The Dance of Anitra

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The Dance of Anitra
Dance of Anitra by Edith Maryon - Dreweatts 1.jpg
Artist Edith Maryon
YearFebruary 1909 (1909-02)
MediumBronze
Dimensions53 cm (21 in) tall; 19.5 cm × 16 cm (7.7 in × 6.3 in) wide (base)

The Dance of Anitra is a 1909 bronze statuette by the English artist Edith Maryon. The work depicts the Canadian dancer Maud Allan performing Anitra's Dance from Peer Gynt , a play by Henrik Ibsen that was set to music by Edvard Grieg. Maryon created the work at the height of Allan's fame, known as her "Conquest of London": eighteen months of shows at the Palace Theatre, during which time Allan emerged as a fashion icon, sex symbol, and controversial figure.

Contents

The statuette is made of bronze and stands 53 cm (21 in) tall. It captures Allan mid-dance, emphasizing her grace and movement as well as her sensuality. The scene it depicts takes place in the fourth act of the play's five, which follow Gynt as he is outcast from his Norwegian home and spends decades travelling abroad; posing as a prophet to a desert tribe in Morocco, he is enraptured by the dancing of Anitra, attempts to seduce her, and is swindled out of his gold. Grieg's music accompanying the dance was later combined into the first of two four-song suites that became some of his best-known compositions. Allan adapted the first Grieg suite, and with it Anitra's Dance, into her repertoire in February 1909, the same month that Maryon made the sculpture.

The Dance of Anitra is representative of Maryon's ouevre from the middle of her career, which combined classical technique with symbolic expression, and belongs to a category of her works pairing emotional and spiritual aspects. It is one of two sculptures by Maryon depicting Allan, both made around the same time. It also presages Maryon's work on eurythmy figures a decade later, after she joined the anthroposophy movement and became a close collaborator with Rudolf Steiner. Like The Dance of Anitra, these translated the grace and lightness of dance to the sculptural form.

The work was exhibited at the Royal Academy of Arts in the summer of 1909, and at the Walker Art Gallery in the autumn of 1910. Reviewers at the time praised the work, terming it "graceful", [1] "of charm and interest", [2] [3] and "of high merit"; [4] one review wrote that Maryon had "overcome the difficulty of pourtraying the poetry of motion". [5] [6] It was auctioned in 2025, attributed to a private collection in Wiltshire. The auction house, Dreweatts, noted it as one of the few works by Maryon known to survive in private hands.

Background

Edith Maryon

Edith Maryon Edith Maryon.jpg
Edith Maryon

Early life

Louisa Edith Church Maryon was born in London on 9 February 1872. [7] [8] She was the second of six surviving children born to John Simeon Maryon, a tailor, and Louisa Maryon (née Church). [9] [7] She was preceded by a brother, John Ernest, and followed by Herbert James, George Christian, Flora Mabel, Mildred Jessie, and Violet Mary—although Flora Maryon, born in 1878, died in her second year. [8] [10] Edith Maryon attended the Maria Grey School for Girls near home, and was then sent to Geneva to finish her education. [11] Upon her return to London Maryon studied art, including at the Royal College of Art. [12]

Sculpture

By the end of the 1890s, Maryon had become established as a sculptor, and in 1904, she was accepted as an Associate of the Royal College of Art. [13] Between 1899 and 1912, when Maryon was approximately 27 to 40 years old and living in London, she exhibited numerous works, particularly at the Royal Academy of Arts and the Walker Art Gallery; with the former exhibition held during the summer and the latter during the autumn, many her her works were exhibited at both. [14] These works, according to her biographer Rex Raab, tended to fall into five categories: first, the world of external physical being; second, references to the elemental world; third, motifs from the spiritual world; fourth, spiritual–allegorical works; and fifth, a combination of emotional and spiritual aspects. [15] The shift in focus away from the elemental world and towards the spiritual, he observed, appears to have taken place around 1905 to 1907. [16] Maryon exhibited little if at all after 1912. [17]

Anthroposophy

In Memory of Theo Faiss (1921) In Memory of Theo Faiss by Edith Maryon.jpg
In Memory of Theo Faiss (1921)

Maryon was interested in the esoteric at least as early as 1909; on 4 September of that year she became a member of the Stella Matutina—an offshoot of the Golden Dawn—to which several of her friends already belonged. [18] [note 1] In 1912, Maryon embarked on a long-planned trip to Egypt, by way of Italy. [19] Maryon abruptly broke the trip off, however, returning to England. [20] [21] [22] According to one story, though probably apocryphal, [23] [24] Maryon did so because she learned that the anthroposophist Rudolf Steiner was speaking in Berlin, and traveled to go listen to him instead. [20] In any event, on 16 October 1912, Maryon wrote to Steiner for the first time, asking for an audience. [25] [26] [27] [28] Ater further letters and others reaching out of her behalf, she arrived in Berlin on 9 December; she met Steiner the following day, and likely stayed in Germany (including a trip to Cologne) through the end of the month. [25] [26] [27] [28]

