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Austin Osman Spare: The Life and Legend of London's Lost Artist (Strange Attractor Press) Paperback – International Edition, July 12, 2012
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An elegant and comprehensive biography of the controversial enfant terrible of the Edwardian art world, Austin Osman Spare.
London has harboured many curious characters, but few more curious than the artist and visionary Austin Osman Spare (1886-1956).
A controversial enfant terrible of the Edwardian art world, the young Spare was hailed as a genius and a new Aubrey Beardsley, while George Bernard Shaw reportedly said “Spare's medicine is too strong for the average man.”
But Spare was never made for worldly success and he went underground, falling out of the gallery system to live in poverty and obscurity south of the river. Absorbed in occultism and sorcery, voyaging into inner dimensions and surrounding himself with cats and familiar spirits, he continued to produce extraordinary art while developing a magical philosophy of pleasure, obsession, and the subjective nature of reality.
Today Spare is both forgotten and famous, a cult figure whose modest life has been much mythologised since his death. This groundbreaking biographical study offers wide-ranging insights into Spare's art, mind and world, reconnecting him with the art history that ignored him and exploring his parallel London; a bygone place of pub pianists, wealthy alchemists and monstrous owls.
This richly readable and illuminating biography takes us deep into the strange inner world that this most enigmatic of artists inhabited, shedding new light while allowing just a few shadowy corners to flourish unspoiled.
- Print length326 pages
- LanguageEnglish
- PublisherStrange Attractor Press
- Publication dateJuly 12, 2012
- Dimensions5.87 x 0.86 x 8.19 inches
- ISBN-101907222111
- ISBN-13978-1907222115
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Product details
- Publisher : Strange Attractor Press; UK ed. edition (July 12, 2012)
- Language : English
- Paperback : 326 pages
- ISBN-10 : 1907222111
- ISBN-13 : 978-1907222115
- Item Weight : 1.25 pounds
- Dimensions : 5.87 x 0.86 x 8.19 inches
- Best Sellers Rank: #3,866,626 in Books (See Top 100 in Books)
- #6,879 in Artist & Architect Biographies
- #19,014 in Individual Artists (Books)
- #22,343 in Art History (Books)
- Customer Reviews:
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LONDON: CITY OF CITIES
This was written pre-Covid and some of the shops and bars mentioned have probably disappeared. It’s too soon to give a final tally, and the ones I’ve checked so far are still in business, but PLEASE PLEASE CONFIRM before going to visit anything.
On a happier note, the London Stone was in the Cannon Street branch of W.H. Smith’s behind a magazine rack (where I went to see it specially, when writing the book, and where I’d previously seen it by chance when the shop was selling sports gear) but after a temporary stay in the Museum of London it has now been re-housed (back in Cannon Street) in a much grander and more suitably monumental installation.
And in the Department of Idiotic Errors, there is a slip in the book on p.37, where I've mentioned heads stuck on poles on Tower Bridge. Well, Tower Bridge is the one that opens, only built by the Victorians (discussed elsewhere in the book) and the one with the heads should of course be the old LONDON Bridge. I suppose it was a sort of Freudian slip (heads, beheadings, Tower) but it then went straight past five or six readers including me. Until I was looking at the finished copy, too late to do anything, and it leaped out...
In fact here is a proper old school errata list, like they used to put on the 'Errata Slip':
p.32 – For 1291 read 1290.
p.37 – Heads on Tower Bridge in the 17thC: Tower Bridge is the one that opens, built by the Victorians, and this should of course be old London Bridge (typed like a Freudian slip; heads, beheadings, Tower).
p.44 – Charing Cross and Queen Eleanor: “chere reine” has been a popular folk etymology for Charing Cross, but there was a hamlet of Charing, which is the real origin.
p.59 – The Riot Act took effect August 1715 but it was passed by Parliament in 1714, so that is the date of the Riot Act.
p.64 – For “Thomas” Lamb read Charles Lamb (Thomas has stuck from Thomas De Quincey immediately above).
p.76 – Jay's Mourning Warehouse “on Oxford Street” should be "on Regent Street" (it was on Oxford Circus).
p.95 – Eros at Piccadilly and Lord Shaftesbury: the “shaft burying” pun was a popular explanation, but I’m not suggesting it was any part of Alfred Gilbert’s own intention.
p.96 – “F.C.” Masterman should be C.F.G. Masterman
p.121 – The death toll in the Balham tube disaster during the Blitz should read not “600” but “more than 60” (the exact figure is not agreed).
p.140 – Chatterley trial: the famous “wives and servants” question was not from the judge but the prosecuting barrister.
p.153 – The policeman killed in the Broadwater Farm riot was not Colin Blakelock but Keith Blakelock.
p.235 – Hampton Court: the Great Vine dates not from 1673 but 1768 (the 1673 date has stuck from the listing above).
