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72:, who became his lifelong companion and artistic collaborator. Ricketts first made his mark in book production, first as an illustrator, and then as the founder and driving force of the Vale Press (1896–1904), one of the leading private presses of the day, for which he designed the type and illustrations. A disastrous fire at the printers led to the closure of the press, and Ricketts turned increasingly to painting and sculpture over the following two decades.
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incorporated the swirling lines of Art
Nouveau and androgynous figures". The Vale Press, which existed between 1896 and 1904, published more than eighty volumes, mostly reprints of English poetic classics, and earned a reputation as "one of the big six amongst modern presses". Initially, Ricketts financed the Vale publications by inviting subscriptions, but in 1894 its finances were put on a more secure footing when he was introduced to a rich barrister,
311:, who invested ÂŁ1,000 and became Ricketts's business partner in the firm. A fire at the printers in 1904 destroyed the press's woodcuts, and Ricketts and Shannon decided to abandon publishing and turn to other work. They closed the Vale Press and threw the type into the river. Ricketts marked the demise of the press by publishing a complete bibliography of its publications. Thereafter, he occasionally designed books for friends such as
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422:) as striking interpretations of their subjects. A contemporary critic remarked that despite their "unusually beautiful colour" and "curious but definite, half-literary, half-pictorial appeal", Rickett's paintings were "probably the least important and satisfactory part of the output of a man who was undoubtedly one of the most gifted, versatile, and outstanding in the world of art of his day".
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201:... a lifelong friendship of so close a nature that from that time onwards the two shared the same studio and lived together in a state of celibate commensalism as remarkable as any of the great historic friendships, or the finest Darby and Joan examples of wedded felicity. It was seldom "I think" or "I do" in the Ricketts and Shannon
429:, but having controversial views on how the gallery's paintings ought to be shown he turned down the post, which he later regretted. Although never formally employed by the gallery he was nevertheless consulted about some of the hangings of the rooms. He had been approached about letting his name go forward for nomination to the
162:
Hélène
Ricketts died in 1880 and her widower moved to London with his two children. Ricketts was at that stage hardly able to speak English. His biographer Paul Delaney writes that the boy was considered "too delicate to attend school", and consequently was largely self-educated, "reading voraciously
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bought a collection of his drawings for theatrical costumes and scenery, and arranged for them to be exhibited at galleries in London and throughout
Britain. Twelve of the drawings were shown in the Winter Exhibition of the Royal Academy, and a selection of eighty from the remainder of the drawings
327:
Ricketts increasingly turned to painting and sculpture. A later painter, Thomas
Lowinsky, has commented on how different Ricketts's styles were as a book designer on the one hand and as a painter on the other: "his books expressed in their pre-Raphaelitism the English side of his character, whilst
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Together with
Shannon, Ricketts accumulated a collection of drawings and paintings (French, English, and old masters), Greek and Egyptian antiquities, Persian miniatures, and Japanese prints and drawings. The collection was bequeathed to public art galleries, principally the Fitzwilliam Museum in
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in 1905, but declined out of concern that
Shannon might feel slighted. Shannon was elected as a member in 1920, and Ricketts followed, as an associate member in 1922, and a full member in 1928. In 1929 he was appointed a member of the Royal Fine Arts Commission. He was also a member of the
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singled out the "beautiful type the very charming woodcuts and initial letters with which it is enriched by two accomplished artists, Mr. Charles
Ricketts and Mr. Charles Shannon, who are jointly responsible for the designs, while the actual woodcut execution is the work of Mr. Ricketts."
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that he intended "to do for the book something in the line of what
William Morris did for furniture". Cooper writes that Ricketts designed founts, initials, borders and illustrations for the press, "blending medieval, Renaissance and contemporary imagery". His woodcut illustrations "often
188:, London, where he was apprenticed to Charles Roberts, a prominent wood-engraver. The following year Ricketts's father died, and Ricketts became dependent on his paternal grandfather, who supported him with a modest allowance. On his sixteenth birthday he met the painter and lithographer
40:
says of this portrait, "It is a record of their friendship, slightly tentative in its character, with
Ricketts turning his head away so that he is seen in profile. He liked it precisely for this reason since it shows him 'turning away from the 20th century to think only of the
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in
January 1929, Shannon fell and suffered permanent brain damage. To pay for Shannon's care Ricketts sold some of their collection. Delaney writes that the strain of the situation, compounded by overwork, contributed to Ricketts's death.