The trip to Berlin solidified Maryon's view that her purpose lay in Steiner's work; in a letter she wrote on New Year's Day of 1913, she told him that "for some years I have always felt there is something definite for me to do, and, that some time I shall meet the master, who will tell me what it is and explain some of the things which have puzzled me so much. ... [W]hen I saw you in Berlin, I knew at last I was right about the Master." [29] [30] [31] [32] After additional correspondence, and a visit to the Netherlands to attend a lecture series by Steiner, she wrote to him on 30 March that "I have now quite definitely decided in my own mind, that when I leave England in May it will be altogether, and with your permission I hope to entirely cast in my lot with the [ Anthroposophical Society ]". [33] [34] [35] [36]

Maryon traveled to Germany in May 1913, and in January 1914 to Dornach—the place where Steiner had resolved to center the anthroposophical movement, and build the Goetheanum as its central structure. [37] [38] [39] Although she returned to London around April 1914 due to ill health and limited finances, she travelled back to Dornach around June or July. [40] [41] [42] Over the next decade, until her death in 1924, Maryon rarely left Dornach. [43] She became a close collaborator of Steiner; [44] particularly after Maryon caught Steiner from falling and prevented serious injury in late 1916, Steiner described the two as sharing a "karmic connection" (karmischen Zusammenhanges), and deferred to her decisions: "What she does, I have done" (Was sie macht, habe ich gemacht). [45] [46] [47] [48]

Peer Gynt

Anitra's Dance takes place in Act IV of Henrik Ibsen's 1867 play Peer Gynt , set to music by Edvard Grieg. [49] The five-act play chronicles the journey of its titular character from the Norwegian mountains to far-flung places including the North African desert and Panama, and back. [50]

Play

Henrik Klausen (no) as Peer Gynt in 1876, likely while portraying a prophet in Act IV Henrik Klausen som Peer Gynt - 1876 - Ernst Emil Aubert - Oslo Museum - TM.T01441 (cropped).jpg
Henrik Klausen  ( no ) as Peer Gynt in 1876, likely while portraying a prophet in Act IV

Act I opens with Gynt's mother scolding him for being a liar and a layabout; his father had squandered the family fortune, but instead of doing his duty on the family farm, Gynt spends his time either idly, or chasing women and getting into fights. [51] When Gynt's mother castigates him for spurning Ingrid, an heiress who fancied him but was now set to marry another man the following day, Gynt resolves to crash the wedding and woo her back. [52] Arriving that evening, Gynt discovers people gossiping about him behind his back, or openly mocking him. [53] A new family arrives and Gynt is taken by the daughter, Solveig. [54] Gynt's reputation has preceded him, however, and when she learns his name, she refuses to dance with him. [55] Meanwhile, Ingrid has locked herself in a storeroom, and refuses her fiancé's entreaties; when the groom-to-be enlists Gynt's help to cajole her out, Gynt and Ingrid run away with each other into the mountains. [56]

Act II begins the next morning, with Gynt telling Ingrid to leave him and go home. [57] Distressed, she responds that they are bonded by sin, and that Gynt could be "wealthy and respected" if he stays with her; he replies merely that "I was hot for a girl", and that he is truly interested in Solveig. [58] After Ingrid returns home, the parish forms a mob, led by her father, to find and kill Gynt. [59] Gynt's mother and Solveig's family also search for him, the father calling it "a Christian duty". [59] Gynt, meanwhile, comes across three herdgirls looking for lovers with whom to spend the night. [60] Gynt obliges, and dances away with them to their hut (and with it, the promise of mead); the play resumes with Gynt in the throes of a splitting hangover. [61] Gynt runs forward, collides with a rock, and collapses. [62] While unconscious, he dreams that he meets the daughter of the troll mountain king, and the king offers him the chance to become a troll himself if he marries the daughter and satisfies various conditions. [63] In the process, the king explains the difference between trolls and humans: Humans say "To thine own self be true", while trolls say "To thine own self be—all-sufficient!" [64] Gynt accedes to most of the conditions, but ultimately refuses when told that he would have to stay a troll forever. [65] The king and his daughter then tell Gynt that he has impregnated her purely by having lusted after her, and that before the year's end, he will be a father. [66] Gynt escapes the trolls, only to run into the Bøyg. [67] When Gynt tells the Bøyg to "Get out of my way", the Bøyg responds "Go round and about", and each time Gynt asks the Bøyg "Who are you?" the Bøyg responds merely "Myself." [68] The act ends with Gynt coming to in his mother's mountain hut. [69] Solveig and her sister have found him; Gynt gives the sister a silver button, and asks her to tell Solveig not to forget him. [70]