AUSTIN OSMAN SPARE
There's an American edition of my Austin Osman Spare book (clunkingly re-titled Austin Osman Spare: The Occult Life of London's Legendary Artist) but NB that's all it is! It is NOT a new book, and it's not co-written with Alan Moore, as some of the Amazon listings have suggested. So if you've already got the UK edition, please don't buy it twice by mistake.
WILLIAM S BURROUGHS
There is a slip about a synthetic German opioid that Burroughs used in Tangier called dolophine, which I've reported was named after Adolf Hitler: this is widely said, and it's in the Ted Morgan biography of Burroughs (which Burroughs checked, so he probably believed the Hitler dolophine story himself). I now think this is a folk myth, and that dolophine was named after dol for pain, as in tic douloureux and dols (the unit that pain is measured in, like sound is measured in decibels).
Still with dolophine, also known as methadone, I was struck that at the end of his life Burroughs was back on the same stuff he'd been using in Tangier (as "dollies"), but I've screwed the point by also mentioning Eukodol (another synthetic German opiod which Burroughs was also using in Tangier). Methadone is dolophine but it is not Eukodol.
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The text touches on various occult practices and goings on; this book will shed some light on certain practices related to Spare. I am not sure why others write about him as if they have copies of his AOD, which he says did not survive the blitz. It's interesting to see how many writers out there write about Spare and know so little -- if anything -- about him. Clearly, if these people read his works, they did not understand the same and they knew little of his life.
Baker takes away as much of the mystery as one can with such a man as Spare. The book was well-written and worth the price I paid for it. I was one of the lucky ones who got it while it was in print and I got it at a severe discount here on Amazon. It is now worth more than 14 times what I paid for it as of today with only one copy left! I would advise you to get a copy of this if you are interested in learning more about Spares life. I would skip all other biographical material as everything else I've read seems to be distortions of facts rather than earnest research. Of course, this is the only work I've seen on Spare that actually offers scholarly sources.
Choucha’s linkage is correct, up to a point. In style and occult subject matter, Spare had a lot in common with the Symbolists, the “decadent” movement of the 1890s, which ran to gloomy landscapes, creepy women, and demonic figures. (The early Spare drawings shown in Baker’s book are strongly reminiscent of Aubrey Beardsley and Jan Toorop, for instance.) The only problem was that that movement was long over by the time Spare grew to artistic maturity. His work did echo the dreamlike compositions of the Surrealists, too, and he shared their interest in subjects such as automatic writing, but in spite of Surrealist leader Andre Breton’s having called Spare one of the “best and most truly Surrealist” artists in Britain in 1936, Spare was never really part of the Surrealist movement, let alone influenced it. Basically, although he had flurries of fame starting in his youth, Spare and his art simply never really caught on or fitted in with any well-known movement.
In spite of all that, Spare is a reasonably interesting person to read about, and Baker does a good job of bringing him to life, separating the facts of his life from the legends that grew up about him (most of them concocted, apparently, by a friend and devotee named Kenneth Grant). He describes Spare’s writings as well as his art (Spare worked out an elaborate magical system that may mean something to some but sounded like complete gobbledygook to me). The main frustrating thing about the book is that, although it describes a number of pieces of Spare’s art, it reproduces rather little of it—and I wanted to see those leering demons and whatnot for myself. Most of what there was was in black-and-white, too, but it turns out that that was true of the originals as well; Spare was known more for his drawing skills than his use of color. The lack of illustration may not be Baker’s fault—I got the impression that not much of Spare’s work has survived, or at least can be easily traced—but it was frustrating nonetheless. Still, if you like reading about curious and eccentric characters, you may enjoy this book.
The UK Amazon says this book is "not yet available."
There, it is called: "An engaging, thought-provoking biography which charts the rise and fall and rise again of British art's darkest star. ''Spare's medicine is too strong for the average man'' said George Bernard Shaw, and there was always something uncanny about him. Fascinated with mysticism and spiritualism from an early age, Spare practiced a unique system of magic before retreating a life of poverty and obscurity. And as Spare the artist went underground, so the myth of Spare the magus began to grow; tales of black magic cloaked themselves around him, as he played the role of sorceror"
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The book is pretty dazzling though. Some fab Fortean Times type stories, my favorite being the one when a couple of ectoplasm junkies knock on his door. Another when he performs some magic for Gerald Gardner, the cost being a cheque made out to the RSPCA. Kenneth Grant is portrayed nicely. The Grants and Spare seemed to have had a rollicking time.
The biography also has an index, which is very useful when you want to re-read the best bits.
From late Victorian London to Edwardian London, the descriptions are so evocative. Including modern psychological details about Spare, more tragic and tender, than Satanic. It was only when the 'Death Posture' was described as inducing a swoon or partial black out that I understood it. And meeting Crowley for the first time, who announced himself as the emissary of God, Spare responded that Crowley looked like 'an out of work Italian ponce'. Deeply funny and deeply sad at once.
Highly recommended.
Some of Spare's work is truly great and always innovative, so I believe he deserves this book to place his memory and legacy into the history of art where he rightly belongs instead of being ignored by mostly ill-informed so-called experts.

