Cover
Front cover images, clockwise from upper left:
Contemplation, 1922 (oil on canvas), John William Godward, image courtesy of Sotheby’s London.
Tony Basil sculpting Leopoldine, private collection of the family, image courtesy of Christine Bassett.
The Queen of Time, photographer: Andrew Meredith, image courtesy of Selfridges & Co., London.
King William Street, London, photographer: Lucy Peterson, image courtesy of Lucy Peterson.
Leopoldine, Carmen and Gilda, private collection of the family, image courtesy of Christine Bassett.
My Fair Lady, 1914 (oil on canvas), Edmund Blair Leighton (1853–1922), private collection, photo © Christie’s Images, Bridgeman Images.
Chapter 1
Heading: Iris Tree, letter to Clive Bell, 1915, 8.III.5, private collection of Lucy Peterson.
Image p. 3: The Female School of Art, Queen Square: The Life Class 1868, private collection, photo © Liszt Collection, Bridgeman Images.
Chapter 2
Heading: Anonymous, verse from ‘The Goose and the Common’, circa 1600s, as reprinted in Celebrating the Commons (Minneapolis, USA: On the Commons, 2012).
Image p. 7: Children in a London street circa 1900, Chronicle, Alamy Stock Photo.
Heading: ‘Which Nation Has the Best Sitters’, The Bystander (Illustrated London News Group), 12 Feb 1913.
Image p. 11: Advertisement in The Tatler, 8 January 1913, No. 602.
Image p. 13: Three studies of a seated nude, 1934 (crayon on paper), Mark Gertler (1891-1939), University of East Anglia, Norfolk, UK, Robert and Lisa Sainsbury Collection, Bridgeman Images.
Chapter 4
Heading: Royal Academy Archives, RAA/SEC/4/99/5, William Orpen, visitor’s report on the painting school, 6 Nov 1920.
Image p. 16: Harry Furniss, Royal Academy Antics (London: Cassell & Company Limited, 1890), 56.
Image p. 19: Models at Boulevard Montparnasse, Paris, 1914 (b/w photo), © SZ Photo, Scherl, Bridgeman Images.
Chapter 5
Heading: J. Middleton Murry, ed., The Scrapbook of Katherine Mansfield (New York: Alfred A. Knopf, 1940), 47.
Image p. 23: Lady Ottoline Morrell, 1919 (oil on canvas), Augustus Edwin John (1878-1961), private collection, Bridgeman Images.
Image p. 25: Les Demoiselles d’Avignon, 1907 (oil on canvas), Pablo Picasso (1881-1973), Museum of Modern Art, New York, USA, Bridgeman Images.
Chapter 6
Heading: Smith College Library Special Collections, MS1, Virginia Woolf Papers Series 1 (1906–1956), letter from Lytton Strachey to Virginia Woolf, 9 Oct 1922.
Image p. 32: Slade School of Art picnic circa 1912, photo © Tate, London 2017.
Image p. 36: Vanessa Bell, Quentin Bell and Julian Bell (b/w photo), Bridgeman Images.
Image p. 38: Annie Stiles, 1921 (oil on canvas), Dora Carrington (1893-1932), private collection, Photo © Christie’s Images, Bridgeman Images.
Image p. 41: Angelica Garnett (sepia photo), Bridgeman Images.
Heading: Oscar Wilde, The Picture of Dorian Gray (London: Ward, Lock & Co. Ltd., 1891), 60.
Image p. 46: Family Group: Hilda, Unity and Dolls, 1937 (oil on canvas), Stanley Spencer (1891-1959), Leeds Museums and Galleries (Leeds Art Gallery) UK, Bridgeman Images.
Image p. 49: Portrait of Daphne Charlton, circa 1935 (oil on canvas), Mary Adshead (1904-1995), private collection, © Liss Fine Art, Bridgeman Images.
Image p. 52: The Convalescent, circa 1923-24 (oil on canvas), Gwen John (1876-1939), Fitzwilliam Museum, University of Cambridge, UK, Bridgeman Images.
Chapter 8
Heading: ‘Fine Chemicals. Government and the Duty on Alcohol’, The Globe (Illustrated London News Group), 13 Oct 1914.
Image p. 57: Suffragettes raid Buckingham Palace, May 1914 (b/w photo), London, UK, © Mirrorpix, Bridgeman Images.
Image p. 60: Augustus John, c. 1907 (sepia print), Jacob Hilsdorf (1872–1916), private collection, Bridgeman Images.
Image p. 62: Portrait of Nina Hamnett, 1917 (oil on canvas), Roger Eliot Fry (1866–1934), Samuel Courtauld Trust, The Courtauld Gallery, London, UK, Bridgeman Images.
Chapter 9
Heading: National Library of Wales Archives, NLW MS 23549C.ff58, letter from Ida John to Margaret Sampson, 1904, © Rebecca John; see Michael Holroyd and Rebecca John, eds., The Good Bohemian, The Letters of Ida John (New York: Bloomsbury Publishing USA, 2017), 186.