Act III sees Gynt building a log cabin in the woods. [71] He is a literal outlaw: His land and possessions have been confiscated, and anyone may kill him on sight. [72] His mother now lives in a house that has been stripped bare, the property claimed by Ingrid's father and the bailiffs; she is left with little more than the right to live in her house until she dies. [73] Solveig appears outside Gynt's hut, declaring that she has left her family behind in order to live an outlaw's life with him. [74] Gynt's ecstasy is quickly erased when the troll king's daughter appears with their son, and tells Gynt that she will always be nearby. [75] Gynt, channeling the Bøyg, determines that there is no other option than to go "Round and about". [76] Going "Straight through" by seeking repentance "might take years": "What a waste of life!" [76] Gynt tells Solveig that he must leave to fetch something heavy, and walks down the forest path. [77] He returns to his mother's house to find her at the end of her life and longing to see him. [78] The two let their past disagreements go, and he tells her a story of taking her to Soria Moria Castle to feast with the king and the prince. [79] The gate to the castle is guarded by Saint Peter; after Gynt sings his mother's praises to Saint Peter and intones in God's voice that his mother "will be my guest", he looks down to see that his mother has died. [80] "You can rest now", Gynt says, then declares that he is going "To the sea" and "further still". [81]

By Act IV, Gynt is a handsome and wealthy middle-aged gentleman. [82] Gynt is now along the south-west coast of Morocco, and enjoying dinner with four travel companions taken aboard his steam yacht in Gibraltar. [83] Gynt regales his companions with his life's story: In his telling, he was betrothed to a woman "of royal blood", but objected to her father's request that he take a title in order to marry her. [84] He left, then made his fortune trading slaves to the Carolinas, and heathen images to China. [85] Questioning the morality of these trades as he grew older, Gynt said he used "The last cargo of flesh" to open his own plantation, and operated a dual trade in China, where he sold idols to non-Christians, and goods to Christian missionaries that they then used to barter away the idols. [86] Gynt's companions set about to rob him, commandeering his yacht and, with it, his chest full of gold. [87] His yacht gone, Gynt heads into the desert, where he discovers a richly caparisoned horse, jewels, and sacred robes, that had been stolen from a Moorish emperor and then abandoned. [88]

February 1909 sketch for The Graphic, showing Allan performing Anitra's Dance 1909.02.27 - The Graphic - Maud Allan as Anitra.jpg
February 1909 sketch for The Graphic , showing Allan performing Anitra's Dance

Newly ornamented in imperial regalia, Gynt is taken as a prophet by a desert tribe. [90] Girls dance in his honour and sing his praises; Anitra is among them, and comes to Gynt's tent afterwards. [91] In what becomes Anitra's Dance, [92] Gynt commands her and the others to dance for him: "Dance for me, women! The prophet wants to forget the past." [93] Gynt is enamoured with Anitra, offering a monologue on her looks, and attempts to seduce her. [94] She, in turn, convinces him to gift his jewels to her. [94] When Gynt attempts to ride away with her on his horse, she convinces him to dismount and lead the horse, then hand her his "heavy bag" of gold to save him the effort of carrying it—then immediately gallops back to her oasis. [95]

Act IV continues with Gynt deciding to become a historian. [96] Solveig is briefly seen, middle aged and beautiful, spinning and looking after goats outside the hut Gynt built, singing how "a time there will be, when My love is in my arms again". [97] The play resumes with Gynt in Egypt, first by the Colossi of Memnon and then the Sphinx. [98] Gynt comes across the keeper of local madhouse—himself insane—who claims to be taking Gynt to the Scholars' Club. [99] The residents hail Gynt as an emperor; though he wished to be one in his youth, he despairs in their company, and calls out for God. [100]

Act V starts with Gynt "a vigorous old man", weather-beaten and wearing clothes that have seen better days, standing on a boat that set sail from Panama and is now along the Norwegian coast of the North Sea. [101] He is returning home. [101] The boat is wrecked in a storm; Gynt fights the cook, who drowns, for a handhold on an upturned dinghy, and comes to shore having lost all of his possessions. [102] Gynt makes his way home, passing a peasant funeral, and arrives at his old house, where he discovers his old acquaintances are auctioning off his former possessions. [103] Coming to Solveig's hut, he hears her singing about him, despairs that "One has remembered—and one has forgotten", and runs away again. [104] He then encounters a string of figures from his past—all the things he did not do, his mother claiming that he did not in fact lead her to heaven, a buttonmoulder who claims that his soul must be melted down, the troll mountain king who says that Gynt has been living like a troll—and despairs, realising that his life has been a waste. [105] In search of a priest to whom to confess his sins, Gynt encounters the Devil, who tells him that his sins are too minor to land him in Hell. [106] The buttonmoulder reappears, telling Gynt that his time has run out. [107] The two are standing by Solveig's hut, however; the buttonmoulder tells Gynt to "Set your house in order!" and Gynt finally decides to go "Straight to it" rather than "Round and about". [108] Gynt rushes to the house and throws himself down on the threshold, begging for Solveig's forgiveness. [109] Telling him that he has done nothing to forgive, she says that all the time he has been away, he has truly been "In my faith, in my hope, and in my love." [110] Gynt puts his head in her lap, she sings to him, and he presumably dies. [111] Behind the house, the buttonmoulder intones: We shall meet at the last cross-road, Peer; And then we'll see whether—; I say no more." [111]