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tragic and romantic... focused on key moments in the destiny of his subjects, such as Salome, Cleopatra, Don Juan, Montezuma, and (though Ricketts was a non-believer) Christ, figures he admired for the way they courageously met their
134:, the only son of Charles Robert Ricketts (1838–1883) and Hélène Cornélie de Soucy (1833 or 1834–1880), daughter of Louis, Marquis de Soucy. He had a sister, Blanche (1868–1903). His father had served as a First Lieutenant in the
217:, an artist they revered, who advised them against it, considering the current trends of French art to be excessively naturalistic – "photographic drawing". Shannon, three years the senior, took a teaching post at the
394:, Paris. In Delaney's view, Ricketts's considerable scholarship was a mixed blessing as his deep knowledge of earlier painters sometimes inhibited his work, both as a painter and as a sculptor. The influence of
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In a 2003 study of Ricketts, Emmanuel Cooper writes that the artist "identified with the ideals of the Aesthetic Movement", and was inspired by Renaissance art and such French artists as Puvis de Chavannes and
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109:. With Shannon, Ricketts built up a substantial collection of paintings, drawings and sculpture. He established a reputation as an art connoisseur, and in 1915 turned down the offer of the directorship of the
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Ricketts's last years were overshadowed by the illness of Shannon. They had remained together since they first met, despite several affairs Shannon had with women. While hanging a picture at their house in
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before being invalided out at age 25 due to wounds. It was an artistic household: his father was an amateur painter of marine subjects, and his mother was musical. Ricketts spent his early childhood in
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from 1924 until his death. He wrote three books of art criticism, two volumes of short stories and a memoir of Wilde. Selections from his letters and diaries were posthumously published.
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464:– at the King's Hall, Covent Garden, given as a private production because Wilde's biblical drama was refused a licence for public performance. For the same company Ricketts designed
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After concluding their studies at Kennington, the two men considered going to live and work in Paris, as several of their contemporaries had done. They consulted
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in 1907, for which his costumes and scenery received considerably better notices than the play. For the commercial theatre during the 1900s Ricketts designed
270:, the hero of Wilde's short story, "The Portrait of Mr. W. H." used as the frontispiece of the book. Ricketts and Shannon worked together on editions of "
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767:(1910). Delaney comments that although superseded by modern scholarship, they remain "among the most evocative books on art in English".
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53:(2 October 1866 – 7 October 1931) was a British artist, illustrator, author and printer, known for his work as a book designer and
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as "a loyal and sensitive commemoration" of the man Ricketts regarded as the most remarkable he had met. After Ricketts's death
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452:. His career as a theatre designer lasted from 1906 to 1931. He began by working on a double bill of Wilde plays –
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were retained until 1957 and the costume designs for a further year, after which they were replaced by designs by
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Ricketts became a celebrated designer for the stage. "Mr Ricketts is infallible in his ideas on costume" observed
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1844:"The Canada Council for the Arts announces finalists for the 2003 Governor General's Literary Awards"
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Under the pen-name Jean Paul Raymond, Ricketts wrote and designed two collections of short stories,
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to an English father and a French mother and brought up mainly in France. In 1882 he began studying
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The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
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were retained by subsequent designers of the D'Oyly Carte productions for more than 50 years.
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1996:
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250:, a magazine devoted to art, that had five issues from 1889 to 1897. Among their circle was
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99:. His most enduring theatre designs, which remained in use for more than 50 years, were for
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438:, and served as art adviser to the National Gallery of Canada in Ottawa from 1924 to 1931.
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his pictures, with their debt to Delacroix and Gustave Moreau, the French". Delaney cites
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2112:
Guide to the Carl Woodring collection on Charles Ricketts and Charles Shannon, 1846–2001
2015:
1965:
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In 1906 he also began a career as a theatre designer, first for works by his friend
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and 'basking' in museums; he thus escaped being moulded along conventional lines".
