Sotheby's Villa Mauresque Catalogue: Aldington
I have been away from my books for over a year, and recently, I am able to take them out from the boxes again.
A few years ago, I finally got a book that I had been looking for. It had evaded me once, the seller suddenly withdrew, and left me searching all over again.
It is: Catalogue of the Contents of the Villa Mauresque: The Property of the Late W. Somerset Maugham.
This little catalogue contains what Maugham still owned when he died. The auction happened on November 20, 1967 at 10:30 am (sharp, mind you).
In Maugham's will, the contents of the Villa Mauresque were bequeathed to Alan Searle, his long time secretary and companion. The Villa itself was left for Liza, Maugham's daughter.
Early in 1966, Searle had a nervous breakdown, followed by a series of medical problems (Calder, pp. 386-387). By late 1967, probably all the contents from the Villa proved to be too much for Searle. The sale fetched $76,000, which, if translated to today's worth, would be almost $760,000. Though, nowadays, that sounds so insignificant. Can barely get you a family home.
Together with the contents of Villa Mauresque was "A Fine Series of Autograph Letters of W. Somerset Maugham, First Editions and Presentation Copies. The Property of Mrs. Barbara Back." Back was the closest female friend Maugham had, I think everyone agrees. I have written about her before in another post.
After her husband, the surgeon Ivor Back, died, she was left in financial difficulty, no longer able to sustain the kind of life she had been living, and Maugham helped her, which Searle continued after Maugham's death. Maugham did advise her to sell the signed books he had been giving her (Morgan, p. 543), which she did, together with Searle in this auction.
The auction was held in Mayfair, London, at Sotheby's galleries.
Not long ago, I went through my own auction. It was an eerie thing. In Maugham's case, it happened after he died, though he did auction off portions of his collection of paintings while he was alive. To choose, to be a witness of how parts of your life vanish in front of your eyes in material form is a strange experience. The hopes, the dreams, the "I'll do this, I'll use that" finally being reconciled to "Nah, I won't do this, I'll never use that." Plus the heavy memories affiliated with some objects, wiped clean, about to start a new life with new owners, with impurities hinting at past events, or dust covering a new, unused surface, telling it was never wanted.
Sentimentalism aside. This catalogue is super interesting. It is separated into several sections:
- Printed Books
- Autograph Letters and Literary Manuscripts
- French Impressionist paintings
- English Paintings and Drawings
- Oriental Porcelain and Works of Art
- Antiquities
- Works of Art
- Rugs and Carpets
- English and Continental Furniture
Each section comes with some black and white photographs, very amusing to look at.
I'll list the items, and comment on things that look interesting. For this post, I'll start slow, a little warm-up, and look at the first three books.
Printed Books
- Aldington (Richard) Stepping Heavenward, FIRST EDITION, number 286 of 808 copies, signed by the author, cloth backed boards, uncut, dust jacket, 4to, Florence, G. Orioli, 1931.
- Aldington (Richard) Ezra Pound and T. S. Eliot: A lecture, FIRST EDITION, limited to 350 copies, PRESENTATION COPY, inscribed by the author to Somerset Maugham, original decorated boards, slipcase, 8vo, The Peacocks Press, 1954. [Now in Harry Ransom Center]
- Aldington (Richard) A. E. Housman and W. B. Yeats: Two lectures, FIRST EDITION, limited to 350 copies, PRESENTATION COPY, inscribed by the author to Somerset Maugham, original cloth, uncut 8vo, The Peacocks Press, 1955. [Now in Harry Ransom Center]
I was curious when I got Francis de Croisset's L'invasion au théâtre, a signed copy dedicated to Maugham, that it was uncut. Two of these books were also uncut, probably Maugham never found the time to read them.
Aldington and Maugham
Now to Richard Aldington. He is mentioned in several biographies on Maugham, mostly to prove the point that Maugham, despite common contemporary opinions, was actually generous and a good old soul (Morgan, p. 372; Meyers, p. 340). Calder wrote that John Sutro recounted an instance (adding to some other prior examples) of Maugham's anonymous generosity:
Maugham had heard from his publisher that Richard Aldington, whose work he admired though he knew him only slightly, was living in "lonely bitterness and near poverty" in central France. Aware that the writer's pride and obstinacy would prevent his accepting a direct gift, Maugham arranged for Heinemann to commission a book from Aldington, the advance for which Maugham would pay. He then drove a considerable distance across the country to pay his respects, but Aldington, not fooled by the plan, rejected it as charity (p. 224).