Music

Maud Allan

Maud Allan Maud Allan.jpg
Maud Allan

Early life

Maud Allan was born Ulla Maude Durrant on August 27, 1873. [123] [124] She was the second of two surviving children born to her parents, following Theodore Durrant. [125] [124] Though Allan would later claim to have been raised by doctors in an affluent household, her parents had in fact worked at a shoe factory; her mother, who had been adopted, was likely the illegitimate daughter of Adolph Sutro, later to become mayor of San Francisco, and his mistress. [126] [124] Allan moved to San Francisco in 1877, and displayed artistic talents at an early age; by the time she was 19 she was listed as a piano teacher and had given a number of recitals in private homes. [127] [124] In 1895, Allan left to study music in Berlin. [128] [124] Only two months later, however, her life was turned upside down: Her brother was arrested for the murder of two women in a highly publicised case termed "The Crime of the Century", and was hanged in 1898. [129] [124]

Dance

Allan suffered a collapse after the execution of her brother, with whom she had been close. [130] [124] Her mother joined her in Berlin the following year, bringing an urn containing her brother's ashes; they spent eighteen months together, including a tour of Europe. [131] [124] Although Allan initially continued with piano lessons, including under the tutelage of Ferruccio Busoni, around 1902 she decided to forego the instrument and turn to dance. [132] [124] She gave her private debut in Vienna at the end of 1903, and her public debut in Brussels a year later. [133] [134] By now she had taken on the name that she would use for the rest of her life, likely to avoid others connecting her with her brother. [135] If not effusive, reviews were at least sufficiently warm for Allan to continue. [136] [134] She began to rise to fame in 1906 with her debut of The Vision of Salome in Vienna, where dancers including Ruth St. Denis and Mata Hari were also appearing for the first time. [137] [138] In the dance, which became Allan's masterpiece and coined her the term "The Salome Dancer", Allan interpreted Salome as a femme fatale rather than the traditional view of an evil woman responsible for the death of John the Baptist. [139] The performances were both successful and controversial—the latter helping to feed the former—in no small part due to the fact that Allan's costume only minimally covered her breasts. [140]

Conquest of London

Mass-market porcelain of Allan as Salome, likely c. 1908-1909 Maud Allan Salome porcelain figurine - Deker Auctions 1.jpg
Mass-market porcelain of Allan as Salome, likely c. 1908–1909

Allan's large break came when she was invited to dance before King Edward VII in September 1907. [141] The performance facilitated an introduction to Alfred Butt, the manager of London's Palace Theatre, and helped launch the next stage of Allan's career. [142] [138] After performances in Prague, Bucharest, and Leipzig, Allan returned to London in February 1908 to begin a two-week residency at the Palace Theatre. [143] [138] Allan was an overnight success; two weeks became eighteen months. [144] [138] At the height of her "Conquest of London", as it was known, Allan made £250 (equivalent to £32,000in 2023) a week from the Palace, broke its box-office records, and commanded the same price for her many private recitals. [145] Allan was at ease with and embraced by society, became both a fashion icon and a sex symbol, and contributed to an outbreak of "Salomania"; the gift shops of Bond Street sold flower-pot statuettes of her striking her most memorable poses. [146] Her private life, including liaisons with the Second Duke of Westminster and the Prime Minister's wife Margot Asquith, also became the subject of much gossip, inspiring two romans à clef : Salome and the Head, by E. Nesbit, and the anonymous and pornographic Maudie. [147] [138]

In October 1908, Allan both performed for her 250th time at the Palace and—possibly due to exhaustion—suffered a bad fall on stage. [148] [149] She returned to stage on 12 February 1909. [150] [149] [151] She used her return to introduce new dances into her set, including the first Peer Gynt suite and, with it, Anitra's Dance. [149] [151] Newspapers at the time variously stated that "Anitra's dance [was] wonderfully captivating"; [151] "'Anitra's Dance' was the most charming of the [Peer Gynt] sections"; [152] "the grace and vivacity of Anitra's dance were charming, but they were not in harmony with the Eastern colour of the music"; [153] and "Anitra's Dance is delicious, the very spirit of girlish joy". [154] Allan's run at the Palace finally ended in mid-November 1909. [155] [156]