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1560:
Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951
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edited selections from the artist's letters and diaries, which were published as
806:(1932), a highly personal memoir, published after his death; it was described by
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After the First World War Ricketts resumed his theatrical activity, and designed
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298:, Ricketts and Shannon set up a small press over which, according to the critic
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All for Art: the Ricketts and Shannon Collection, Fitzwilliam Museum, Cambridge
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402:, a memorial to Wilde. Delaney finds more power in Ricketts's bronzes, citing
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2114:(Woodson Research Center, Fondren Library, Rice University, Houston, TX, USA)
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2006:
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783:, was published in 1913. It covered an eclectic range of subjects including
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904:(1991), with reminiscences by Lewis (by then a nonagenarian) and featuring
771:, a selection of Ricketts's essays and articles for publications including
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Ricketts achieved some success as a writer. He published two monographs:
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is seen in Ricketts's sculptures, which number about twenty and include
302:, Ricketts exercised complete control of design and production. He told
221:, and Ricketts earned money from commercial and magazine illustrations.
192:, with whom he formed a lifelong personal and professional partnership.
2039:
Self-Portrait – Taken from the Letters and Journals of Charles Ricketts
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1853:. Canada Council for the Arts, 20 October 2003. Retrieved 15 June 2010
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The article on Shannon, written for a journal in France, is in French.
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The play starred "Miss Darragh" (Letitia Marion Dallas) as Salome,
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1777:"Shannon, Charles Haslewood (1863–1937), lithographer and painter"
1332:"Ricketts, Charles de Sousy (1866–1931), artist and art collector"
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652:(1926). In the same year he designed costumes and scenery for the
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27:
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113:. He later regretted that decision, but served as adviser to the
1968:, written for publication in the US in 1907, can be seen at the
246:, which became the focus of contemporary artists. They produced
845:, on 12 October, attended by many from the art world including
1549:"The International Society of Sculptors, Painters and Gravers"
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and for his costume and scenery designs for plays and operas.
1806:"Funeral and Memorial Services: Mr. Charles Ricketts, R.A.",
1675:"Rupert D'Oyly Carte's season of Gilbert and Sullivan operas"
315:(the joint pen name of Katherine Harris and Emma Cooper) and
1790:, Oxford University Press, 2009. Retrieved 2 November 2019.
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at the same theatre. Most of Ricketts's costume designs for
1402:, Oxford University Press, 2003. Retrieved 1 November 2019
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at the Regent's Park house. A memorial service was held at
1732:
Ricketts (1903), p. vii; and Ricketts (1910), pp. ix and x
1340:, Oxford University Press 2011. Retrieved 1 November 2019
1684:, Gilbert and Sullivan Archive. Retrieved 1 November 2019
2073:
The Vale Press: Charles Ricketts, a Publisher in Earnest
1979:
A Bibliography of the Books Issued by Hacon and Ricketts
1615:, 25 March 1907, p. 8; and "The Persians of Aeschylus",
1425:"Oscar Wilde, Charles Ricketts, and the Art of the Book"
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On 7 October 1931 Ricketts died suddenly, aged 65, from
727:, which was staged in Edinburgh after Ricketts's death.
516:, at the Haymarket, 1909). During the 1910s he designed
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International Society of Sculptors, Painters and Gravers
1611:, 24 March 1907, p. 4; "The Literary Theatre Society",
1598:, University College, Oxford. Retrieved 1 November 2019
1071:, Katherine Bradley and Edith Cooper (known jointly as
1897:. Cambridge and New York: Cambridge University Press.
1271:, National Portrait Gallery. Retrieved 1 November 2019
425:
In 1915 Ricketts was offered the directorship of the
787:, Shannon, post-impressionism, Puvis de Chavannes,
1890:
1232:can be seen at the Gilbert and Sullivan Archive.
386:(1924). At least one of Ricketts's paintings –
205:, but almost invariably "We think" and "We do."
16:British artist, illustrator, author and printer
791:, Chinese and Japanese art, and stage design.
352:Delaney ranks among Ricketts's best paintings
151:. Except for a year at a boarding-school near
1575:"The Shakespeare Memorial National Theatre",
877:, London, and the remainder buried at Arolo,
8:
2124:Profile on Royal Academy of Arts Collections
881:, Italy. Shannon outlived him by six years.
