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Buller’s Butterflies

Once there were four friends, at school in Wellington, at leisure in London and at work in Wellington. They were Alex and Rob Turnbull and Leo and Percy Buller. This article examines Arthur Percival Buller (1866–1910) and his life as an amateur entomologist, lawyer and socialite in late nineteenth century Wellington.

For many years Kristy McDonald KC’s Edwardian kauri locker in the old Wellington Law Library housed a battered barrister’s wig tin, black with gold trim and lettering, “A.P. Buller Esq.re.” When the library was gutted in 20XX she couldn’t find an owner so brought it home and it sat in our attic for years. There I stumbled across it again and I wondered about that name and found it was Percy Buller’s: he practised law only briefly, but he was a founder of Buddle Findlay.

The wig tin

Percy Buller’s forebears are famous – Walter Lawry Buller[1] (Buller’s Birds) was his father and Charlotte Mair[2] his mother. Some of his close friends are famous too – Alexander Turnbull[3] notably, but others also of the Wellington well to do. They formed a small clique of wealthy and professional young men who enjoyed their youth, their leisure and the finer things of life. Butterflies.

Is Percy famous? no, though he was said to be one of the most amiable and genial of men, gentle, with not a single enemy, a man of great enthusiasms. An anglophile, a fly fisherman, a singing banjo player, an automobile lover when cars were a rare luxury, an entomologist, a painter of beautiful miniature watercolours of butterflies and moths—and a great friend of Alexander Turnbull.

Egalitarian? good heavens, no: deeply conservative. Independent. A man of leisure. A gentleman. A gentle man.

A dapper man? yes indeed: eloquent, elegant, of refined tastes and expensive ways, a carefully chic dresser (boater, high collars and the widest tie of all the Wellington lawyers). A dandy? oh yes, he matches the definition nicely. Camp? more than likely, judging from his use of language in the few letters that have survived. Gay? that is an issue about which I can say almost nothing useful.

And a dilettante? perhaps. He was, however, recognised as an entomologist. His papers in the Transactions are slight things (though often quoted), but his exquisite butterfly and moth paintings deserve an appreciative audience.

Fussy? fastidious? perfectionist? obsessional? I don’t think he could have painted with such precision if he weren’t.

Not famous, then, but emphatically notable.

Percy Buller with his springer spaniel Nap.

Roots

Arthur Percival Buller was born in Whanganui in 1866 the grandson of Wesleyan missionary James Buller[4] and second son of Walter Lawry Buller and Charlotte (“Lottie” Mair) Buller; her father was Gilbert Mair, trader, her brother Gilbert Mair, soldier. Percy’s older brother was Walter Leopold (Leo) and his younger sister Laura (Kahurangi, whom Alexander Turnbull would call “the divine one”).

Walter Buller was not tall – in 1895 his brother-in-law William Mair would refer to him as “the little man”[5] – but he was nakedly ambitious: elected FLS at nineteen years of age, writing his first scientific paper in 1865, hungry for recognition and honours.

In 1871 Buller was ready to publish his great work on the birds of New Zealand and to do so he would have to go to London.

They left the children with Aunt Tillie[6] in Kamo and it cannot have been an easy time for any of them. Tillie found the boys a handful so they were sent to stay with their (Buller) grandparents. All three suffered ill-health while their parents were away.

Walter and Lottie returned to New Zealand in September 1874 but took their time picking up the children: Walter wrote to Tillie on 8 May 1875,

There seems some fatality about our little Laura, and Lottie sometimes despairs of seeing her again.

We shall be glad to have the dear little creature with us again, although I suppose we shall not recognize in her the baby we left behind. We cannot feel sufficiently thankful to you and the Doctor for all your kind care of her. I hope some day we may be able to make you some return for all your sisterly kindness and attention.

Our present plan is for me to run up to Auckland (where I have some other business on hand) as soon as I return from Canterbury.

I am going down there on Tuesday to bring up our poor little Percy, who has been lying on a sick bed for 11 months; and as Leo’s face is still much distorted by paralysis, I am taking him with me for further medical advice.[7]

Leo’s facial paralysis and Percy’s prolonged confinement to bed suggest they had paralytic poliomyelitis while they were in Christchurch with James and Jane Buller. There were sporadic cases in New Zealand in the 1870s.

But in 1883 Rev. James Buller wrote in support of a celebrated quack, the Australian faith healer Milner Stephen, whose effectiveness was being challenged in the more sceptical newspapers,

Sir, – As many seem to doubt whether Mr Milner Stephen has effected any cures at all, I deem it right, in the interests of truth, to testify to one case, which is that of a grandson of mine at Wellington. As the sequel of a severe attack of rheumatic fever, which he had some years ago, one leg was nearly two inches shorter than the other. He applied to Mr Stephen, who succeeded in elongating the short leg, and when I last heard from him he said –  “I took the cork out of my boot and now walk in an ordinary pair.” – I am, &c., JAMES BULLER, Papanui road.[8]          

Polio infamously causes leg shortening, [9] but although rheumatic fever causes heart disease (a feature of Percy’s later life) it can also cause shortening of a leg if the epiphysial plate is affected. It can also, rarely, cause facial paralysis similar to Bell’s Palsy.

Percy’s cure was not permanent, for his obituary in Free Lance would say, later, “He was fond of healthy outdoor sports, but a crippled leg unfitted him to actively participate in them.”[10]

Rev. James Buller served at Thames 1870–1873 and Durham Street Methodist church in Christchurch 1873–1875, when he was involved with the Durham Street Wesleyan School. Leo (born 1863) and Percy (born 1866) presumably attended primary school in Thames and Christchurch during the years they were with their grandparents, 1871–1875, though no records of their schooling exist.

I can find no record, either, of Percy’s secondary schooling (1878–1883?), but his entry at Cambridge University in 1886 records, “Christchurch School, New Zealand” so he may have been there.[11] Leo was at Wanganui Collegiate.

Walter Buller was now practising as a barrister, specialising in Native Land Court business and becoming wealthy. They lived in a rented house in Wellington but in 1882 architect Christian Toxwood designed a magnificent residence for them at 114 Wellington Terrace. They moved in in 1883.

Walter Buller had seen fifty-five of his papers published in the first seventeen volumes (1868–1884) of the Transactions and Proceedings of the NZ Institute. Now, in February 1881, in his position as Vice-President of the Institute, he communicated a paper by his fifteen year old son Percy, published in Volume 13, “Notes on some Species of Diurnal Moths.”[12]

Just when the two boys finished secondary school and what they did next is also unclear. Leo’s entry at Cambridge University in 1887 would record, “School, St Paul’s College, Wellington, New Zealand”. There was a St Paul’s School in Thorndon near where the Bullers lived in Wellington, but not a St Paul’s College. Leo had returned to Wellington from Wanganui Collegiate and for a time attended Wellington College. There is no sign of Leo or Percy in the University of New Zealand records, but they may nonetheless have attended law lectures. Percy remembered Victoria College in his will, suggesting a connection.

Walter Buller was made a Fellow of the Royal Society in 1879. In January 1880 Dr Buller and Messrs Lewis and Gully founded the law firm now known as Bell Gully.[13]

England

Dr Walter Buller was now a wealthy man and in 1886 he returned to London as an assistant Commissioner for the Colonial and Indian Exhibition. It was a contentious appointment, with accusations of political favour.

The Bullers mixed in high circles,

The following are the New Zealanders who were honoured with invitations to the Princess Louise’s reception at Kensington last week, and who may be said to be going everywhere just now: –  … Dr and Mr Buller and Miss Buller….[14]

Walter was a member of the Royal Societies’ Club and the boys gave that as their London address. He was knighted for his work at the Exhibition.

Percy had joined Jesus College at Cambridge in October[15] 1886 as a pensioner, ie a student paying fees to his college for teaching and for board and lodging. He would be admitted at the Inner Temple in London on 21 November 1887.

Leo registered at Heidelberg University’s Philosophy department.[16] His name appears in the student address book (at 15 Rohrbacher Strasse) for the Winter 1886/87 semester (beginning 1 October) and the Summer 87 semester.[17] At the same time he was admitted at the Inner Temple on 8 November 1886.

Percy was called to the English bar in 1890 and Leo in 1891 (when Alex Turnbull wrote to his brother Rob, “Leo Buller has at last been made a member of the Junior Bar having passed his Exam a little while ago.”)[18] Neither practised in Britain.

In 1888, the new enlarged edition of Sir Walter’s Birds of New Zealand[19] was published with its celebrated chromolithographs by JG Keulemans. The background vegetation in some of Keulemans’s images was based in part on drawings provided by Buller’s son Percy.[20]

Alexander Horsburgh Turnbull (1868–1918) had briefly attended St Paul’s school in Sydney St, Thorndon, but had most of his schooling at Dulwich College in south London 1881–1884. After school he worked in London for a time. When the family firm in London was sold in 1888 he became a young and wealthy man-about-town, travelling, reading and collecting. He visited New Zealand in 1885 and 1886, returning permanently to Wellington in 1892: a dandy and an aesthete who enjoyed golf and yachting.[21]

The Buller and Turnbull families had been friends in Wellington and the four boys were connected in London. Alex wrote from London to his brother Robert in Wellington,

I am pretty gay this week. On Tuesday I went to your Empire after dining with Percy at Kettner’s and am sorry to say did not get home that night, at least not to Mount Henley (I told them I wasn’t coming home).[22]

Kettner’s Townhouse in Soho would become Oscar Wilde’s favourite restaurant. Nearby, the Empire Theatre, Leicester Square was, on Tuesday 20 January 1891, showing at 9pm, DOLLY, a Grand Fairy Pantomime Ballet, in five Tableaux, by Madame Katti Lanner. Music specially composed by Mons. L. Wenzel, in which appeared the following artistes:– Signorina Emma Palladino, Mdlle. Ænea (the Flying Dancer), Signorina Bettina De Sortis, Signor Albertieri and Signorina Malvina Cavaltazzi. CECILE, at 10.45, Signorina Sazo, Christmas programme. Mdlle. Vanoni, the Eltons, Juana, Lucy Clarke, Ada Lundberg, Harry Freeman, Wilmot and Lester, Fred Harvey, Evalo and Roisso, Sam Torr, and Blennow’s Troupe of Dogs.[23]

Katti Lanner was a Viennese ballet dancer, choreographer, and ballet mistress, celebrated in Germany and England, where she staged many productions at the Empire Theatre.

On Thursday, “Tonight I am going with Percy to see your Lady Dunlo at Drury Lane they say she looks very nice.” Belle Bilton (Lady Dunlo) was a music hall entertainer who secretly married into future nobility to become the Countess of Clancarty. Very nice indeed.