Aldington, according to Wikipedia, went to self-imposed exile to Paris in 1928. From other testimonies, it would appear that Maugham's generosity began around the '30s. Whether Aldington was at first unhappy about the gesture or not, he didn't leave any trace of his bitterness, as he praised Maugham highly in his W. Somerset Maugham: An Appreciation, published in 1939.
This book is frequently quoted in criticisms and studies to act as witness that Maugham deserves to be recognized as a great writer. And that's most of the extent of mentions of Aldington in relation to Maugham.
Besides the three books listed above in the Sotheby auction, Maugham possessed at least two others:
RICHARD ALDINGTON, PINORMAN (Published by Heinemann, 1954. O.ALD.1.)
THE RELIGION OF BEAUTY. Arr. Richard Aldington. Inscribed: To Somerset Maugham in the hope that he may at least glance at the pages of a sad failure. Richard Aldington (Published by Heinemann, 1950. J.ANT.1.)
They are currently in King's School Library, Canterbury, among 1,800 (1,670 according to Calder, p. 326) volumes donated by Maugham from his library in Villa Mauresque (Hastings, p. 491)
Both of these works were published in the '50s. By that time, Aldington and Maugham had a different relationship. Upon Eddie Marsh's death in 1953, Maugham lost his trusted and most treasured "diabollizer". I have talked in another post about the two, and I am not going to repeat here. Maugham found in Aldington a Marsh successor (Meyers, p. 222), which is in itself a testimony to his appreciation of and respect for Aldington.
And indeed, Maugham did read The Religion of Beauty, whether he agreed with Aldington that it was a failure or not we can only surmise. Maugham mentioned the book in "Prose of Dr. Tillotson":
Some years ago Mr. Richard Aldington published an anthology of prose and verse by nineteenth century writers which he called The Religion of Beauty. The verse has maintained the charm it had when first written, but the stylists, George Meredith, Walter Pater, Max Beerbohm, are sadly dated. You can hardly read the delicious scene of the meeting of Ferdinand and Miranda in The Ordeal of Richard Feverel without embarrassment. The passage from Walter Pater's Æsthetic Poetry is dry and airless; you feel that it was imagined without inspiration and written with labour. The only pieces of prose in this interesting volume that can be read with pleasure are those, like Arthur Symons's piece on poor Ernest Dawson, in which the author has not tried to write finely, but in good plain English (Points of View, p. 106).
Meyers provides another record of the two. Maugham in 1955 recounted to Aldington a luncheon in which he met D. H. Lawrence, and probably unwittingly sowed a dislike seed between the two (pp. 156-159). I won't repeat the sequence of events here. Honestly, it's a tiresome story.
To know more about the relationship between Aldington and Maugham, the letter collection in Howard Gotlieb Research Center at Boston University would be of great interest, according to their finding aid, it has substantial letters from Aldington to Maugham.
One last amusing side note about Aldington, in Loren & Frances Rothschild's collection, there are the page proofs for the first English edition of Ten Novels and Their Authors, published by Heinemann in 1954, in two volumes bound in cream wrappers, on reverse cover stock for Richard Aldington's Voltaire (pp. 29-30), which was published in 1925.
I wonder if Maugham noticed it when he was correcting the proofs. Unfortunately, Voltaire was published by Routledge, not Heinemann, otherwise, it would have made a perfect story if it were the alleged book that Maugham was going to pay in advance for Heinemann to commission Aldington to write.
Now, it is prudent to leave a note nowadays, a soft form of declaration: I, a human, wrote this post, all on my own. And, to complicate the matter, I also love AI. I am indifferent to smart phone revolution, social media revolution, but boy, AI is quite another story.
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"The Great William Somerset Maugham Seen Through the Eyes of a Friend—"
Edward Marsh — Diabolizer of W. Somerset Maugham
Purely for My Pleasure - W. Somerset Maugham
References
Calder, R. (1990). Willie: The life of W. Somerset Maugham. Heinemann.Hastings, S. (2010). The secret lives of Somerset Maugham. John Murray.
Maugham, W. S. (1958). Points of view. Heinemann.
Meyers, J. (2004). Somerset Maugham. Alfred A. Knopf.
Morgan, T. (1980). Somerset Maugham. Jonathan Cape.
Rothschild, L. & Whiteman, D. (Eds.). (2001). William Somerset Maugham. A catalogue of the Loren and Frances Rothschild collection of manuscripts, letters, printed books, pamphlets, periodicals, art and ephemera by and relating to William Somerset Maugham. Heritage Book Shop.
Sotheby & Co. (1967). Catalogue of the contents of the Villa Mauresque. The property of W. Somerset Maugham. Sotheby & Co.
The King's School, Canterbury. (n.d.) Books given by W. Somerset Maugham. The King's School, Canterbury.
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