703:in 1928. His final theatre designs were for
2224:People associated with Gilbert and Sullivan
1933:The Oxford Companion to the Decorative Arts
332:influences, seen in his choice of themes:
1771:
1769:
1510:, Musée d'Orsay. Retrieved 2 November 2019
912:as Bernard Shaw. Ricketts is portrayed in
802:(1933). Under the same pseudonym he wrote
254:, for whom Ricketts illustrated his books
68:in London, where he met a fellow student,
2075:. New Castle, Delaware: Oak Knoll Press.
1647:, vol. 81, no. 4184, January 1933, p. 256
1634:“Stage Designs by Charles Ricketts, R.A.”
1466:
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79:and later for plays by writers including
19:For the Australian rules footballer, see
2097:27 artworks by or after Charles Ricketts
679:Outside London, Ricketts worked for the
2150:, with 42 library catalogue records
2033:Ricketts, Charles (1939). Cecil Lewis;
1834:, BBC Genome. Retrieved 4 November 2019
1822:, BBC Genome. Retrieved 4 November 2019
1788:Oxford Dictionary of National Biography
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1337:Oxford Dictionary of National Biography
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1063:Ricketts and Shannon's circle included
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751:"Psyche's Looking Glass", woodcut, 1903
2054:Rollins, Cyril; R. John Witts (1962).
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1431:, vol. 12, no. 4, 1970, pp. 301–315.
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873:; his ashes were partly scattered in
666:, and did the same in 1929 for their
266:(1894), and painted, in the style of
7:
1645:Journal of the Royal Society of Arts
1010:Frontispiece of Milton's Early poems
242:'s former house, No 1, The Vale, in
182:City and Guilds Technical Art School
2107:Charles Ricketts and the Vale Press
1935:. London: Oxford University Press.
1123:Tullie House Museum and Art Gallery
390:– is in a continental gallery, the
143:and London, and his early teens in
1112:, Eragny, and Essex House Presses.
953:Drop-curtain for Saint Joan (1924)
552:Design for the title character in
14:
1869:The Complete Gilbert and Sullivan
1741:Ricketts (1913), pp. vii and viii
1372:"Obituary: Mr Charles Ricketts",
1026:and the Angel of the Resurrection
536:Annajanska, the Bolshevik Empress
2254:20th-century English LGBT people
2249:19th-century English LGBT people
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1153:Atkinson Art Gallery and Library
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278:" (1894). Reviewing the former,
2229:Publishers (people) from London
648:, Thorndyke and Casson) at the
1952:The Prado and its Masterpieces
1871:. London: Greenwich Editions.
1220:Ricketts's scenic designs for
896:and Cecil Lewis (1979), and a
761:The Prado and its Masterpieces
683:, Dublin, in 1912 on plays by
198:described their relationship:
1:
1931:Osborne, Harold, ed. (1975).
1914:Charles Ricketts: A Biography
1693:"Stage Designs by Ricketts",
1032:Notes, references and sources
884:Ricketts was celebrated in a
732:National Art Collections Fund
624:) at the New Theatre (1924),
180:In 1882 Ricketts entered the
2160:Authorities, with 10 records
1912:Delaney, J. G. Paul (1990).
1794:UK public library membership
1344:UK public library membership
804:Recollections of Oscar Wilde
523:The Dark Lady of the Sonnets
371:The Wise and Foolish Virgins
346:The Wise and Foolish Virgins
2244:Deaths from angina pectoris
2135:(public domain audiobooks)
1916:. Oxford University Press.
1262:"Charles de Sousy Ricketts"
941:Cover design for Saint Joan
730:After Ricketts's death the
238:In 1888 Ricketts took over
2270:
2058:. London: Michael Joseph.
2014:Ricketts, Charles (1913).
1995:Ricketts, Charles (1910).
1976:Ricketts, Charles (1904).
1950:Ricketts, Charles (1903).
1750:Ricketts (1913), pp. 17–31
1414:Ricketts (1913), pp. 69–70
1228:. The costume designs for
737:Victoria and Albert Museum
654:D'Oyly Carte Opera Company
115:National Gallery of Canada
18:
2239:Golders Green Crematorium
2194:British theatre designers
2129:Works by Charles Ricketts
1680:22 September 2008 at the
1665:Rollins and Witts, p. VII
1579:, 25 November 1910, p. 13
871:Golders Green Crematorium
580:Design for Tremouille in
215:Pierre Puvis de Chavannes
190:Charles Haslewood Shannon
171:Charles Haslewood Shannon
46:Charles de Sousy Ricketts
38:National Portrait Gallery
2119:Leeds University Library
1810:, 13 October 1931, p. 15
1706:"The Coming of Christ",
1526:, 19 December 1939, p. 5
1177:In a private collection.