Belle Bilton’s carte-de-visite

Wellington

Turnbull had hepatitis when Leo and Percy called to say goodbye before sailing for New Zealand. He wrote to Rob,

Everyone is well at home except your humble servant who has contracted a pestilent chill in his liver and is now confined to the house with Jaundice. I am as yellow as a guinea and look so funny when I am undressed the whole body being a brilliant saffron colour…. Leo & Percy were stopping here from Saturday till Monday. I was seedy with this Jaundice coming on & Leo had a bad cold so it was rather a slow time for Percy. They talk of going out to N.Z. sometime at the end of this month & they want you to meet them on the wharf with Kebbell’s head on a charger!!! [24]

The New Zealand Herald anticipated their homecoming,

We notice in the file of The Times to hand by last mail, that Mr. Walter Leopold Buller, having passed his final examination in law, has been called to the Bar at the Inner Temple. Sir Walter Buller’s other son was “called” a few months ago, and we understand that the two brothers are now on their way out to New Zealand with the intention of establishing themselves in practice. They will probably select Wellington as their sphere of action, their father’s strong connection being of obvious advantage to them. Mr. Leo Buller has a knowledge of the Maori language, and will probably make native business his specialty. We wish them both every success.[25]

Walter Buller purchased land in the Horowhenua and established a country estate at Lake Papaitonga, southeast of Levin. Percy and Leo left England in 1891.[26]Alex wrote to Rob,

19 March 1891: The Bullers left last Friday for N.Z. in the Orient Line Steamer “Oruba” so you will soon see them in Wellington. They were very sick at going and we bade each other a most affectionate farewell; there were seven other men seeing them off….

2 April 1891: I have just had a letter from Percy posted from Port Said, they seem to be enjoying themselves immensely. Percy also wrote to me from Naples.

15 May 1891: Tell Percy Buller that I cannot write to him by this mail as I shall not have time, but I have posted him two papers which he must take as an expression of goodwill and an evidence that I have not forgotten him. Don’t forget to tell him this or he will think that he is neglected.

10 June 1891: Have the pure and gentle Bullers arrived yet, if they have heap maledictions on their heads, on Percy’s especially, for not having written to me for many moons…. I am marking a paragraph in this week’s Man of the World which I want you to show to Leo & Percy; it is about the Gardenia Club. Benzom & Marmy Wood are going to resuscitate this haunt of vice; it has been closed for some time, whilst the Corinthian flourishes like a green bay tree.

25 June 1891: So the gay and festive Bullers have at length arrived. I received a long letter from your Percy along with your epistle, in which he gives me much news and much humour. I learned from Kebbell about their telegraphing for money; but there is nothing in that. We all run short of money occasionally (I am very short at present) and those are the lucky ones who have fathers to whom they may telegraph for supplies…. Mind you inform me how the cigars and cigarettes turn out and what you think of my choice. Give a cigar to Percy and when he lights it tell him to think of me, to think, but not to speak.

The Bullers were soon in the social whirl of Wellington.

His Excellency the Governor held a levee at Government House on Tuesday afternoon…. The following gentlemen were also presented: – Messrs… P. Buller, Walter Buller….[27]

At a concert in the Tinakori-road churchroom in aid of the St Paul’s Kindergarten School,

A very good programme was arranged, and taken part in by several of our prominent amateur vocalists. The singing was good, and several encores were demanded …. Mr. P. Buller sang a solo, with banjo accompaniment, and had to respond to an encore….[28]

Alex Turnbull wrote to Rob,

22 July 1891: I have received a fine long letter from Percy by this mail giving me his opinion on things in general and his own personal affairs in particular. He seems to glide along peaceably enough in Wellington but how about the warlike Leo?

6 August 1891: I received a letter from the cheerful Percy; he writes in grand spirits; he says that he is working 6 hours daily for his Examination in New Zealand Law, this of course I do not believe!…. Rather rough that on your youthful Bullers that the old him although friendly absolutely refuses to find their Club subscriptions for them. What on earth are they to do o’ evenings if they do not join in the mirth provoking pool or try the light fantastic game of billiards with their pals of the Club?

17 September 1891: I am glad to hear that Percy has taken to gardening,… Percy wrote me a long account of his father’s defeat in Auckland….

1 October 1901: The Kodak photographs were great value, especially your Percy performing a solo on the Watering Can; send more like them.

15 October 1891: Whilst I think of it I may mention that I am sending you a piece of music entitled “La Paloma”. ’Tis a Spanish composition, I dare say you heard it before you left for it is somewhat stale. I ought to have sent it to Percy for it is to him that it should specially appeal. We heard it on our way back from Algiers at Paris, in the Casino where we were imprisoned for about 3 “mortial” hours waiting to see the Can-Can danced. Well, a “cantatrice” warbled forth La Paloma. I had never heard it before and my young heart thrilled with ecstasy at the sound (Percy’s bold eyes let me explain were busy ogling some painted Jezebel in the box) and the tune rang in my head for many a day and until quite recently. I have never been able to find the music (like the Lost Chord) till Isabella played it one evening at Sherwood lodge. Let Percy see it and recount the above to him in order to freshen up his memory (musty with long poring over N.Z. Statutes & Repeals) on the subject….  I always thought that the Bullers would not remain long in N.Z. I hope however that Percy will stay & not fly away immediately we arrive; it would be cruel if he does so.

Their visit to Algiers in 1890 has been suggested as soft evidence of libidinous activity – presumably based on its later (1895) association with Oscar Wilde, André Gide and Lord Alfred Douglas – but you can go to Lourdes and not be a sick Christian just as you can go to Tangier or Algiers innocently unaware of the possibility of a naked lunch.

12 November 1891: I received by this mail a poem of a letter from Percy….

9 December 1891: Percy sent me a very amusing letter by last mail giving a vivid account of the boxing bout at Te Aro: he should start a Pelican or a National Sporting Club in Wellington where the young bloods might congregate nightly to witness the noble art of self defence.

In November 1891 Lottie, Lady Charlotte Buller, died of heart disease. She was 53. Alex Turnbull wrote to Rob,

It was a great shock to us all to hear of Lady Buller’s sudden death, what a dreadful thing for the Family, especially for Laura. Percy wrote me a note about it: poor fellow he seems quite prostrated with grief. I had done a comic envelope for him, but shall not send it now. I am enclosing this letter to you, in it instead.[29]

In July 1892,

Messrs. W. L. and A. P. Buller, sons of Sir Walter Buller, were admitted as barristers and solicitors of the Supreme Court by his Honour the Chief Justice this morning, on the motion of Mr. Gully. Both these gentlemen are barristers-at-law of the Inner Temple, London, and we understand it is their intention to commence practice at Levin, in this provincial district.[30]

In May 1893,

A very comfortable dwelling house has been erected on Sir Walter Buller’s property at Muhunoa in which the two Masters Buller reside.[31]

Wise’s Directory for 1894 has E.P. (sic) Buller Solicitor, Ohau and W.L. Buller Solicitor, Ohau. In 1897 the Cyclopedia would record of Percy, that “Mr. Buller has since been engaged in farming in the Manawatu district for four years” – referring to their Muhunoa block and suggesting the brothers were not fully occupied by their legal practice. Indeed, Wise’s Directories for 1896, 1898 and 1900 have AP and Wltr. L Buller “Sheep Farmers, Ohau”.

In the same month,

The Birthday Ball given at Government House last evening by His Excellency the Governor and Lady Glasgow was the largest ever given at Government House, nearly 600 persons being present.[32]

Among the cream of Wellington society at the ball were Percy and Leo Buller, Robert and Alex Turnbull (who had returned from London in 1892) and Leonard Tripp.

Alex Turnbull had told Rob he had done a comic envelope for Percy in 1891. In July 1893 Percy Buller decorated a Papaitonga envelope with a cartoon of “Alec the Good” – Turnbull handing out largesse to the poor – and addressed it to “Elibank,” Bowen Street, Wellington with the message,

Dear Alec. I have let you down more quietly than brother Robert, but next envelope I shall have to punish you to put matters right with Robert   –   WRITE   –   P.[33]

The lithograph of Romanian Alexander the Good was published by historian Dimitrie Papazoglu in 1891 and I wonder if it was the model for Percy’s “Alec the Good”:  a pen drawing on an envelope posted at Ohau on 12 July 1893, with his caricature of Alexander Turnbull standing in a doorway inscribed “W & G T’s (W and G Turnbull’s) Whiskey Gardens”. Turnbull is in a monk’s habit (with frilly cuff), distributing tomato sauce, Dragon Brains, tea and whisky from a basket to begging figures at his feet. On the left is an advertisement for W & G T’s “Royal tomato sauce”; on the right an advertisement for the firm’s blended teas. ATL E-088-q-024.

Alex Turnbull wrote to Leo,

I heard from Percy by last mail, seems to be as “gai” as ever & falling frequently as usual.[34]

In November 1895 Percy Buller and John Anderson formed Buller & Anderson, the embryo of what is now the law firm Buddle Findlay. They began at 10 Featherston St and they advertised in the restricted way lawyers were, in those reserved and polite days, permitted.

Percy was elected a member of the Port Nicholson Yacht Club (AH Turnbull, Vice-Commodore) in 1897.[35] There were parties, balls, dinners at the Wellington Club. In 1898 Alex Turnbull wrote to Rob (now in London) from “Elibank”,

I had Hugh and Percy up to lunch the day before yesterday and the latter fired off all the usual stale old wheezes. The divine one is staying next door to us and occasionally drops in to smoke a cigarette in the evening; her hair is a beautiful golden hue now and she has made a most artistic job of it!

Percy is laid up with rheumatism again – not a bad attack I think but bad enough to set him swearing and blaspheming. He is learning the bike (a special machine) and I went down to the drill shed on Saturday to watch him – he is very cautious about it as you may imagine. [36]

Leo Buller and Rob Turnbull returned from London in the Oruba, arriving in June.[37]

In August all four Bullers attended a concert at Government House[38] and October 1898 saw a fancy dress ball there, when “Mr. A. Buller made a capital Friar Tuck, and looked fully as contented with his surroundings as his prototype”.[39] Sir Walter went as Governor of the Imperial Institute (of course). Alex Turnbull wrote to his sister Isabella on 26 October 1898,

Everybody is excited about the Fancy Dress Ball at Government House tomorrow night, what with that and the chance of war with France Wellington is quite in a ferment. Sissy is going to the Ball as some picture she found in a book. Walter Bethune is to appear in my kilt. Laura Buller as Marguerite of Valois. Mr. Coates as Henri of Navarre and so on.[40]

Mr Percy Buller: “Friar Tuck.” Kinsey Photo. New Zealand Graphic 3 December 1898 page 716.