Later years

The Conquest of London was the pinnacle of Allan's career. [157] The success, however, was unsustainable. [157] From 1910 to 1915, Allan embarked on a series of tours—first in St. Petersburg and Moscow (which likely included a private recital before Emporor Nicholas II and his wife Alexandra), then for three months across the United States (including at Carnegie Hall and a homecoming in San Francisco), then a three-month return to the Palace in London, then to South Africa, and then with the Cherniavsky Trio across India, the Far East, and Australasia. [158] The performances met with varying, but predominantly decreasing, levels of success. [158] By the end of the tour in January 1915, Allan was running out of money, and had both debts owing and expenses coming due. [159]

Allan lived with her family in California for much of 1915, during which time she starred in the silent film The Rug Maker's Daughter ; she then launched a second North American tour, which soon ran out of money and closed. [160] In 1918, back in London, Allan accepted the lead role in Oscar Wilde's Salome . [161] Certain politicians, who had been stirring controversy by claiming that Germany had a list of alleged "depraved" members of society and was blackmailing them for wartime secrets, took the opportunity to claim that patrons of the play—written by Wilde, who had been imprisoned for "gross indecency" with men, and performed by Allan, herself the subject of rumour—were likely on the list. [162] Allan sued for libel, and lost. [163] The trial heavily damaged her reputation: The defense cross-examined Allan at length about her brother's crimes, tarred her as a "hereditary degenerate", and introduced perjurous testimony regarding the alleged contents of German's list, while the judge did little to rein in such abuses. [163] [note 2] Allan was shunned afterward, and advised to avoid London's stages. [167]

The close of the trial was followed by a series of ventures and performances by Allan, none of which met with particular success or attention: tours of South America and Egypt, a panned week at London's Alhambra Theatre, concerts in Brussels, Paris, Lyon, New York, and California, a one-week run in The Barker , an attempt to found a dance school. [168] Allan frequently relied on, and frequently exhausted, the hospitality of friends. [169] Moving to Los Angeles in 1941, she worked as a draughtsperson at the Douglas Aircraft Company for the balance of the war. [170] In later years Allan's friends pooled money together to place her in a home. [171] She died on 7 October 1956 at the age of 84. [172]

Description

The sculpture as photographed in The Studio and The International Studio in 1911 Edith Maryon - La danse d'Anitra.jpg
The sculpture as photographed in The Studio and The International Studio in 1911

The sculpture is made of bronze. [173] [174] [175] [176] [177] It is 53 cm (21 in) tall and, at the base, measures 19.5 cm × 16 cm (7.7 in × 6.3 in). [175] [176] "Dance of Anitra" and "Maud Allan" are both written in relief on the sides of the base. [175] [176] The base is signed by Maryon, and inscribed "Feb 1909". [175] [176]

The work depicts Allan performing Anitra's dance from Peer Gynt. [178] [175] [176] Allan is captured mid dance; the bronze, as the auction house Dreweatts wrote, captures her "charisma, mysticism, movement and sensual stage performance" in the midst of "the seductive dance which emphasises the grace and beauty of Anitra". [175] [176]

Themes

The Passing of Winter--Miss Maud Allan as Spring (c. 1909) The Passing of Winter.jpg
The Passing of Winter—Miss Maud Allan as Spring (c. 1909)

According to Maryon's biographer Rex Raab, the sculpture represents a fifth-category work by Maryon, displaying a combination of emotional and spiritual aspects. [15] Another such example is Maryon's 1911 work Priestess of Isis. [15] As termed by Dreweatts, it represents Maryon's "distinctive sculptural stype that combined classical technique with symbolic expression". [175] [176]

The Dance of Anitra is one of two works by Maryon depicting Maud Allan. [179] [180] The other, titled The Passing of Winter—Miss Maude Allan as Spring, was made around the same time and was perhaps larger; it was pictured in Academy Architecture in 1909, [179] [180] and exhibited at the Forty-first Autumn Exhibition at the Walker Art Gallery from 23 September 1911 to 6 January 1912, priced at £200 (equivalent to £25,000in 2023). [181] According to Dreweatts while writing about The Dance of Anitra, "While there is little documentary evidence of their personal relationship, this intimate rendering indicates there was a close relationship or at the very least an understanding between the two women whilst simultaneously allowing an insight into the interplay of performance, presence and visual arts in early 20th century Britain." [175] [176]

The sculpture also presages Maryon's later eurythmy figures created for the anthroposophy movement. [182] These had their genesis in a relief created by Maryon, perhaps in early 1919, that depicts Ilona Schubert  ( de ) performing a eurythmy solo to Goethe's poem Die Spröde. [183] The work is thematically similar to The Dance of Anitra, displaying what Raab terms the "grace and lightness" (German : Grazie und Leichtigkeit) of the dancer. [183] It also prompted Maryon to look for ways to represent eurythmy gestures in art; she undertook these efforts from 1919 until early 1922 in collaboration with Steiner, beginning with three-dimensional models and eventually settling on two-dimensional wooden designs. [184] [185]

Provenance

Meditation (1910), a small bronze exhibited alongside The Dance of Anitra Edith Maryon - Meditation.jpg
Meditation (1910), a small bronze exhibited alongside The Dance of Anitra