1168:In a private collection.
892:, with reminiscences by
286:Inspired by the work of
175:George Charles Beresford
32:Ricketts by his partner
2071:Watry, Maureen (2003).
1639:1 November 2019 at the
1617:The Manchester Guardian
1594:1 November 2019 at the
1539:29 February 1928, p. 16
1524:The Manchester Guardian
1433:(subscription required)
1404:(subscription required)
774:The Burlington Magazine
358:Don Juan and the Statue
323:Paintings and sculpture
309:William Llewellyn Hacon
257:A House of Pomegranates
231:A House of Pomegranates
2209:English wood engravers
1782:1 October 2018 at the
1723:, 28 April 1932, p. 12
1719:"Opera in Edinburgh",
1697:, 5 January 1933, p. 8
1619:, 26 March 1907, p. 14
1566:, accessed 31 May 2013
1376:, 9 October 1931, p. 7
1267:4 January 2016 at the
888:television programme,
843:St James's, Piccadilly
752:
634:and Thorndike) at the
376:The Death of Montezuma
354:The Betrayal of Christ
349:
235:
177:
42:
2117:Archival material at
2020:. London: Constable.
1954:. London: Constable.
1820:"Poverty and Oysters"
1759:"Books and Authors",
1443:"Books of the Week",
998:from the Cross (1915)
869:. He was cremated at
863:Henry Macbeth-Raeburn
824:Last years and legacy
750:
725:The Bride of Dionysus
713:Phyllis Neilson-Terry
488:His Majesty's Theatre
362:The Death of Don Juan
344:
240:James Abbott Whistler
227:
219:Croydon School of Art
169:
130:Ricketts was born in
85:Hugo von Hofmannsthal
60:Ricketts was born in
31:
2214:English LGBT artists
2199:English illustrators
1982:. London: Ricketts.
1867:Bell, Diana (1998).
1763:, 12 June 1932, p. 6
1522:"Charles Ricketts",
1447:, 23 June 1893, p. 8
1280:Delaney (1990), p. 5
1100:The others were the
800:Unrecorded Histories
796:Beyond the Threshold
743:Collector and writer
719:, London (1931) and
709:Elizabeth of England
701:Canterbury Cathedral
697:The Coming of Christ
500:Mrs Patrick Campbell
461:A Florentine Tragedy
404:Orpheus and Eurydice
380:The Return of Judith
101:Gilbert and Sullivan
2184:Artists from Geneva
2158:Library of Congress
2148:Library of Congress
2144:Charles S. Ricketts
2001:. London: Methuen.
1966:An expanded version
1849:29 May 2013 at the
1832:"Between Ourselves"
1775:Darracott, Joseph.
1710:, 29 May 1928, p. 9
1554:1 July 2013 at the
1504:"Charles Ricketts:
1396:"Ricketts, Charles"
1085:Thomas Sturge Moore
1081:William Rothenstein
968:and the Executioner
890:Poverty and Oysters
604:Maurice Maeterlinck
534:(1916), and Shaw's
412:Paolo and Francesca
155:he was educated by
89:William Shakespeare
2234:Royal Academicians
2041:. London: Davies.
1564:Glasgow University
1394:Cooper, Emmanuel.
1330:Delaney, J. G. P.
1205:Robert Farquharson
847:Robert Anning Bell
753:
705:Ferdinand Bruckner
416:Fitzwilliam Museum
384:Jepthah's Daughter
350:
236:
178:
43:
2189:English designers
2082:978-1-58456-072-2
1923:978-0-198-17212-3
1904:978-0-521-22841-1
1887:Darracott, Joseph
1878:978-0-86288-103-0
1792:(subscription or
1656:Bell, pp. 148–152
1535:"Royal Academy",
1491:Ricketts (1904),
1423:Brooks, Michael.