Percy was not neglecting his entomology, and Sir Walter read his son’s second scientific paper at the Philosophical Society on 22 November, a report of the appearance of an unusual butterfly captured at Ohau: the paper later appeared in the Transactions.[41]

In August 1901 his Excellency, the Governor and the Countess of Ranfurly hosted a concert to seamen at Government House,

There were songs, and recitations, and instrumental music, and some delightful old “chanties” by the sailors themselves. The sailors and their wives presented Lady Ranfurly with a basket. of beautiful flowers nicely arranged, and cheered her heartily as she smilingly accepted it. Later on they persuaded her to sing a Scotch song, and when they cheered and asked for an encore she gave them a pretty ditty, “The yellow rose of Texas”. Mr Buller, with his banjo songs, pleased the sailors immensely, and Mrs Malcolm Ross delighted them with several recitations, grave and gay.[42]

Forrestina Elizabeth (known as Forrest) Grant, Otago teacher, had married Malcolm Ross, Otago journalist and distinguished sportsman, in 1890. He collected insects for Percy and she and Percy often performed together at charity events. She was appointed the first woman editor of the Evening Post. Her column of “Political news and notes” was lively and widely read.[43]

In April 1903 photographers Muir and Stewart took a group shot of members of the Wellington legal profession. Percy Buller is the short man in the boater and wide striped tie standing at right.

Percy Buller in boater and striped tie at right in the second row among members of the Wellington legal profession. Muir and Stewart 1903. Free Lance 4 April 1903. National Library PA7=49-33.

In 1903 The Evening Post’s “Ladies’ Column: Girls’ Gossip” reported,

Sailors make the most delightful of audiences – critical, appreciative, enthusiastic, and attentive – as those who have performed at the concerts down at the Sailors’ Rest can testify. Last week an excellent entertainment was organised by Miss Julia Skerrett, a concert for which any reasonable person might willingly pay half-a-crown and judge it well expended. Miss Julia Skerrett herself sang delightfully, and the Miss Putnams also contributed charming music. But it was Major Moore and Mr. Percy Buller of whom the sailors could not have enough. They sang song after song, Mr. Buller accompanying himself on his banjo, and had the nautical audience had its way, the performers and sailors would not have gone home till morning. The Rest is a capital institution. I believe if the sailors themselves were to organise a concert, with dances and their own queer chanties, they could draw a large audience and materially increase the funds.[44]

Butterflies

Percy Buller made watercolours of a range of New Zealand butterflies and moths. Alexander Turnbull bound them with the 1893 envelope carrying Percy’s caricature of “Alec the Good” but there is no indication the paintings were made in 1893.

Turnbull was probably referring to Percy’s miniature watercolours when he wrote to his brother Rob in 1891,

I am sending you a Strand Magazine containing some Post Office curiosities & when you have read it, pass it on to Percy, at the same time drawing his attention to what the writer of the article says about writing on postage stamps.[45]

It is not clear just when Percy painted these images but his statement that he “gave it (his) best” while he was at Cambridge may be informative.[46]

Arthur Percival Buller was elected F.E.S. – a Fellow of the Entomological Society, London – on 5 November 1902. New Fellows had to be nominated by at least three current members and elected by two thirds of the members. The Royal Entomological Society (as it is now) no longer has a record of who nominated Buller for Fellowship.

Chronic renal failure

Along with Leonard Tripp, Alex and Rob Turnbull, Charles Skerrett and other Wellington men, Percy was on the committee for the Racing Club Ball in July 1905. It was held on 13 July in the new Town Hall and was declared “Brilliant”.[47]

Whilst all the officers and stewards of the Club contributed their quota of time and energy to the preparations for the ball, it was acknowledged on all hands that to Mr. P. Buller was due the greater share of the credit for the highly successful result of the function.[48]

Shortly after this though, Percy Buller contracted a serious illness and there was fear for his recovery. The diagnosis is not recorded but this was probably acute glomerulonephritis, then known as Bright’s Disease and less than five years later it would kill him. Percy returned to England to live with his sister.  He wrote to the Free Lance, which published this,

Mr. Buller says he has been seeing summer life in the English counties from a motor ear – “a forty horsepower creation that sent the indicator up to the rate of sixty-seven miles an hour.” Mr. Buller rather quaintly observes that the English country is a dream of beauty, but the Lance expects he had to observe this beauty while the car was taking petrol aboard, or had broken down, or something. He has been visiting old-world villages and old Norman churches, and generally having the fine sort of time that one cannot get anywhere else but in Britain. Says he is going south with the swallows middle of this month, and to the Continent, picking up the boat at Marseilles, and arriving in Wellington in December. Talking about dreams of beauty, does he compare the English lanes to the Basin Reserve or the Botanical Gardens?[49]

He did return briefly to Wellington but his illness relapsed and Laura came out to take him back to England. In 1909 Percy was best man at the marriage of Leonard Tripp (founder of law firm Chapman Tripp) and Geraldine Henry at Christ Church in Westminster.[50]

So all golden lads must come to dust. Arthur Percival Buller died on 28 February 1910 at Menton in France, that healing destination for the chronically ill (including Katherine Mansfield ten years later). He was buried on 5 March in the churchyard at Fleet in Hampshire. He was 44.

He had deposited two cases of specimens with the Dominion Museum and he left a portfolio of butterfly paintings to Alex Turnbull. A second set of butterfly paintings was purchased by the Alexander Turnbull Library in 1970.

In 1916 his uncle Gilbert Mair would write to Alex Turnbull,

I have such a longing to hear how you are that I must perforce send you some words of greeting. I look upon yourself as one of the golden links which bound me to dear old Percy, and it often makes me regret I cannot see you oftener.[51]

How close were Alex Turnbull and Percy Buller? They had ample time to become close, living in the same cities for nearly 25 years.

Although the 5–6 year old Alex Turnbull may have attended St Paul’s School in Sydney St Thorndon in 1873–4, the Turnbulls left Wellington just as 7 year old Percy Buller came back from Christchurch. Certainly Leo Buller, 3 years older than Percy, claimed to have attended “St Paul’s College, Wellington” when he matriculated at Cambridge, but he was enrolled at Wanganui Collegiate 1874–5 and then attended Wellington College till 1878. Percy and Alexander may have known each other briefly as near neighbours – certainly their parents were friends – but if so it cannot have been for long.

Possibly they met again when Alex. Turnbull visited New Zealand in 1885, but their friendship surely blossomed after 1886 when Buller started at Cambridge or when he came to London to be admitted at the Inner Temple in 1887. Turnbull had left school in 1884 and was working in the London offices of his father’s firm until the business was sold in 1888 and at 20 he became a wealthy young man of leisure.

What we know of their relationship is contained in letters by Alexander Turnbull, mostly to his brother Rob when Alex was living in London and Rob in Wellington and vice versa.

In Wellington 1892–1908 both Alex and Percy were members of the Wellington and the Wellesley Clubs and the Port Nicholson Yacht Club; both attended social events at Government House and they had mutual friends – and though there seems little of Percy’s extroversion in Turnbull, both seemed to thrive on humour and wit.

After Percy Buller left for England for the last time in 1907 he said that Turnbull wrote “by every mail”– ie, every month or so. Those letters are lost.

Ian St George is the author of Buller’s butterflies of New Zealand.

Arthur Percival Buller: Vanessa cardui (Vanessa kershawi, the Australian painted lady butterfly, male and underside). ATL E-088-q-021.

Arthur Percival Buller: Vanessa gonerilla (New Zealand red admiral butterfly, kahukura. Female above, male underside below). ATL E-088-q-022.

Arthur Percival Buller: Aenetus virescens (puriri moth, female). ATL E-074-q-15.


[1] Galbreath, Ross. Walter Buller: the reluctant conservationist. GP Books, Wellington, 1989.

[2] Andersen JC, GC Petersen. The Mair family. AH & AW Reed, Wellington, 1956.

[3] McCormick EH. Alexander Turnbull. His life. His circle. His collections. Alexander Turnbull Library, Wellington, 1974.

[4] Buller, James. Forty Years in New Zealand, Including a Personal Narrative, an Account of Maoridom, and of the Christianization and Colonization of the Country. Hodder and Stoughton, London, 1878.

[5] Letter. William Mair to Gilbert Mair, June 26, 1895: in Galbreath, p205.

[6] Matilda Mair (Aunt Tillie) was married to Dr Richard Sissons, a much loved and respected general practitioner and lay reader in the church at Kamo. They had no children of their own.

[7] Letter. Walter Buller to Matilda Sisson, May 8, 1875. ATL MS-Papers-8151.

[8] “Mr Milner Stephen.” Lyttelton Times March 10, 1883, p5.

[9] Ratliff AHC. The short leg in poliomyelitis. J Bone Joint Surg Br. 41-B(1) (1959): 56-69.

[10] “All sorts of people.” Free Lance March 5, 1910, p4.

[11] Arthur Percival Buller in ACAD: A Cambridge Alumni Database https://venn.lib.cam.ac.uk.

[12] Buller AP. Notes on some Species of Diurnal Moths. Trans Proc. Roy. Soc. N.Z. 13 (1880): 237–239.

[13] “Legal Notice.” Evening Post, January 19, 1880, p3.

[14] “Our London letter.” Evening Star (Dunedin) July 26, 1886, p2.

[15] The Michaelmas term, the first term of the academic year running from October to December.

[16] Matrikel der Universität Heidelberg 1386-1936: UAH M12: 1872/73-1894/95  –  Heidelberg, 1872/73-1894/95: https://doi.org/10.11588/diglit.47221#0822.

[17] Adreßbuch der Ruprecht-Karls-Universität in Heidelberg im Winter-Halbjahr 1885/1886 bis Sommer-Halbjahr 1890.

[18] Letter. Turnbull AH to RT Turnbull January 22, 1891. Alexander Turnbull Letterbook I, p9. ATL qMS-2051.

[19] “Royal Society Conversazione.” Evening Mail (London), June 10, 1887, p8.

[20] Galbreath, p160.

[21] Largely derived from J. E. Traue. “Turnbull, Alexander Horsburgh,” Dictionary of New Zealand Biography, first published in 1993. Te Ara – the Encyclopedia of New Zealand, https://teara.govt.nz/en/biographies/2t53/turnbull-alexander-horsburgh (accessed August 21, 2023).

[22] Letter. Turnbull AH to RT Turnbull, January 22, 1891. Alexander Turnbull Letter Book I, p7. ATL qMS-2051.

[23] “Empire Theatre – Tonight.” St James’s Gazette January 21, 1891, p1.

[24] Letter. Turnbull AH to RT Turnbuill February 5, 1891. Alexander Turnbull Letterbook I, p13. ATL qMS-2051. This probably refers to FA Kebbell, prominent in Wellington tennis.