Maryon created The Dance of Anitra in February 1909. [176] It was displayed at the 141st Exhibition of the Royal Academy of Arts that year, held at Burlington House from 3 May to 2 August. [186] [1] [187] [177] [188] A review in The Era termed the work "graceful", [1] while The Gentlewoman called it a work "of high merit". [4] A column published in the Acton Gazette and Middlesex County Times, meanwhile, wrote that Maryon had "overcome the difficulty of pourtraying the poetry of motion". [5] [6] [note 3] Other publications mentioning the work included Lloyd's Weekly News , [189] and The Jewelers' Circular. [187]

The following year, the statuette was displayed at the Fortieth Autumn Exhibition at the Walker Art Gallery in Liverpool from 19 September 1910 to 7 January 1911. [174] [2] [3] It was priced at £12 12s (equivalent to £1,600in 2023), although it did not sell during the exhibition. [174] The Studio and its American counterpart The International Studio printed a photograph of the statuette, with Henry Bloomfield Bare calling it a work "of charm and interest". [2] [3] Maryon also displayed four other works at the exhibition: Fairy Luck, Meditation, To the Witches' Revels, and Miss Ruth Franklin. [190]

On 11 September 2025, the statuette was auctioned by Dreweatts, [175] attributed to a private collection in Wiltshire. [176] The auction house noted it as one of the few works by Maryon known to survive in private hands. [175] [176] It sold for £4,200, against an estimate of £2,000–3,000, [176] in addition to a 27% buyer's premium. [191]

Notes

  1. ↑ Millicent Mackenzie and Catherine Edith Hughes had both joined on 21 March 1908. [18] Neville Gauntlett Myers Meakin had joined on 5 April 1909. [18] All would ultimately become believers in Steiner's anthroposophy. [18]
  2. ↑ The judge was Charles Darling, later a Justice of the High Court and the 1st Baron Darling. [164] [165] His entry in the Oxford Dictionary of National Biography called his conduct in the case "shocking". [165] [166]
  3. ↑ The phrase was frequently used in reference to Allan, so much so that The Graphic wrote in February 1909 that "Everyone who cannot think of anything else to say talks about the poetry of motion in connection with Miss Allan; and there is some excuse for the hackneyed phrase." [89]