Image p. 66: The Camden Town Murder, or What Shall We Do For the Rent?, c.1908-9 (oil on canvas), Walter Richard Sickert (1860–1942), Yale Center for British Art, Paul Mellon Fund, USA, Bridgeman Images.
Image p. 69: Ida Nettleship and Dorelia McNeill (red chalk on paper), Augustus Edwin John (1878-1961), private collection, Bridgeman Images.
Heading: ‘Worldly Wisdom While You Wait,’ The Graphic (Illustrated London News Group), 19 Jan 1918.
Image p. 76: Acetylene Welders, 1917 (etching and drypoint), Christopher Richard Wynne Nevinson (1889–1946), private collection, Photo © The Fine Art Society, London, UK, Bridgeman Images.
Image p. 79: ‘Serve your country or wear this!’ (sepia photo), English photographer (twentieth century), private collection, The Stapleton Collection, Bridgeman Images.
Chapter 11
Heading: The National Archives, KV-2-822 Cavell, Letter from Le Capitaine Beliard of the Allied Bureau to Colonel V.G.W. Kell of M.I.5., 24 Nov 1917.
Image p. 85: Millicent, Duchess of Sutherland and her daughter at the first meeting of the Ladies Automobile Club, 1903 (b/w photo), English photographer (twentieth century), private collection, Bridgeman Images.
Image p. 86: Recently decorated with the Order of Leopold: Lady Dorothie Feilding, from The Illustrated War News, 1915 (b/w photo), Belgian photographer (twentieth century), private collection, The Stapleton Collection, Bridgeman Images.
Chapter 12
Heading: The British Library, Add MS 83202 1921–1922, Higgens Papers. Vol. v. Grace Germany’s diary in Saint Tropez, 1921. © Estate of Grace Higgens, all rights reserved.
Image p. 93: Marguerite Kelsey, 1928, Meredith Frampton (1894–1984). Presented by the Friends of the Tate Gallery 1982. © Tate, London.
Image p. 98: Posing, circa 1929 (oil on canvas), Alan Beeton (1880–1942), Fitzwilliam Museum, University of Cambridge, UK, Bridgeman Images.
Chapter 13
Heading: Helen Bullitt Lowry, ‘The Uninhibited Flapper’, Nonsenseorship, G.P.P. ed. (New York and London: G.P. Putnam’s Sons, 1922), 69.
Image p. 102: Nancy Cunard (1896-1965), Everett Collection Inc., Alamy Stock Photo.
Image p. 104: Mrs. Fanny Eaton (coloured chalks on paper), Walter Fryer Stocks (circa 1842-fl. 1903), private collection, Photo © The Maas Gallery, London, Bridgeman Images.
Chapter 14
Heading: Aner Preminger, ‘François Truffaut Rewrites Alfred Hitchcock: A Pygmalion Trilogy’, Literature Film Quarterly (ISSN: 0090-4260, Volume 35, Number 3), 170.
Image p. 109: The Chelsea Arts Club Costume Ball at the Albert Hall, London, Resting between Dances (litho), Fortunino Matania (1881–1963), private collection, © Look and Learn / Peter Jackson Collection, Bridgeman Images.
Image p. 113: Portrait of Iris Tree (pencil on paper), Augustus Edwin John (1878–1961), private collection, Photo © Peter Nahum at The Leicester Galleries, London, Bridgeman Images.
Image p. 115: George Grantham Bain Collection (Washington, D.C.: Library of Congress Prints and Photographs Division).
Chapter 15
Heading: Cecil Headlam, ‘The Beautiful Women of Britain,’ The Sphere (Illustrated London News Group), 26 Nov 1917.
The Avico Sisters: A Revelation
Image p. 123: Private collection of the family, image courtesy of Christine Bassett.
Image p. 124: Private collection of the family, image courtesy of Christine Bassett.
Image p. 125: Private collection of the family, image courtesy of Christine Bassett.
Image p. 126: Private collection of the family, image courtesy of Christine Bassett.
Image p. 128: Private collection of the family, image courtesy of Christine Bassett.
Image p. 130: Private collection of the family, image courtesy of Gilda Swiderski.
Image p. 132: Contemplation, 1922 (oil on canvas), John William Godward, image courtesy of Sotheby’s London.
Image p. 134: Private collection of the family, image courtesy of Christine Bassett.
Image p. 136: Private collection of the family, image courtesy of Christine Bassett.
Image p. 137: Left: Sotheby’s Belgravia, Victorian Paintings (London: 12 June 1973); right: private collection of the family, image courtesy of Christine Bassett.
Image p. 139: Titania’s Palace interior, © Egeskov Castle, Denmark.
Image p. 140: Private collection of the family, image courtesy of Christine Bassett.
Image p. 141: The Queen of Time, Kevin Foy, Alamy Stock Photo.
Image p. 142: Bacchante (Spirit of the Grape Harvest), photographer: Stephen Freeth, company archivist, The Vintners’ Company, Vintners’ Hall, London.
Image p. 144: Selfridge’s Decorations for the Coronation (May 1937), private collection, image courtesy of Lucy Peterson.