[25] Untitled. New Zealand Herald April 8, 1891, p4.

[26] “Shipping.” New Zealand Times April 29, 1891, p2.

[27] “The Levee.” New Zealand Mail May 29, 1891, p36.

[28] Untitled. Evening Post July 15, 1891, p2.

[29] Letter. Turnbull AH to RT Turnbull December 9, 1891. Alexander Turnbull Letterbook I, p130. ATL qMS-2051.

[30] Untitled. Evening Post July 22, 1892, p3.

[31] Untitled. Manawatu Herald May 2, 1893, p2.

[32] “The Governor’s Levee.” Evening Post May 25, 1893, p4.

[33] Buller AP. Alec the Good, 1893. ATL E-088-q-024.

[34] Letter. Turnbull AH to Leo Buller December 30, 1893. Alexander Turnbull Letterbook I. ATL qMS-2051. Perhaps Percy was unsteady with his crippled leg.

[35] “Port Nicholson Yacht Club.” Evening Post August 31, 1897, p2.

[36] Letter. Turnbull AH to RT Turnbull, February 17, 1898. Alexander Turnbull Letterbook III, p596. ATL qMS-2051. The “divine one” was Laura Buller.

[37] “Shipping and Mails.” Press June 4, 1898, p8.

[38] “Concert at Government House.” Evening Post August 8, 1898, p5.

[39] “The fancy dress ball at Government House.” Evening Post October 29, 1898, p2.

[40] Turnbull AH to Isabella Turnbull, October 26, 1898. Alexander Turnbull Letterbook IV, p93. ATL qMS-2051.

[41] Buller AP. On the appearance of Anosia bolina in the Wellington district. Trans Proc. Roy. Soc. N.Z. 31 (1898): 38–39.

[42] “A unique concert.” Press August 31, 1901, p8.

[43] Extracted from Janet McCallum 1993, 2006. Ross, Forrestina Elizabeth and Ross, Malcolm, Dictionary of New Zealand Biography, Te Ara – the Encyclopedia of New Zealand, https://teara.govt.nz/en/biographies/2r28/ross-forrestina-elizabeth  (accessed August 25, 2023)

[44] “Ladies’ Column – Girls’ Gossip.” Evening Post June 13, 1903, p2 (Supplement).

[45] Letter. Turnbull AH to RT Turnbull May 28, 1891. Alexander Turnbull Letterbook I, p50. ATL qMS-2051. Refers to Strand magazine, 1 (1891): p520.

[46] There is, however, no mention of him in Psyche, the Cambridge Entomological journal, between 1886 and 1890.

[47] “The Wellington Racing Club’s Ball.” New Zealand Herald July 14, 1905, p6.

[48] “Racing Club Ball.” Evening Post July 14, 1905, p2.

[49] “Contentment.” Free Lance October 13, 1906, p10.

[50] “New Zealand weddings. Tripp–Henry.” Evening Post October 26, 1909, p9.

[51] He had an eloquently intimate way with words. Gilbert Mair to Alexander Turnbull May 1916. McCormick, p267.

image

Rathmell Wilson, Hinemoa, Tutanekai and Eve Balfour

Rathmell Wilson, Hinemoa, Tutanekai and Eve Balfour

In 1905 the Oxford Review critiqued a book called Hinemoa and Tutanekai. A Maori Legend. It was written by Rathmell Wilson, a 22 year old Oxford scholar who had never been to New Zealand. Wilson wrote in the introduction that it had first appeared in his school magazine, The Shirburnian.[1] The reviewer wrote, “The Maori legend which gives the title to the book is a very readable story of love and war, told in prose and verse, in a mystical, romantic style which has a certain charm.”[2]

George Grey’s Polynesian Mythology, which included this story, had been published in England in 1855, and Longfellow’s The Song of Hiawatha in the same year. I imagine Wilson had read both for his introductory trochaic verses are very reminiscent of the latter. The book was dedicated to the members of the Mermaid Club (for play reading) and Falcon Club but Hinemoa and Tutanekai was dedicated “To Esmé”. Other verses and prose were included; a second edition was published in 1907.

Hinemoa begins with verse but Hiawatha’s trochaic tetrameters with their rushing cadence here alternate with trimeters—retaining the insistent rhythm but with a less hurried effect.

Edward Archibald Rathmell Wilson 1883–1955, actor, playwright, author, traveller, art collector and dilettante was born on 1 October in Salisbury, Wiltshire, a cousin of the Delaware Rathmell Wilsons. He would become a significant professional colleague for the New Zealand born movie star Eve Balfour.

In 1896 Wilson entered Sherborne, a full boarding school for boys near Sherborne Abbey in Dorset. In his final year he wrote Hinemoa. He matriculated in 1903 and was admitted to St John’s College at Oxford.[3]

In April 1905 Wilson appeared in a one act play Robespierre at the Victoria Hall in Weston-super-Mare.[4] It was the beginning of a long career in the performing arts. In 1908 he was in Peg Woffington with Laurence Irvings company, then Clive Currie’s company, then Patrick Kirwan’s Pastoral Plays.

In 1909 the Revival Company presented four one act plays at the Rehearsal Theatre, the last Fortune’s Fool by Rathmell Wilson. The Era thought it unoriginal,

The author seems to possess some notion of poetic expression, but his phrases are as old as the hills, and the sentiments in which his characters indulge come as familiarly to one’s mind as the words of “Home, sweet home.”[5]

Later in 1910 he produced and appeared in The Hour-Glass in Oxford St,[6] then played in Ibsen’s Rosmersholm—

Mr. Rathmell Wilson conveyed the gentle melancholy of the unsuspicious Roemer, but also conveyed a depressing sensation of monotony, saying each succeeding sentence in the same expressionless cadence.[7]

He toured with Walter Pearce’s Pastoral Players and appeared at a Shakespeare presentation at the Little Theatre—when he was referred to as an “old Bensonian”[8] suggesting he had at one time been with the FR Benson company. At the end of 1910 he was with the Stage Society in John Masefield’s Pompey the Great[9]and in early 1911 in the Ibsen club’s The Wild Duck.[10]

He founded the Drama Society and in 1911 corresponded with fellow Dorset native Thomas Hardy about staging Hardy’s play The Three Wayfarers.[11] Hardy suggested a fee of a guinea for each performance. In early 1912,

The Drama Society, of which… Mr. Rathmell Wilson is president, will, on Monday afternoon, March 4, at Clavier Hall, Hanover-Square, present…. “The Death of Tintagiles” by Jocelyn Godefroi, in which Miss Edyth Olive will appear.[12]

Also in the cast were Eve Balfour and Rathmell Wilson himself.[13] A month later they were both at the Boudoir Theatre in Orestes, Rathmell Wilson as Orestes, Eve Balfour as Electra.[14] Then The Snake Woman (Wilson as Dick Charteris, Eve as Zillah).[15] In May Eve appeared in In a Balcony at the Poets’ Club dinner at the Monico restaurant and Wilson recited from Browning.[16]

In October 1912 the Drama Society presented Wilson’s The Experimentalists at Clavier Hall, with Miss Eve Balfour-Hulston in the cast.[17] They were both in the cast of Hedda Gabler[18] and, in early 1913, Catherine the Great.[19]

In May 1913, at the Cosmopolis Theatre, the Drama Society presented Mr. Rathmell Wilson’s English translation, in blank verse, of François Coppée’s fantasy La Passant. He called it The Passer-by and it was followed by,

Miss Eve Balfour Hulston, who, attired in a striking costume of Eastern pattern, said with fine emphasis two short poems by Ezra Pound— “The Marriage of Cana in Galilee” and “The Touch of Akr Caar” —and a passage from “False Gods” (Brieux’s “La Foi”).[20]

She had recited the two Ezra Pound poems in “a suggestive, conventionalised method of delivery” at the Cave of the Golden Calf six months earlier. The Referee critic was clearly impressed,

Miss Eve Balfour Hulston gave some mystical recitations, and she gave them in a tight-fitting, low-necked, shimmering, fish-scaly, mystic, wonderful frock. The recitations were the reverse of cheering, but Miss Huston spoke them artistically and looked lovely.[21]

In January 1914 the Drama Society presented Eve Balfour in Poudre d’Amour and Rathmell Wilson recited Kipling’s “Mandalay”.[22] In May both recited at the Comtesse de Brémont’s Concert Revue at the Boudoir Theatre in Kensington.[23]

And then in November 1915 The Era announced, “Mr. Rathmell Wilson’s novel, “When Woman Loves,” is being dramatized for the kinema. Miss Eve Balfour will play the leading part.”[24]

The book had been briefly reviewed shortly after publication,

The  heroine  who  sits  smoking a  cigarette  in  the  first  sentence, and  who,  upon  rising  from  her chair  a  page  or  two  later,  helps herself  to  whisky-and-soda,  is  not the  sort  of  woman  one  would  want to  marry,  but  she  is  just  the woman  to  set  the  men  in  a Bohemian  novel  sighing.  If you don’t believe it, read When Woman Loves!

     Mr. Rathmell Wilson continues to improve. Where he was once all finicking prettiness, he has now settled down into romantic practicality. He must beware, however, of becoming too practical. He has more imagination of the creative sort than you would guess from his latest novel.[25]

The film was eagerly anticipated—by, for instance, the Shipley Times and Express reporter before it opened at the Pavilion de Luxe in Shipley, Yorkshire on 20 November 1916,

For Monday next a special drama has been secured in the shape of Eve Balfour’s production, entitled “Love,” a photo-play after the famous novel “When a Woman Loves,” by Rathmell Wilson. In this instance the author has personally supervised the production of the picture, and we cannot do better than quote the author’s remarks with reference to it. He says:— “My novel is a study of many kinds of love in many kinds of people. Especially it is a study of the fierce and reasoning love of an artist woman for a very ‘human’ artist man. In many ways the story of my novel has been altered by the Balfour Film Company in order to make it a film play. I can honestly say that each one of these alterations seems to me a success. While the film was being made I was almost forcibly kept out of the studio and I confess now that it was not without a certain fear that I went to see the completed picture for the first time. But a delightful experience awaited me. So often the unexpected are the most charming things in life. I saw many of my dreams come true upon the screen and by her wonderful art Miss Eve Balfour showed me my dream-heroine alive and kissing! Just as I had imagined her to myself, perhaps a little more beautiful than even I had ever dared to hope she might be. Has any author ever had a more delightful experience than that. I doubt it very much.” This remarkable film which is showing in four reels comes under three distinct headings. Firstly, the birth of love; secondly, the wane of love; and thirdly the re-birth of love. High art and the beautiful understanding of pictorial representation pervades every action of Eve Balfour. And, whereas this film will principally appeal to the female element of picture theatre audiences, we have no doubt that the domestic associations and the general atmosphere will make a great impression upon everyone…. we have no doubt that our readers will at once realise that they are being treated to exceptional masterpieces.[26]

His “dream-heroine”? “more beautiful than I had ever dared to hope”? was he in love with Eve?