References

  1. 1 2 3 The Era 1909.
  2. 1 2 3 Bare 1911a, p. 231.
  3. 1 2 3 Bare 1911b, p. 231.
  4. 1 2 The Gentlewoman 1909.
  5. 1 2 Acton Gazette 1909.
  6. 1 2 Middlesex County Times 1909.
  7. 1 2 Raab 1993, p. 21.
  8. 1 2 Maryon 1895, p. 10.
  9. ↑ Maryon 1895, pp. 9–10.
  10. ↑ Raab 1993, p. 22.
  11. ↑ Raab 1993, p. 23.
  12. ↑ Raab 1993, pp. 26–28.
  13. ↑ Raab 1993, p. 34.
  14. ↑ Raab 1993, pp. 40–41, 52–53.
  15. 1 2 3 Raab 1993, pp. 41–42.
  16. ↑ Raab 1993, p. 42.
  17. ↑ Raab 1993, pp. 40–41.
  18. 1 2 3 4 Raab 1993, pp. 55.
  19. ↑ Raab 1993, p. 87.
  20. 1 2 Raab 1993, pp. 87–88.
  21. ↑ Selg 2006, pp. 20–21.
  22. ↑ Selg 2022, p. 12.
  23. ↑ Selg 2006, pp. 21, 226–227 n.16.
  24. ↑ Selg 2022, p. 12–13, 216–217 n.22.
  25. 1 2 Raab 1993, pp. 91–93.
  26. 1 2 Selg 2006, pp. 28–30.
  27. 1 2 Selg 2022, pp. 20–23.
  28. 1 2 Steiner 1990, pp. 11–12.
  29. ↑ Raab 1993, pp. 93–95.
  30. ↑ Selg 2006, pp. 24–35, 226–227 n.16.
  31. ↑ Selg 2022, pp. 24–28, 216–217 n.22.
  32. ↑ Steiner 1990, p. 13.
  33. ↑ Raab 1993, pp. 97–98.
  34. ↑ Selg 2006, pp. 35–38.
  35. ↑ Selg 2022, pp. 28–30.
  36. ↑ Steiner 1990, pp. 14–16.
  37. ↑ Raab 1993, pp. 53, 96, 102–114.
  38. ↑ Selg 2006, pp. 40–55.
  39. ↑ Selg 2022, pp. 32–46.
  40. ↑ Raab 1993, pp. 117–124.
  41. ↑ Selg 2006, pp. 58–61.
  42. ↑ Selg 2022, pp. 49–52.
  43. ↑ Raab 1993, p. 132.
  44. ↑ Raab 1993, pp. 203–206, 212–213.
  45. ↑ Raab 1993, pp. 192–195, 203–206, 212–213.
  46. ↑ Selg 2006, pp. 87–89.
  47. ↑ Selg 2022, pp. 78–79.
  48. ↑ Steiner 1984, p. 313.
  49. ↑ Ibsen 1972, p. 348.
  50. ↑ Ibsen 1972.
  51. ↑ Ibsen 1972, pp. 255–261.
  52. ↑ Ibsen 1972, pp. 262–266.
  53. ↑ Ibsen 1972, pp. 266–278.
  54. ↑ Ibsen 1972, p. 273.
  55. ↑ Ibsen 1972, pp. 273–280.
  56. ↑ Ibsen 1972, pp. 271–282.
  57. ↑ Ibsen 1972, p. 283.
  58. ↑ Ibsen 1972, pp. 283–285.
  59. 1 2 Ibsen 1972, pp. 285–288.
  60. ↑ Ibsen 1972, pp. 288–290.
  61. ↑ Ibsen 1972, pp. 289–292.
  62. ↑ Ibsen 1972, pp. 290–292.
  63. ↑ Ibsen 1972, pp. 292–300.
  64. ↑ Ibsen 1972, pp. 295–296.
  65. ↑ Ibsen 1972, pp. 294–300.
  66. ↑ Ibsen 1972, pp. 300–301.
  67. ↑ Ibsen 1972, pp. 301–305.
  68. ↑ Ibsen 1972, pp. 302–303.
  69. ↑ Ibsen 1972, p. 305.
  70. ↑ Ibsen 1972, pp. 305–306.
  71. ↑ Ibsen 1972, pp. 307–311.
  72. ↑ Ibsen 1972, pp. 307–308, 312–313.
  73. ↑ Ibsen 1972, pp. 309–311.
  74. ↑ Ibsen 1972, pp. 311–313.
  75. ↑ Ibsen 1972, pp. 313–316.
  76. 1 2 Ibsen 1972, p. 316.
  77. ↑ Ibsen 1972, pp. 316–317.
  78. ↑ Ibsen 1972, pp. 317–318.
  79. ↑ Ibsen 1972, pp. 317–323.
  80. ↑ Ibsen 1972, pp. 322–324.
  81. ↑ Ibsen 1972, pp. 323–324.
  82. ↑ Ibsen 1972, p. 323.
  83. ↑ Ibsen 1972, pp. 325–333.
  84. ↑ Ibsen 1972, pp. 325–327.
  85. ↑ Ibsen 1972, pp. 326–329.
  86. ↑ Ibsen 1972, pp. 329–331.
  87. ↑ Ibsen 1972, pp. 334–331.
  88. ↑ Ibsen 1972, pp. 338–345.
  89. 1 2 The Graphic 1909.
  90. ↑ Ibsen 1972, pp. 346–347.
  91. ↑ Ibsen 1972, pp. 346–348.
  92. 1 2 Halvorsen 1908, p. 193.
  93. ↑ Ibsen 1972, pp. 347–348.
  94. 1 2 Ibsen 1972, pp. 348–357.
  95. ↑ Ibsen 1972, pp. 355–357.
  96. ↑ Ibsen 1972, pp. 357–360.
  97. ↑ Ibsen 1972, p. 360.
  98. ↑ Ibsen 1972, pp. 361–364.
  99. ↑ Ibsen 1972, pp. 362–365.
  100. ↑ Ibsen 1972, pp. 364–374.
  101. 1 2 Ibsen 1972, pp. 375–378.
  102. ↑ Ibsen 1972, pp. 378–386.
  103. ↑ Ibsen 1972, pp. 387–395.
  104. ↑ Ibsen 1972, pp. 395–397.
  105. ↑ Ibsen 1972, pp. 397–412.
  106. ↑ Ibsen 1972, pp. 412–418.
  107. ↑ Ibsen 1972, pp. 412–419.
  108. ↑ Ibsen 1972, pp. 418–420.
