLIGHT DREIGROSCHENOPER’
1Simon Martin interview, ‘John Craxton: A Romantic Spirit’, Pallant House Gallery Magazine, Chichester, 11 March 2007, p. 26.
2Marriott Edgar, ‘The Lion and Albert’ (1930), www.youtube.com/watch?v=gIdbxTGxTM.
3Ian Collins, John Craxton (Farnham: Lund Humphries, 2011), p. 45.
4Ibid., p. 55.
5LF’s recollection.
6Kenneth Clark, Listener, 22 February 1940.
7Kenneth Clark, New Statesman, 30 January 1943.
8Catherine Porteous, letter to the author, 1999.
9LF letter to Felicity Hellaby (private collection).
10Ibid.
11Dan Davin, Closing Times (Oxford: Oxford University Press, 1975), p. 103.
12LF letter to Felicity Hellaby (private collection).
13Ibid.
14Ibid.
15Kenneth Clark, ‘Ornament in Modern Architecture’, Architectural Review, December 1943, p. 150.
16LF letter to Felicity Hellaby (private collection).
17David Gascoyne, Journal (London: Enitharmon, 1991), p. 57.
18Robert Fraser, Night Thoughts: The Surreal Life of the Poet David Gascoyne (Oxford: Oxford University Press, 2012), p. 197.
19Ibid.
20LF letter to Felicity Hellaby (private collection).
21Ibid.
22Vivienne Light, Circles and Tangents: Art in the Shadow of Cranborne Chase (Morcombelake: Canterton Press, 2011), p. 181.
23Simon Martin interview, ‘John Craxton: A Romantic Spirit’.
24Geoffrey Grigson, extended caption in Lilliput, vol. 22, no. 8, June 1948, p. 42.
25Horizon, April 1942.
26The Comte de Lautréamont [Isidore Ducasse], The Lay of Maldoror, trans. John Rodker (London: Casanova Society, 1924).
27Light, Circles and Tangents, p. 179.
28Lautréamont, The Lay of Maldoror, Sixth Book, part 7.
29John Craxton, conversation with the author, 25 March 1999.
30Simon Martin interview, ‘John Craxton: A Romantic Spirit’, p. 28.
31Peter Watson, letter to LF, n.d., private collection.
10: ‘A QUESTION OF FOCUS’
1Quoted in Cressida Connolly, The Rare and the Beautiful: The Lives of the Garmans (London: Fourth Estate, 2004), p. 136.
2Laurie Lee, ‘Good Morning’, Penguin New Writing, 16, January–March 1943, p. 11.
3Valerie Grove, Laurie Lee: The Well-Loved Stranger (London: Viking, 1999/Robson Press, 2014), p. 178.
4Ibid., p. 179.
5Ibid., p. 173.
6The fictional characteristics of Laurie Lee’s reportage in A Moment of War (London: Viking, 1991) were widely remarked on at the time of publication.
7From ‘Song in the Morning’, Laurie Lee, The Sun My Monument (London: Hogarth Press, 1944).
8Grove, Laurie Lee, p. 174.
9Michael Wishart, High Diver (London: Blond & Briggs, 1977), p. 6.
10Grove, Laurie Lee, p. 174.
11Connolly, The Rare and the Beautiful, p. 176.
12Grove, Laurie Lee, p. 173.
13Connolly, The Rare and the Beautiful, p. 174.
14LF letter to Felicity Hellaby (private collection).
15Saki (H. H. Monro), ‘The She-Wolf’, in Beasts and Super-Beasts (New York: The Viking Press, 1914).
16Bruce Bernard, ‘Four Painters’, essay commissioned by British Council, MSS p. 1, private collection.
17Ibid., p. 2.
18John Craxton, letter to Elsie Queen Nicholson (EQ), Tate Archive, reproduced in Ian Collins, John Craxton (Farnham: Lund Humphries, 2011), p. 62.
19LF letter to Felicity Hellaby (private collection).
20Charles Wrey Gardiner, Introduction to M. Lindsey, Sailing Tomorrow’s Seas (London: Fortune, 1944), p. 5.
21Tambimuttu had employed Moore briefly as his assistant.
22Stephen Spender, Horizon, December 1944.
23A Ratepayer, ‘Plea for the Appointment of an Architect for Paddington’s New Housing Scheme’, Architect’s Journal, 28 April 1938.
24Stephen Spender, Air Raids, War Pictures by British Artists series (London: Oxford University Press, 1943), p. 8.
25W. H. Auden, ‘To a Writer on His Birthday’, Poem XXX, Look, Stranger! (London: Faber & Faber, 1936).
26Charles Wrey Gardiner, The Dark Thorn (London: Grey Walls Press, 1946), p. 138.
11: ‘LIVING IN A DUMP AND GOING OUT TO SOMEWHERE PALATIAL’
1Marie Paneth, Branch Street (London: Allen & Unwin, 1944), p. 34.
2Charlie Lumley interviewed by Michael Macaulay for Sotheby’s catalogue, 13 October 2011, p. 76.
3Ibid.
4Julian Trevelyan, Indigo Days (London: MacGibbon & Kee, 1957), p. 183.
5Evening Standard, 23 November 1944.
6Michael Ayrton, Spectator, 1 December 1944.
7Ibid.
8Ian Collins, John Craxton (Farnham: Lund Humphries, 2011), p. 59.
9Herbert Read, Introduction, Kurt Schwitters (London: Modern Art Gallery, December 1944).