The second production by the Eve Balfour Company in 1916 was said to have been Eve’s Daughter, based on Rathmell Wilson’s novel When Love Dies. I can find no contemporary reference to either the film or the novel. Wilson himself was busy on the stage.

He was a frequent contributor of short prose or verse pieces with names such as “Womania”, Professionazia”, “The Actor”, “Ridiculosities”, “On Backing Horses” to the Sporting Times. In 1936 he was made a Freeman of the City of London and a Liveryman of the Worshipful Company of Plumbers.[27]

Like Eve Balfour, Wilson was interested in mysticism and the occult, became a Rosicrucian, “Sine Metu”, initiated in 1913; a Theosophist; a regular contributor to the Occult Review and the Golden Dawn Magazine of The Brothers of The Path. In one of these articles he described a 1939 visit to “El-Sendero”, the headquarters of The Brothers of the Path.[28] There he met Founder-Principal Anthony Greville-Gascoigne and some of the leading lights of the organisation. He wrote the preface to Greville-Gascoigne’s The Way of an Initiate (1940).[29]

He died in Brighton in 1955. The literary critic Patrick Braybrooke praised Wilson’s achievements rather faintly for The Old Shirburnian.

Mr. Patrick Braybrooke, F.R.S.L. writes:— Rathmell Wilson was one of those personalities who was versatile without being brilliant. Aristocratic by birth he could mix easily enough in London bohemian circles.

His literary output was varied and entirely original. He travelled very widely and gave us his light hearted impressions in such books as “The Wandering gentile” and “All Sorts”. He could deal easily with incidents in various countries, and he could record them wittily and with whimsical charm.

His verse was certainly jingle, and poetry was not his best medium of expression. Prose suited him better: his style being easy and pleasant.

For quite a while after his Oxford days he played with the Benson Company and he toured with various companies in a number of plays. Acting did not find him specially gifted. His acting was stiff and too unemotional.

Perhaps more than anything else he was a personality and to find him at his happiest mood was to sit next to him at one of the famous “Monday nights” at the Author’s Club. He was a fascinating talker and a fairly patient listener but sometimes was a little reserved.

He did not care for lecturing on any subject; but he was a good enough reader of a selected play. He read a play aloud, carefully and with assurance.

I knew him for over thirty years and he was always cultured, eclectic in taste, and interested in impersonal and international subjects.

After he finally left London he went to live in Brighton and I saw him there several times. But somehow London always seemed “empty” to me when he had left.

In one of his books of travel his dedication greeted his friends on “both sides of life’s frontiers”. He had a mind at once mundane and groping. In his books, in his verse, in his long love of France, he showed his essential personality.

He was fundamentally the literary dilettante, and had he been forced to write professionally, his published work might have received greater recognition. Modern life after the first war, was not quite to his liking. His best work was in his earlier days; his “Happy Days before 1914”.[30]

Rathmell Wilson’s main publications are listed online at the New General Catalog of Old Books and Authors: Author names starting with Wif –Win.[31]

Rathmell Wilson, from a portrait by Florence Vandamm.

American Register 28 April 1912.


[1] It appeared in The Shiburnian in July 1903 (https://oldshirburnian.org.uk/wp-content/uploads/2015/07/1903-July.pdf) so he wrote it when he was 20.

[2] Oxford Review 18 March 1905.

[3] Oxford Review 21 January 1903.

[4] The Stage 27 April 1905.

[5] The Era 6 March 1909.

[6] The Stage 3 February 1910.

[7] The Referee 29 May 1910.

[8] Morning Post 17 October 1910.

[9] Morning Post 28 November 1910.

[10] The Referee 8 January 1911.

[11] Richard Little Purdy and Michael Millgate (eds) 1984. The Collected Letters of Thomas Hardy, Vol. 4: 1909–1913. Oxford University Press. Pp180–181.

[12] The Era 10 February 1912.

[13] The Era 2 March 1912.

[14] The Era 6 April 1912.

[15] The Stage 25 April 1912.

[16] The Stage 23 May 1912.

[17] The Era 26 October 1912.

[18] The Stage 31 October 1912.

[19] Pall Mall Gazette 23 January 1913.

[20] Morning Post 29 May 1913.

[21] The Referee 1 June 1913.

[22] Pall Mall Gazette 23 January 1914.

[23] Kensington News and West London Times 29 May 1914.

[24] The Era 10 November 1915.

[25] The Playgoer and Society Illustrated. Vol 3, 1911. “From the Bookshelves” p235.

[26] Shipley Times and Express 17 November 1916.

[27] https://oldshirburnian.org.uk/wp-content/uploads/2015/07/1936-June.pdf

[28] https://esoterichistory.wordpress.com/2014/11/16/visit-to-the-headquarters-of-the-brothers-of-the-path/

[29] https://iapsop.com/archive/materials/golden_dawn/

[30] https://oldshirburnian.org.uk/wp-content/uploads/2019/01/1955-Michaelmas.pdf

[31] http://www.authorandbookinfo.com/ngcoba/wi2.htm.

orchid1

Spontaneous orchids in Italy

Download the full blog with images here

We call them “native orchids” as do the Australians and Americans. Britain shares some European orchids, so Englishmen refer to “wild orchids,” the French have “orchidées sauvages” and the Italians “orchidee spontanee” (rhymes with Whakatāne). I’m sure “spontānee” doesn’t translate literally but I do like the idea that they are spontaneous — fresh, original, free, unrehearsed, unplanned and with an element of surprise.

We left New Zealand in midapril and we spent a couple of days in Rome to get over the jet lag. Pope Francis had just died and the eternal city was awash with nuns, priests, groups of black-clad men from The Godfather and the lesser faithful. We missed the funerary procession and took the fast train (well, it took us) to pick up our rental car in Foggia, the nearest city to our destination — the Gargano peninsula, the spur of Italy, a great limestone mountain between the Foggia plain and the Adriatic.

It is an “orchid hot spot”. Paul Harcourt Davies, prolific British writer about European orchids and leader of guided tours on the peninsula, calls Gargano “the most wonderful natural limestone rockery I have ever encountered” [1]. I have wanted to go there for years, as, I think, any orchid lover would.

We stayed in Monte Sant’Angelo (where the archangel Michael appeared 1500 years ago to the local Bishop in a grotto), now a pretty little white mountain town. We had no guidebook or map, but I had downloaded Davies’s paper and another by Andrew Cleave that gave an indication of promising sites [2]. There are formal organised naturalist tours but we wanted the freedom to wander in our own time.

We drove toward the town of San Giovanni Rotondo, exploring roadsides, branch roads and likely spots, later the slopes below Monte Sacro. The lovely lonely mournful dong of cowbells and the repetitious call of a cuckoo filled the mountain air. This is no wilderness: most of it is grazed by cattle. In contrast to destructive sheep and goats, they leave a good 5cm of lower leaves, allowing the pasture plants to survive and prosper.

And prosper they certainly do. The orchids I mean. We were not trying to find every one of the many species present here (it is a splitter’s paradise, with considerable hybridisation and within-species variation) but simply to see as many as we could and to try to identify them. The sheer range and numbers were astonishing.

We travelled light: the photographs below were all taken either by Kristy with her iPhone 14 Pro (with built in macro lens), or my old fashioned iPhone 8 with a cheap macro attachment from Temu — no aperture control of course so no ability to vary the depth of focus. The orchids were everywhere, often in countless numbers. Davies suggests getting “off the beaten track” for the best sites but we were never more than 100 metres from the car and still found a bewildering array of species. I have attempted to identify some of them in the images below but this is specialist work, well beyond my capability.

After Gargano we had a few nights by the sea, Vieste and Peschici, then drove up the Adriatic coast, taking a diversion if there was a national park nearby — we visited Monte Sibillini and Monte Cucco. Italy is not just the centre of Christianity, not just the birthplace of the Renaissance, not just the home of many of the greatest composers, painters, sculptors and soccer players the world has known, it is also a treasury of wildlife — and for me, of orchids, even at the roadside and often spotted from the car. In our last week, at Castellina-in-Chianti, we discovered a violet limador and fly orchids a metre from the track into our accommodation.

Why would a NZ orchid enthusiast seek out European orchids? There are many reasons, some too hard to explain, but Davies’s rather chastening words carry the most important message perhaps….

Gargano gives a sense of perspective when you can examine a myriad orchid flowers of the same species and thus get a feel for the innate variability, which can be considerable. Too often, extreme examples of a single species are conveniently selected, all intermediates are neglected, and a new “species” is dutifully announced in a journal that is not “peer reviewed”.

We returned to noisy crowded Rome, watched Pope Leo give his inaugural mass from the Bridge of the Angels and left for home.

References

Paul Harcourt Davies (undated). The Gargano Peninsula, Europe’s finest natural rockery, a personal view. https://www.paulharcourtdavies.com/the-gargano-peninsula.

Andrew Cleave 2019. Flowers of Italy’s Gargano Peninsula, a Naturetrek Tour report. https://www.naturetrek.co.uk/tours/flowers-of-italys-gargano-peninsula.

Italy is a colourful country, its people stereotypically flamboyant, the conversation and the music loud, the pace fast. The drivers are competitive, need to lead and are impatient to pass in impossible places — I dont think they had ever seen a driver pull over to let a car sitting on its tail go past; I surmised that they would say to themselves, “Why would he do that? he was winning and he just gave up!”

The wild orchids are extraordinarily coloured and shaped, exciting to discover — but one does begin to long for home. A homesick Robert Browning wrote this in 1845 while in Italy…

Home thoughts from abroad

Oh, to be in England

Now that April’s there,

And whoever wakes in England

Sees, some morning, unaware,

That the lowest boughs and the brushwood sheaf

Round the elm-tree bole are in tiny leaf,

While the chaffinch sings on the orchard bough

In England—now!

And after April, when May follows,

And the whitethroat builds, and all the swallows!

Hark, where my blossomed pear-tree in the hedge

Leans to the field and scatters on the clover

Blossoms and dewdrops—at the bent spray’s edge—

That’s the wise thrush; he sings each song twice over,

Lest you should think he never could recapture

The first fine careless rapture!

And though the fields look rough with hoary dew,

All will be gay when noontide wakes anew

The buttercups, the little children’s dower

—Far brighter than this gaudy melon-flower!

I emailed similar ruminations to my daughter, who replied, “Give me a gaudy melon flower over a buttercup any day.”