  109. ↑ Ibsen 1972, pp. 419–420.
  110. ↑ Ibsen 1972, pp. 420–421.
  111. 1 2 Ibsen 1972, p. 421.
  112. ↑ Ibsen 1972, pp. 453–454, 496–498, 502.
  113. ↑ Ibsen 1972, p. 502.
  114. ↑ Ibsen 1972, pp. 502–504.
  115. ↑ Ibsen 1972, pp. 497, 502–503.
  116. ↑ Ibsen 1972, pp. 497–499.
  117. 1 2 Finck 1910, pp. 175–179.
  118. ↑ Halvorsen 1908, p. 4.
  119. ↑ Finck 1910, pp. 172–173.
  120. ↑ Finck 1910, pp. 170–171.
  121. 1 2 Finck 1910, pp. 63, 168–171.
  122. ↑ Horton 1945, pp. 69–70, 204.
  123. ↑ Pritchard 2018.
  124. 1 2 3 4 5 6 7 8 9 Cherniavsky 1998, p. 7.
  125. ↑ McConnell 2005, pp. 26 & n.3.
  126. ↑ Cherniavsky 1991, pp. 20–23.
  127. ↑ Cherniavsky 1991, pp. 24–28.
  128. ↑ Cherniavsky 1991, pp. 10, 35–37.
  129. ↑ Cherniavsky 1991, pp. 43–113.
  130. ↑ Cherniavsky 1991, pp. 10–11, 109–116.
  131. ↑ Cherniavsky 1991, pp. 116–119.
  132. ↑ Cherniavsky 1991, pp. 119–124.
  133. ↑ Cherniavsky 1991, pp. 124–137.
  134. 1 2 Cherniavsky 1998, pp. 7–8.
  135. ↑ Cherniavsky 1991, pp. 133–134.
  136. ↑ Cherniavsky 1991, pp. 124–140.
  137. ↑ Cherniavsky 1991, pp. 140–144.
  138. 1 2 3 4 5 Cherniavsky 1998, p. 8.
  139. ↑ Cherniavsky 1991, pp. 141–143.
  140. ↑ Cherniavsky 1991, pp. 140–154.
  141. ↑ Cherniavsky 1991, pp. 149–154.
  142. ↑ Cherniavsky 1991, p. 154.
  143. ↑ Cherniavsky 1991, pp. 160–163.
  144. ↑ Cherniavsky 1991, pp. 163–183.
  145. ↑ Cherniavsky 1991, pp. 173–174.
  146. ↑ Cherniavsky 1991, pp. 166–167, 173–175, 192, 262.
  147. ↑ Cherniavsky 1991, pp. 175–183.
  148. ↑ Cherniavsky 1991, pp. 173, 177 & n.18.
  149. 1 2 3 Cherniavsky 1998, p. 58.
  150. ↑ Cherniavsky 1991, pp. 173 & n.18.
  151. 1 2 3 The Daily Telegraph 1909.
  152. ↑ The Times 1909.
  153. ↑ The Manchester Guardian 1909.
  154. ↑ The Toronto Star 1909.
  155. ↑ Cherniavsky 1991, p. 190.
  156. ↑ Cherniavsky 1998, p. 65.
  157. 1 2 Cherniavsky 1991, pp. 182–183.
  158. 1 2 Cherniavsky 1991, pp. 190–235.
  159. ↑ Cherniavsky 1991, pp. 219–225.
  160. ↑ Cherniavsky 1991, pp. 236–239.
  161. ↑ Cherniavsky 1991, p. 240.
  162. ↑ Cherniavsky 1991, pp. 20, 240–242.
  163. 1 2 Cherniavsky 1991, pp. 242–247.
  164. ↑ Cherniavsky 1991, pp. 243–247.
  165. 1 2 Laski & Rubin 2004.
  166. ↑ Cherniavsky 1991, p. 244.
  167. ↑ Cherniavsky 1991, p. 247.
  168. ↑ Cherniavsky 1991, pp. 247–257.
  169. ↑ Cherniavsky 1991, pp. 271–283.
  170. ↑ Cherniavsky 1991, pp. 143, 280–281.
  171. ↑ Cherniavsky 1991, p. 289.
  172. ↑ Cherniavsky 1991, p. 290.
  173. ↑ Royal Academy of Arts 1909, p. 62.
  174. 1 2 3 Fortieth Autumn Exhibition Catalogue 1910, p. 121.
  175. 1 2 3 4 5 6 7 8 9 10 Dreweatts catalogue 2025, p. 293.
  176. 1 2 3 4 5 6 7 8 9 10 11 12 Dreweatts 2025.
  177. 1 2 Steiner 1990, p. 254.
  178. ↑ Raab 1993, pp. 41 & n.15.
  179. 1 2 Koch 1909, p. 91.
  180. 1 2 Koch 1912, p. 11.
  181. ↑ Forty-first Autumn Exhibition Catalogue 1911, p. 116.
  182. ↑ Raab 1993, p. 270.
  183. 1 2 Raab 1993, pp. 268–270.
  184. ↑ Raab 1993, pp. 268–285.
  185. ↑ Steiner 1984, pp. 3–5.
  186. ↑ Royal Academy of Arts 1909, pp. 4, 6, 62.
  187. 1 2 St. George 1909.
  188. ↑ Shaw 2018.
  189. ↑ Lloyd's Weekly News 1909.
  190. ↑ Fortieth Autumn Exhibition Catalogue 1910, pp. 121, 125, 156.
  191. ↑ Dreweatts catalogue 2025, p. 2.

Bibliography

  • Translated into English as Selg, Peter (2022). Edith Maryon: Rudolf Steiner and the Sculpture of Christ in Dornach. Translated by Barton, Matthew. Forest Row: Temple Lodge Publishing. ISBN   978-1-912230-95-2.
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