10Ibid.
11The Times Literary Supplement, 17 March 1945, remarked that Moore ‘talks volubly in verse’.
12Charles Wrey Gardiner, The Dark Thorn (London: Grey Walls Press, 1946), p. 104.
13Ibid., p. 35.
14Ibid., pp. 39, 104.
15Ibid., p. 25.
16Ibid., p. 11.
17Ibid., p. 107.
18Michael Luke, David Tennant and the Gargoyle Years (London: Weidenfeld & Nicolson, 1991), p. 169.
19Ernst Freud quoted by LF.
20Michael Hamburger, conversation with the author, 11 December 2000.
21Gabriele Ullstein, conversation with the author, 6 October 1998.
22Dick ‘Wolf’ Mosse, conversation with the author, 27 November 1998.
23John Lehmann, I Am My Brother: Autobiography, vol. 2 (London: Longmans, 1962), pp. 313–14. See also Alan Pryce-Jones, The Bonus of Laughter (London: Hamish Hamilton, 1987), pp. 161–2: Ernst Freud ‘was well liked by the Marylebone authorities’. He served as Pryce-Jones’ house-restoration architect, yet ‘when the law descended … Freud told the authorities that he was only a colour consultant and that I had acted illegally quite on my own.’
24Valerie Grove, Laurie Lee: The Well-Loved Stranger (London: Viking, 1999), ch. 11 passim.
25Luke, David Tennant and the Gargoyle Years, p. 171.
26Norman Bentwich, I Understand the Risks (London: Victor Gollancz, 1950), pp. 111–12, 135–6.
27Cyril Connolly, ‘Comment’, Horizon, September 1945, p. 152.
28Times Literary Supplement, 28 March 1975, p. 827.
29John Sutherland, Stephen Spender: The Authorized Biography (London: Viking, 2004), p. 303.
30Gardiner, The Dark Thorn, p. 75.
31Anne Ridler, ‘Islands of Scilly’ (‘a clutch of islands, every one distinct’), Collected Poems (London: Faber & Faber, 1972).
32John Craxton, conversation with the author, 25 March 1999.
33Joan Wyndham, Anything Once (London: Sinclair-Stevenson, 1993), p. 8.
34Ibid.
35Ibid.
36Maurice Collis, Observer, February 1946.
37Michael Ayrton, ‘Some Young British Contemporary Painters’, Orion III (London: Nicholson & Watson, 1946), pp. 84–7.
12: ‘FRENCH MALEVOLENCE’
1LF letter to his mother [August 1946], Freud Archives, National Portrait Gallery, London.
2Christian Morgenstern, ‘Das Hemmed’, Galgenlieder (Berlin: Bruno Cassirer, 1905).
3Herbert Read, ‘Art in Paris Now’, Listener, 16 August 1945.
4Herbert Read, ‘B
ritish Children’s Art in Paris’, Athene, vol. III, no. 3, Winter 1945, p. 112.
5Jean-Pierre Lacloche, Olivier Larronde: Oeuvres poétiques complètes (Paris: Le Promeneur, 2002), p. 27.
6Stephen Spender, Horizon, July 1945, p. 9.
7Alexander Watt, ‘The Art World of Paris’, part 1, Studio, December 1946, p. 172.
8Albert Camus, The Outsider, trans. Joseph Laredo (London: Penguin Books, 1983).
9Jean-Paul Sartre, ‘The Childhood of a Leader’, The Wall (Paris: Gallimard, 1939).
10Michael Wishart, High Diver (London: Blond & Briggs, 1977), p. 27.
11Anne Dunn, letter to the author, 9 January 2013.
12Ibid.
13Wishart, High Diver, p. 37.
14John Margetson, letter to the author, 18 September 2002.
15Marie Bonaparte, Myths of War (London: Imago, 1947), p. 132.
16Diane Deriaz, trapeze artiste from the Pinder Circus.
17Jean Dubuffet, Notes pour les fins-lettrés (Paris: Gallimard, 1946).
13: ‘THE WORLD OF OVID’
1John Craxton, letter to Elsie Queen Nicholson (EQ), n.d. [1946], Tate Archive.
2Norman Dodds MP, Stanley Tiffany MP and Leslie Soley MP, Tragedy in Greece: An Eye-witness Report (London: Progress Publishing/League for Democracy in Greece, 1946), p. 62.
3Henry Miller, The Colossus of Maroussi (San Francisco: Colt Press, 1941).
4Geoffrey Grigson, John Craxton: Paintings and Drawings, unpaginated monograph (London: Horizon, 1948).
5John Craxton, conversation with the author, 25 March 1999.
6Nanos Valaoritis, letter to the author, 13 May 1999, citing Botteghe Oscure, no. 20, 1957, pp. 435–6.
7LF letter to his mother Lucie, n.d. [1947].
8George Millar, Isabel and the Sea (London: William Heinemann, 1948), p. 356.
9Ibid., pp. 357–8.
10Ibid., p. 359.
11Ibid., p. 358.
12George Millar, Preface, Horned Pigeon (London: William Heinemann, 1949).
13Millar, Isabel and the Sea, p. 359.
14Ibid., p. 363.
15John Craxton, letter to EQ, n.d. [1946], Tate Archive.
16John Craxton, letter to EQ, n.d., Tate Archive.
17Millar, Isabel and the Sea, p. 359.
The Lives of Lucian Freud Page 71