Well, yes, perhaps so.

eve landscape

Raymond McIntyre and Eve Balfour

While Raymond McIntyre often mentioned Eve Balfour in his 1911–1914 letters home from London to his family, he made no reference to her as a model, though two—perhaps more—of his portraits of her are known. Furthermore, she is not an elusive figure but was a very famous woman.

At times in the first decade of the twentieth century the Christchurch Artists’ Sketch Club held studio meetings every week and among its members were Sydney Lough Thompson, Edwin Bartley, Leonard H Booth, William Menzies Gibb, Charles N Worsley, Alfred Walsh, Andrew Kennaway Henderson, Charles Bickerton, Robert A Gill, James Lawson Balfour and Raymond McIntyre.[1]

Balfour and his wife Eve (Hulston) Balfour had been fellow members, with McIntyre, of the Canterbury Society of Arts before they left for England in 1908. McIntyre followed a year later and his letters record their resumed contact.

Eve Balfour was being lionised in London for her stage work and was active in the women’s suffrage movement. In May 1911 Lawson Balfour returned alone to Christchurch. McIntyre wrote to his niece Daphne in June,

My cat doesn’t care much for women. Any lady visitors I have try to pet it up but it isn’t keen on them. The other day Eve Balfour, who was here, stroked it, and it half sat up and wished she would hurry up and get it over and be done with it, as it wanted to turn over on its side and go to sleep.[2]

To his father in October 1911 (Eve’s use of the nickname “Mac” revealing an easy familiarity between the McIntyres and the Hulstons),

I went to Lyon’s Picadilly Restaurant for lunch…. I sat down to a table by myself—and just as I was settling, who should come along, but Eve Balfour and her father! They asked if they could sit down along o’ me, and I said they could. Mr Hulston talks like a Yank, doesn’t he? He told me that you were looking so very well. “What do you think of Mac Londonized?” said Eve to her father.[3]

On 2 October 1912 he told his father he had seen Eve and Stanley Howlett (who would become her second husband) together in Oxford St.[4] A week later,

Last Sunday afternoon, Stanley Howlett and Eve Balfour paid me a visit. Stanley has a part in “Drake” in His Majesty’s in the Haymarket. I told him I was going to see it on Saturday—and said I would look out for him. He says he is almost naked in it—wearing a skin of sorts—and his arms and exposed parts of his anatomy “browned” up with paint. Seems a pity he should have a part like this—for he is a very aquiline type of young actor Adonis. Eve Balfour told me all her news.[5] They liked the sketches I did in Brittany very much. I had to hurry them away, as I had a meeting to go to.[6]

His studio at Cheyne Walk Chelsea was near Eve Balfour’s flat. Stanley Howlett and he were close friends.

McIntyre exhibited a painting of Eve in 1918 at the Autumn Exhibition of the International Society of Sculptors, Painters and Gravers, at the Grosvenor Gallery, London. Wellington’s Evening Post proudly repeated a critic’s comments,

At the Grosvenor Gallery, where the International Society is holding an exhibition, Mr McIntyre has a portrait of Miss Eve Balfour, formerly of Christchurch, who is now a well-known film actress. Mr. Rutter says that the artist has painted her “with the clean precision and simplicity of one of the younger Frenchmen who has approached Cezanne through Marchand and Guerin.”[7]

It was hanging on the wall of Eve’s Chelsea flat in 1919 and was published in black and white in the 8 February 1919 issue of Pictures and the Picturegoer (p161). It was said, in the accompanying article, to be life-sized. Its date and whereabouts are not known (it is not in the possession of her family).

A second painting of Eve was published in black and white in the October 1918 issue of Colour—for sale at 25 guineas. Its date and whereabouts are also unknown. Its style is reminiscent of that of the Japanese painter Take Sato, also living in London, whose portrait McIntyre painted.

The model for a brush sketch (“Woman in a broad-brimmed hat”) is said to have been Phyllis Constance Cavendish but the image looks nothing like his other portraits of her though strikingly like Eve. I have no doubt it is Eve. When McIntyre wrote (of Miss Cavendish), “Though all the things I do are like her—yet it is the particular points about her which interest me I accentuate—and bring out—and I leave the parts that do not help,” he was saying that he was painting portraits and they were likenesses. “From Bassano’s photographic portraits of Phyllis Cavendish, it is clear that her head’s bone structure, long neck, full lips, dark eyebrows, wavy hair, and small defined nose are all conveyed in Raymond McIntyre’s portraits.”[8] I would add long face, high cheek bones, hooded eyes—his portraits of her are identifiable from her features. But not in “Woman in a broad-brimmed hat”.

A third McIntyre oil, from about 1915, of Eve Balfour has recently been “rediscovered”.

And this? He called it “Suzette” and it has been suggested the sitter was Miss Cavendish, but it is rather like Eve’s photograph by Angus Basil Brown, 1916.

“It is people of the theatrical profession that I am always coming into close contact with,” wrote McIntyre to his father and Eve Balfour was another.

She would take major roles on the London stage and would go on to star in at least fifteen silent movies (1914–1920), was touted as the most beautiful woman in Britain and became the model for poets (Ezra Pound), photographers, painters (Augustus John and many others) and sculptors: Dora Ohlfsen-Bagge’s 1919 bronze sculpture of Eve was recently acquired for the Art Gallery of New South Wales. In its time it was “the most talked of piece of statuary in England”.[9]

Miss Eve Balfour, a “Venus” of New Zealand, has been portrayed in a statuette, and those who have seen it speak of its beauty, strangely inspiring and elusive.[10]

She was the first woman film producer in England, her company, “Eve Balfour Films” producing the silent film Love in 1915 and Eve’s daughter in 1916. She joined the Fox company in the United States, was celebrated as “The woman in black” in the Fox serial Fantomas and in the late 1920splayed on the stage in New York, eventually returning to Stratford-on-Avon with her husband Stanley Howlett.

She died there in 1955.

Miss Eve Balfour, by Raymond McIntyre.
Published in Pictures and the Picturegoer magazine 8 February 1919.
This painting was “life-size” when hanging on the wall of Eve’s Chelsea flat in 1919 (see Appendix) but its present whereabouts is unknown.

Eve, by Raymond McIntyre.
Published in Colour magazine (in black and white), October 1918.

Girl in a broad-brimmed hat, brush drawing by Raymond McIntyre, date unknown.
Original at Auckland City Art Gallery.
This is said to be of McIntyre’s frequent model, Phyllis Constance Cavendish—wrongly I think, for the resemblance to Eve Balfour is striking.

Eve Balfour, photographed by Angus Basil Brown, from the Tatler 15 September 1915.


[1] http://christchurchcitylibraries.com/Heritage/Publications/Art/
CanterburySocietyofArts/pdfs/Catalogue-1905.pdf
.

[2] Raymond McIntyre to Daphne 12 June 1911. ATL MS-Papers-8612-150–1.

[3] Raymond McIntyre to his father 4 October 1911. ATL MS-Papers-8612-150–1.

[4] Raymond McIntyre to his father 2 October 1912. ATL MS-Papers-8612-150–1.

[5] She was pregnant. In October she would play Louise in The Experimentalists and in November would be given the lead in Hedda Gabler.  She would read Ezra Pound poems at the Cabaret Theatre Club (the Cave of the Calf) in November.

[6] Raymond McIntyre to his father 9 October 1912. ATL MS-Papers-8612-150–1.

[7] Evening Post 1 January 1919, quoting Frank Rutter in The Sunday Times (London) 6 October 1918.

[8] Brounson R. Raymond McIntyre and Phyllis Constance Cavendish.
https://www.aucklandartgallery.com/article/raymond-mcintyre-and-phyllis-constance-cavendish.

[9] Evening World 10 December 1919.

[10] Register (Adelaide) 19 January 1922.

lost olympian landscape

Our lost Olympian

A bronze statuette of Cliff Porter, captain of the 1924 All Black Invincibles, made by Vincent Evans ARCA, Art Master at Wanganui Technical College, was to be New Zealand’s entry in the Sculpture section of the 1928 Olympic Games in Amsterdam, the 9th Olympiad of the modern era. It disappeared.

It was first shown in February 1926 when the Wanganui Chronicle told its readers,

“A unique statuette of an All Black, in the act of passing the ball, is to be seen at the Wanganui Technical College. The statuette was made by Mr Vincent Evans, A.R.C.A., Arts Master of the College.”

Evans was a Welshman (ie, rugby mad) and I suppose he made it in 1925 after the triumphant return of the Invincibles in March.

The October 1927 minutes of the Council of the NZ Olympic Association note that the Regulations for the 9th Olympiade had been forwarded to V. Evans.

The Council’s January 28 minutes record that the Secretary had accepted the statuette and the Committee had approved the secretary’s doing so; a newspaper report from that meeting (Evening Post 17 January 1928 page 14) tells us, 

“The meeting also noted that Vincent Evans, of the Wanganui Technical School, had forwarded an exhibit for the art section of the games, his entry taking the form of a bronze statuette of an All Black. His entry was the first of its kind from New Zealand.”

In May 1928 the Wanganui Chronicle announced,

“In the art section of the forthcoming Olympic exhibition at Amsterdam during the progress of the international games, a statuette by Mr Vincent Evans, Wanganui Technical College art master, will occupy a prominent position.

“Mr Evans’ model—that of a Rugby player—was dedicated to the 1924 New Zealand All Blacks, and the New Zealand Olympic Games Committee, the Chronicle was told yesterday, have been responsible for the forwarding of the statuette, to Holland.

“The model in question is fully symbolical of the virility of sport and is especially appropriate for exhibition during the struggle for world supremacy in athletics.”

A hundred and seventy-five statuettes were entered in the Olympic event and the All Black did not attain a podium finish. The gold medal went to Paul Landowski from France for his Boxeur (one of his later works is the colossal Cristo Redentor in Rio), the silver medal to Swiss artist Milo Martin for his Athlète au repos; the German Renée Sintenis took the bronze for her statue Fußballer.

The International Olympic Committee has no record of the statuette arriving nor even of its formal entry in the competition. There is no further mention of it in the New Zealand Olympic Committee records of the time, nothing in the newspapers, Whanganui records, or the family papers.

Vincent Evans, painter, printmaker, sculptor and teacher, was born in Ystalyfera, Glamorgan, South Wales. He worked for a time in the coal mines but left to study at Swansea School of Art and at the Royal College of Art in London. In 1924 he was appointed art teacher at the Wanganui Technical College. He exhibited portraits in oil and bronze, etchings and other prints—at the Sarjeant gallery and at the College.