1342:(subscription or
914:Michael MacLennan
902:Between Ourselves
735:was shown at the
717:Cambridge Theatre
656:'s production of
272:Daphnis and Chloe
228:Frontispiece for
2261:
2204:English printers
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1970:Internet Archive
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300:Emmanuel Cooper
296:Kelmscott Press
288:A. H. Mackmurdo
268:François Clouet
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636:Empire Theatre
612:Gaiety Theatre
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274:" (1893) and "
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2017:Pages on Art
2016:
1997:
1978:
1951:
1932:
1913:
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1209:Lewis Casson
1199:
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1182:
1173:
1164:
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1140:Tate Gallery
1134:
1117:
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906:John Gielgud
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851:Alfred Drury
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817:
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807:
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768:
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724:
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708:
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696:
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639:
632:Lewis Casson
625:
615:
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564:
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518:Bernard Shaw
507:
496:Hofmannsthal
491:
479:
471:The Persians
469:
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129:
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93:Bernard Shaw
74:
59:
45:
44:
25:
2179:1931 deaths
2174:1866 births
1142:collection.
1089:Oscar Wilde
900:programme,
898:BBC Radio 3
814:Cecil Lewis
798:(1928) and
789:G. F. Watts
756:Cambridge.
689:J. M. Synge
685:W. B. Yeats
638:(1925) and
504:New Theatre
484:Oscar Asche
374:(c. 1913);
360:(1905) and
260:(1891) and
252:Oscar Wilde
157:governesses
126:Early years
97:W. B. Yeats
77:Oscar Wilde
55:typographer
2168:Categories
2154:Vale Press
1988:1051608423
1942:0198661134
1249:References
1230:The Mikado
1024:Holy Women
996:Deposition
674:The Mikado
659:The Mikado
627:Henry VIII
617:Saint Joan
589:Saint Joan
566:The Mikado
562:Sullivan's
388:The Plague
368:(c.1913);
263:The Sphinx
186:Kennington
136:Royal Navy
106:The Mikado
2064:504581419
2047:255094669
2026:144604213
2007:670381910
1960:927521645
1808:The Times
1796:required)
1721:The Times
1708:The Times
1695:The Times
1613:The Times
1577:The Times
1537:The Times
1445:The Times
1429:Criticism
1374:The Times
1346:required)
1157:Southport
1110:Ashendene
1102:Kelmscott
1069:John Gray
820:in 1939.
723:'s opera
610:) at the
509:King Lear
466:Aeschylus
449:The Times
420:Cambridge
348:(c. 1913)
330:Symbolist
280:The Times
195:The Times
81:Aeschylus
2133:LibriVox
2037:(eds.).
1889:(1979).
1847:Archived
1780:Archived
1678:Archived
1637:Archived
1592:Archived
1552:Archived
1506:La peste
1265:Archived
1127:Carlisle
981:Don Juan
538:(1918).
526:(1910),
364:(1911);
356:(1904);
248:The Dial
145:Boulogne
141:Lausanne
1861:Sources
1151:In the
1138:In the
1121:In the
928:Gallery
715:at the
662:at the
641:Macbeth
554:Gilbert
502:at the
492:Electra
400:Silence
244:Chelsea
41:15th.'"
2101:Art UK
2079:
2062:
2045:
2024:
2005:
1998:Titian
1986:
1958:
1939:
1920:
1901:
1875:
1493:passim
1192:Oxford
983:(1911)
765:Titian
711:(with
644:(with
630:(with
620:(with
606:(with
585:
582:Shaw's
560:
556:
532:Judith
512:(with
498:(with
482:(with
480:Attila
455:Salome
337:fates.
234:, 1891
203:ménage
149:Amiens
132:Geneva
95:, and
62:Geneva
36:. The
1106:Doves
1037:Notes
602:, by
396:Rodin
153:Tours
2103:site
2077:ISBN
2060:OCLC
2043:OCLC
2022:OCLC
2003:OCLC
1984:OCLC
1956:OCLC
1937:ISBN
1918:ISBN
1899:ISBN
1873:ISBN
1083:and
1022:The
966:Joan
865:and
777:and
687:and
458:and
408:Tate
290:and
147:and
2156:at
2146:at
2131:at
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886:BBC
707:'s
695:'s
558:and
530:'s
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490:),
486:at
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2009:.
1990:.
1964:(
1962:.
1945:.
1926:.
1907:.
1881:.
1508:"
1194:)
1129:.
1054:.
414:(
406:(
23:.
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