In December 1931 he left New Zealand for England, where he worked as a portrait painter in Chelsea and painted working men in the coal mines. In 1934 he exhibited a huge religious painting at the Welsh National Eisteddfod and in 1936 two large paintings of underground workers at the Royal Academy. The War Artists’ Advisory Committee accepted several of his works. He was art master at Slough Grammar School and College until 1968. None of these has any knowledge of the sculpture.

Evans has been the subject of a Masters thesis by David Lloyd George at Aberystwyth university and his paintings of working men are much sought after – a kind of Welsh Diego Rivera.

Evans’s statuette has disappeared. So what happened to this important piece of Olympic and All Black history?

There is no sign of it in Whanganui institutional collections; it is not at the NZ Sports Hall of Fame in Dunedin or at the Rugby Museums in Palmerston North or Twickenham. Did it go back to Britain with Evans when he left New Zealand in 1931? Or was it stolen and broken up for its valuable bronze?

Obviously either Evans or the Olympic committee changed their mind. Perhaps it still exists in a private collection, or is buried away in a rugby archive somewhere.

The All Black is New Zealand’s lost Olympian.

(See Vincent Evans’s paintings at https://minerartist.tumblr.com/ and at Art UK | Discover Artworks).

image

Raymond McIntyre and Phyllis Constance Cavendish

In 2015 the Press carried a series about works in the Christchurch Art Gallery collection. On 25 August it published an article on Raymond McIntyre by gallery curator Ken Hall. He wrote about McIntyre’s “principal muse for his portrait studies” (identified as “Sylvia Constance Cavendish”), ending with, “More solid information about this favourite model is sparse. She was possibly of European origin….”[1] Others have written that several of his portraits (even those named “Ruth”, “Lisette” etc) are of her. Who was she?

The National Portrait Gallery in London has two photographs by Bassano Theatricals, the negative plates inscribed “19.8.21 Miss Constance Cavendish” and they have been identified as Phyllis Constance Cavendish.

Hall noted McIntyre often mentioned her in his letters home. Perusal of copies, held at the Alexander Turnbull Library in Wellington, confirms that and clarifies her identity. The letters are excerpted at some length below as they suggest the nature of their relationship.

McIntyre wrote to his father on 23 October 1912,

I have “bucked up” considerably in my painting and drawing and I am now doing work ever so much better than I ever did before. I have a very nice girl sitting for me now—who is a great help to me. Mr Hatherell[2] told me about her. She plays every night in “Monte Christo.[3] More about her some other time.

More about her to his brother Arthur on 20 November 1912,

The girl who is sitting for me now a lot—Sylvia Constance Cavendish[4]—she who is appearing in “Monte Christo”—at the “New Princes” under Melvilles direction. Melvilles (brothers) are the Bland Holts[5] of London. Melodrama laid on thick for the millions, as it were. I went and saw “Monte Christo”—lately—first melodrama I have seen for ten years—since what time I used to think Bland Holt worth while. It was quite interesting to renew acquaintance with this style of thing. I must tell the Squires[6] about having gone to “Monte Christo”—Squire always said I was a reactionary. So I’ll give him this added proof. Well, I started out to say something about Miss Cavendish. She brought along a camera the other day—and some printing paper—and she was telling me some years ago she bought this camera—and a lot of chemicals—paper—plates—printing frames—red lamp (she said a canvas folding one—whatever that’s like—however, she will probably bring it along some time and then I’ll know) &c—and never done any photography! I took some photos of her the other day, by way of experiment in the use of this particular camera—a “Clincher”.[7] She is not satisfied with any professional work done of her. She has had her photograph taken by Leslie Charles Hana— “Daily Mirror” &c—and said they were no good. So she has asked me to do some!

When I get some done of her I’ll send you some prints. This girl has played every woman’s part in “A Message from Mars”[8]—on tour. The last time she was here playing “Minnie”. Shes only 22 years old, too….

Miss Cavendish has a very refined interesting pale face—and I have done some good work from her—painting and drawings. And she is so conscientious and sits so well—she is quite a find. It is people of the theatrical profession that I am always coming into close contact with. I think I know more of them than of other kinds of persons—as you have perhaps noticed from time to time.

The other day Miss Cavendish said she’d get some plates. I said she needn’t—as I would probably get some anyway— “but” said I— “if you’re going to get any, you may as well get the right kind— ‘Imperial Special Rapid’—can you remember that?” She said— “Isn’t there some double ‘X’ plate, or something?” I said, “No, you’re thinking of buns!”

The other day she said— “I did not remember what plates I was to get—but it was ‘Ilford’ wasn’t it.” And I said— “No! those are the very kind you’re not to get!”

….

The pheasant Aunt Ada sent me I cooked A.1. It was slightly “high” and “just so”. You know, I’m quite good at cooking. Miss Cavendish who comes all day, had some—and gave her verdict that at cooking I was “an adept” and she would be particular. I can make good coffee, too. Since I was at Saint-Malo I picked up the idea. Item which will interest Daphne—Messrs Pathé Frères[9] have written twice to Miss Cavendish asking her to work for them. She also had a letter from the “Vitagraph” Co[10] offering employment. She refused, as she does not care about it, & her mother objected.

To his father on 5 December 1912,

Alas!—I have lost my charming model—at least for a while. She is rehearsing all day and every day in a forthcoming Pantomime. I did the best work I have ever done so far from her. I like to go outside the usual run of professional models, of which there are hundreds and hundreds in London—and get people of more normal type and who do not live in the atmosphere of Studios all the time. It is more interesting to have a breath of the outside world come along with different interests and information to impart. These stage folk who I have had are very helpful to me in that way. Miss Cavendish has three uncles in Parliament, all representing the Conservative interest.[11] One day when she came along here, she said that the night before—Mr Lloyd George had visited the theatre….

McIntyre told Arthur, on 12 December 1912, about taking Miss Cavendish’s photographs using her own camera. He added,

Isn’t she sweet?—During the last week of “Monte Cristo”—she took the leading lady’s part. She was second understudy for the part of “Mercedes—and only heard at 5 p.m. on the night that she had to play it. She is very busy over rehearsing for “Cinderella” Pantomime which opens on Boxing night at the “Princes”—and goes on daily with 2 performances daily. The way she has her hair done in the photo is “au naturelle”—if I may say so—but when I draw her, I always make her do it how I want it—which is in a more severe style. À la Breton—or in plaits—or plastered down. I like the shape of a head to show, especially if it is a good shape—and hers is.

He enclosed photographs,

  1. Miss Cavendish sitting on sofa!
  2.   “          “          with hands clasped!
  3.   “          “          pencil drawing!
  4.   “          “          “au naturelle”!

On 5 March 1913,

Sorry the consensus of opinion voted Miss Cavendish “not pretty”. The word “pretty” in this connection is not much of a word, is it—anyway? It is what we painters most wish to avoid. Yes, as you say, she has a good name. It’s her real name, too. She doesn’t use it on the stage though—her mother does not care about her doing so. She calls herself by her two Christian names— “Phyllis Constance.” She is principal understudy at the “Princes” in “The Indian Mutiny”—and has to turn up there every night to see if the leading lady is there and in form. Today, she bought proofs of the photos Langfier[12] took, to show me. They took a dozen. She brought along 4—said she tore up the others as they were “terrible.” These ones were surprisingly poor for such a firm to turn out.

On 6 May 1913 he wrote to his sister Doris, relating a conversation he had had with Miss Cavendish and continuing,

I seem to be always mentioning and writing about her—but you see, she has a lot of anecdotes &c—and always comes along with something to say….

The other day when they (that is to say the Cavendishes) milk was delivered—at the bottom of the can—when the milk was poured out—they found a pair of spectacles! Naturally they were very indignant about it. Later on, they were telling a relation of theirs—who happens to be an optician—about it—and he got keenly interested and his face lit up—and when they paused for his remark upon the enormity of the affair—he said eagerly— “What make were the spectacles?”

The Cavendishes are the kind of people, who, if they want a nail driven in, send along to Maple & Co, who send a man along to do it.

We were considering the other day the possibilities of falling out the window—and Miss Cavendish said— “What would you do if I fell out?”—and I said— “Of course get a lot of sheets—and tear them into strips and knot them together—and throw them out the window—and lower myself down and haul you up!” “I suppose you would take a camera and take snap-shots!” “No!” said I— “I’d get someone on the Embankment to do that!” “And I would appear in “The Daily Mirror” as “Dramatic Rescue on Cheyne Walk!”—said she….

On 30 September 1913 he told his father about a visit from artist friends, including one James Meo:

He was a typical artist with a beard. He was very keen on my things—and really admired them very much—and Miss Cavendish (as for representations) called forth a good deal of admiration Meo saying— “What a glorious woman!” which really rather amused me—and listen for why. Really, I have invented her type. Though all the things I do are like her—yet it is the particular points about her which interest me I accentuate—and bring out—and I leave the parts that do not help. One, Meo particularly liked—and said what lovely hair she had. Now, in this particular picture her hair was pitch black—and she hasn’t black hair at all. Whatever the scheme is, I vary the hair to suit it. They were all very interested in my work—and genuinely so, which made me glad, because it corroborated my own idea that I was not deceiving myself. You see, one may get keen on someone, and be thinking more of her as her (or she?) than of the work. I am very much alive to this—and sentimentalism is so very inimical to good art. This sort of thing I can immediately detect in other people’s work….

Miss Cavendish said today that her mother was anxious to see the things I had done of her exhibited—and also said— “Mother would probably buy some.” I thought the “some” was good….

He was reading a “Handbook to Chelsea” and

I read out some to Miss Cavendish the other day—embroidering a little—thus— “A little further on, just past the Inn called the ‘Aquatic Stores’ two small ivy clad houses remain (threatened with demolition in 1896, but respited for a while by the help of Mr C.R. Asher), in the further of which, no 119, J.M.W. Turner, the great painter died, having lived there in retirement and obscurity (184-? December 19th 1851). This house is chiefly remarkable for the fact that Raymond McIntyre lives next door—“*

* This last two lines are not really in the Guide Book. Joke.

To his father on 8 October 1913,

I had my pupils in the morning, and Miss Cavendish here all day. This evening she has an engagement to give a display of dancing at Highgate—and Ellen Terry is to be there. Miss C. is very placid, as she only left here at 5-15. When she told me the other day of her engagement to dance tonight, I asked her if she would be able to come to me on that day, and she said— “Oh yes! It’s not until the evening.”—Mondays and Thursdays are the days she always comes here. She danced at some school affair at Norwood the other evening—for which she earned the fee of £2–2–0—and 10/- expenses. She danced between two parts of a programme. She said when she arrived—one of the girls came running up to her and said— “Aren’t you excited?”—and she said— “What about?”

The last letter in the collection is to his father and dated 22 September 1914; it ends with McIntyre’s transcription of Miss Cavendish’s translation into German of McIntyre’s letter to the avant garde German magazine Jugend. Sadly it is indecipherable.

Who then was the 34 year old bachelor painter’s “very nice girl” of whom he wrote, “isn’t she sweet?” his “charming model”, this teller of anecdotes, she of the “refined interesting pale face”, this actor and dancer—whom he was “always mentioning and writing about”? “One may get keen on someone, and be thinking more of her as her…”

“Constance Cavendish” was born in London in 1890, the only child of Albert Cavendish (31, “publisher”) and his wife Catherine (Judge) Cavendish (27), living at 24 North Road, Highgate in 1891.

The 1901 census has Constance Cavendish, aged 10, born in Highgate, boarding with Henry and Lucy Cromwell and their two children at the Carpenter’s Cottage, Bushy Park, Hampton.

The 1911 census has Catherine Amelia Cavendish, now a widow, keeping a boarding house at 7 Albert St, St Pancras St Jude, Gray’s Inn Road; her daughter, 20 year old “Constance Amelia Cavendish”, was living with her.

McIntyre told his brother on 20 October 1912, “This girl has played every woman’s part in ‘A Message from Mars’ —on tour. The last time she was here playing ‘Minnie’”. A message from Mars was toured in the provinces by Frederick Mouillot, a prominent British theatre manager, director, and playwright, ending with a London season from 9 December 1911 at the Prince of Wales Theatre, where Miss Jessie Bateman played Minnie.[13] “Phyllis Constance” did play “A Flower Girl” in 1910 at Dublin’s Gaiety Theatre[14] and at Belfast’s Grand Opera House.[15]

She recited “Stage-Struck” at a concert in Clerkenwell in 1911,[16] played in The Hope at the Borough Theatre in Stratford in 1912,[17] going on to the Theatre Royal in Brighton,[18] the Palace in Manchester,[19] the Theatre Royal in Birmingham.[20]

On 23 October 1912 McIntyre told his father, “She plays every night in ‘Monte Christo’” and on 20 November told his brother about “… she who is appearing in ‘Monte Christo’—at the ‘New Princes’ under Melvilles direction”. On 12 December he corrected that: “During the last week of ‘Monte Cristo’—she took the leading lady’s part. She was second understudy for the part of ‘Mercedes’.” Monte Cristo opened at the Prince’s Theatre in London on 9 October 1912 with Miss Frances Dillon playing Mercedes.[21] It closed on 7 December, by which time Frances Dillon was already rehearsing for By right of sword at the Royal Theatre, Bury,[22] so Phyllis may well have taken the part of Mercedes in London for the last week.

Cinderella did open at the Prince’s on 26 December 2012, with Elsie Craven as Cinderella and a cast of over 100.[23] The critics were positive but none mentioned Phyllis, though the Clapham Observer may have included her in its assessment, “The ballets, arranged by Mlle. Rosa, are delightful, and Lottie Stone’s troupe of dancers are both graceful and agile”.[24] Cinderella ended on 1 February and was replaced with another Melville brothers production, The Indian Mutiny (“Miss Dora Barton has been specially engaged, and will be supported by a powerful cast”).[25]

In 1914 “Miss Phyllis Constance, the dancer” promised twelve pairs of socks to the Queen Mary Needlework Guild, for the benefit of the children of the poor[26] and was also named as a subscriber to the Ladies’ Emergency Relief Fund of the Variety Artistes Benevolent Fund and Institution.[27] “Miss P. Constance” was “Sou Chong” in Aladdin at the Dalston, opening on Boxing Day.[28]

In 1915 she enacted “Miss Servia” in a revue called Beauties at the Hippodrome in Derby,[29] going on to the Royalty Theatre in Chester. She joined other players in Beauties to entertain wounded soldiers at the Royal Infirmary in Bristol in 1916,

The Misses Leslie James, Phyllis Constance, and K. D’Arcy Levy gave a delightful vocal and musical act, which drew forth rounds of applause…. Miss Phyllis Constance received a great reception for her recital of “Stage-struck heroes”.[30]

In Lancashire in 1917, a critic thought “Phyllis Constance and Rosalind Watson are musical comedy artistes of exceptional talent”. They were appearing in Blue Birds, an “all ladies’ concert party”[31] and they played a number of provincial centres.

Fourth on the bill in the Surrey Comet 16 June 1917.

She may have changed her stage name to “Phyllis Cavendish” in 1918 as an actor of that name was one of “a very strong cast” in The silver crucifix at the Royal Artillery Theatre in Woolwich in August.[32]

In September, at Coventry, she was named in the advertisements for a revue which must have been of questionable taste even then.

Coventry Herald 28 September 1918
Coventry Herald 28 September 1918

Chambers’s Journal of Popular Literature, Science and Arts 1920 (volume 97, part 117 page 624) carried a poem by Phyllis Constance Cavendish,

’Twas not made for you or me,
   This mystic world of ours;
Life’s harvest, then, will either yield
   A crop of thorns or flowers.
For in the state we find it all
   We’re not compelled to take it,
So try to fashion and improve
   And fairer still to make it.

It was also published in the Huddersfield Daily Examiner (27 August 1920) as “A Thought for To-day” and (curiously) in the Waikato Times (8 January 1921) as “Our Opportunity”. It seems to be her expansion and explanation of a similar sentiment by American poet Alice Carey 1820–1871 who wrote, in more compact verse,

It is not just as we take it
This mystic world of ours
Life’s fields will yield, as we make it,
A harvest of thorns or flowers.

At the 1921 census Catherine Amelia and Constance Amelia Cavendish were both still living at the boarding house at 7 Albert St, St Pancras, with four boarders.

On 21 September 1922 The Stage’s regular column “Variety Gossip” thanked those, including Phyllis Cavendish, who had helped take up collections for the Ladies’ Guild.

After that any combinations of names derived from Phyllis Constance Cavendish disappear from British newspapers until 1930, when a writer on stage and screen topics mentioned that “Gus McNaughton… has recently played in three talkies, ‘Children of Chance’ (in which Herbert Marshall, Phyllis Constance, and Jack Raine play parts)….”[33] Children of chance is a 1930 British comedy crime film: of these four only Gus McNaughton is mentioned in its credits.

“Phyllis Constance” was reported[34] as appearing in another 1930 British film, Compromising Daphne, but that was Phyllis Konstam, not she. The Liverpool Evening Express made the same mistake when reviewing Ms Konstam’s role in the 1931 film Tilly of Bloomsbury.[35]

Her mother (said to be a widow) remarried in 1936, to Lionel Frank Barnaschone,[36] a chartered accountant: he died four years later in Tooting Bec psychiatric hospital.[37]

I can find no record referring with certainty to her father, Albert Cavendish, but he gave his occupation as “Publisher” in the 1891 census. The Scientific Publishing Company (22 Buckingham St London) is said to have published How to become a mesmerist by an Albert Cavendish in about 1890 (26 pages and illustrations),[38] but had actually wound up three years earlier, in 1887. It was a time when stage hypnotists were becoming popular. One Albert Cavendish was business and stage manager at the Royalty Theatre in Chester in 1907, played in Our Miss Gibbs at the Broadway Theatre in 1910,[39] going on to the New Theatre in Cambridge and the Marlborough in London—and other centres through 1912. He was last mentioned in theatre news in 1914. He was described as an “experienced pantomime artist”.[40]

Constance A Cavendish, born 1890, died in 1950, aged 60, at Wood Green, Middlesex.


Phyllis, oil painting by Raymond McIntyre, exhibited at the Goupil gallery in 1913,
published in black and white in The Studio, vol.60, 1913–1914.

Phyllis Constance Cavendish aged 30 (inscribed on the negative, “19.8.21 Miss Constance Cavendish”)
portrait by Bassano, London. National Portrait Gallery—NPG x101309.


[1] Hall K. The Muse. Press 25 August 1915.

[2] William Hatherell 1855–1928, British illustrator and painter, McIntyre’s friend and mentor.

[3] Monte Cristo. Play by Charles Fechter (1868) based on the Dumas novel. The New Princes company had a highly successful run in October–December 1912.

[4] Thenceforward “Phyllis” rather than “Sylvia”—a slip of the pen?

[5] Bland Holt 1815–1942 was a theatre producer and impressario, based in Australia, but active also in New Zealand.

[6] William Henry Squire 1871–1963, English cellist and his wife Marion S. Warren, friends of McIntyre, whose portrait of Squire is in the Te Papa collections.

[7] A Clincher was an early falling-plate or box camera made by W. Butcher & Sons, significant because it helped make cameras accessible to the public. 

[8] A message from Mars: a popular play by Richard Ganthony, first performed in 1899. A selfish rich man is visited by a Martian who makes him invisible so he can hear what people really think of him, leading to his redemption.

[9] The pioneering French film company was founded in 1896 by four Pathé brothers and became the world’s largest film equipment and production company by the early 20th century.

[10] The Vitagraph Company of America was a major force in silent film.

[11] In 1912, there were two men with the surname Cavendish in the UK Parliament: Victor Cavendish (Duke of Devonshire, in the House of Lords) and Lord Henry Cavendish-Bentinck (in the House of Commons); if these were her uncles, she was from British nobility.

[12] Langfier Ltd (photographers) had premises on Old Bond Street and the Finchley Road.

[13] The Stage 30 November 1911.

[14] Dublin Daily Express 2 August 1910.

[15] Belfast News-Letter 16 August 1910.

[16] Islington Gazette 5 October 1911.

[17] The Era 16 March 1912.

[18] The Era 30 March 1912.

[19] The Era 20 April 1912.

[20] The Era 27 April 1912.

[21] The Stage 3 October 1912.

[22] The Stage 5 December 1912.

[23] Morning Advertiser 20 December 1912.

[24] Clapham Observer 27 December 1912.

[25] Evening News (London) 25 January 1913.

[26] Evening News (London) 17 August 1914.

[27] The Era 16 September 1914.

[28] The Era 30 December 1914.

[29] Derbyshire Advertiser and Journal 27 August 1915.

[30] Western Daily Press 7 November 1916.

[31] Fleetwood Chronicle 3 April 1917.

[32] Woolwich Herald 9 August 1918.

[33] Yorkshire Evening Post 15 November 1930.

[34] Staffordshire Newsletter 4 July 1931.

[35] Liverpool Evening Express 9 November 1931.

[36] St. Pancras Gazette 8 January 1937.

[37] https://sites.rootsmagic.com/gwehydd/individual.php?p=5430.

[38] How to become a mesmerist: containing practical instructions in the mode of procedure in mesmerism, now popularly called hypnotism. Harry Houdini Collection (Library of Congress).

[39] The Era 16 April 1910.

[40] St Helens Examiner 10 October 1914.