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Introduction

The Singer and The BishopThe Lenkiewicz Book Project is a community-driven web site intended to provide accurate and comprehensive information on the life and work of the late British artist, Robert Lenkiewicz.

Anyone with an interest in Robert Lenkiewicz can create articles and edit or build upon existing content. In other words, the Lenkiewicz Book Project is a collectively written reference.

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Biography

ROBERT LENKIEWICZ (1941 - 2002) - HIS LIFE AND WORK

Rarely in recent times can the death of an artist have elicited such an emotional public response as that of Robert Oscar Lenkiewicz. The sophisticates of the London art world may well put this down as a naïve provincial phenomenon but Lenkiewicz's paintings communicated directly with ordinary people, who recognised that here was not only an artist of considerable talent but someone who had the power to make them contemplate their own lives and the world they live in.

Like most things in his life, Lenkiewicz adopted a unique position towards his own paintings. At an early age he made a conscious decision to subjugate his skill to a greater service: to become a "presenter of information" or a "sociological enquirer", as he usually termed it. By this he meant to reveal the plain fact of a person or thing. For Lenkiewicz, the act of painting was a profoundly moving experience. "To paint oneself is to paint a portrait of someone who is going to die," Lenkiewicz would often remark when asked about his many self-portraits. "And the same applies if one paints anybody else." His main aim was to capture the transient and haunting qualities of his subject. He recognised the limitations of art and considered it second best to the mystery of his subject's sheer existence.

He began by recording the lives of the tramps in London and then Plymouth in his huge project on Vagrancy. In an era remembered as the "Swinging Sixties", Robert was spending most of his time painting the down-and-outs, the mentally ill and the misfits of the affluent society. Encouraged to leave London by the police for attracting too many undesirables to his Hampstead studios, Lenkiewicz soon relocated to Plymouth.

Lenkiewicz exhibited the Vagrancy Project in one of the warehouses he had commandeered throughout the city to house the down-and-outs, known as "Jacob's Ladder" (entrance was originally gained via a ladder). So ignored were the vagrants that a council official opening the exhibition remarked how fortunate Plymouth was to have very few vagrants. Lenkiewicz had shrewdly anticipated this official blindness and, on a signal from him, dozens of these "invisible people" flooded into the room to make his point. Up until the year before his death, Lenkiewicz had continued to provide a free Christmas dinner for the homeless at Bretonside bus station.

Many of the colourful characters he painted became an integral part of the Lenkiewicz myth, in particular Edward McKenzie, known as "Diogenes", and Albert Fisher, known as "The Bishop". According to Lenkiewicz, The Bishop was "an extraordinary man with large hands and a great red beard. He would sleep beneath a tree in Stoke Damerel graveyard and believed himself to have mystical experiences. He came rushing in one day and said that the sun had been shining through the tree, that every single leaf had turned into a man with a top hat, that each man with a top hat had a pint of beer in his hand and that each and every one of them had wished him "Good morning!" In the posh Oxford accent he had cultivated, he said, "I had a vision there. Not a dream, not a nightmare but a vision there!"

This was the start of his series of projects, in which he examined the lives of people living on the fringes of society: the mentally and physically disadvantaged, the addicts, the criminals, the sick and dying. He became the champion of the outsider. His Projects were large in scale and ambition. Lenkiewicz recalled his fondness for the epic scale whilst still a student. At St. Martin's College of Art, he painted a canvas 364 feet long. "What happened, Lenkiewicz?" asked the Principal. "I'm sorry?" Lenkiewicz replied. "Well, that painting, what happened?" "I don't understand, " Lenkiewicz replied again. "Well, did you run out of canvas?"

In 1971 Lenkiewicz's taste for the grand gesture led to his creation of the famous Barbican mural, a painting 3000 feet square, dealing with the influence of Jewish thought on Elizabethan philosophy. Although Lenkiewicz was later rather embarrassed by it ("fairly skilled but illustrational"), the mural became a landmark for Plymothians, as well as visitors to the city. Unforgettably on April Fool's Day, as a result of one of his regular disputes with the local Council, the artist with typical wit whitewashed over it and replaced it with three flying ducks! In many ways, the history of Lenkiewicz is the history of Plymouth over the past thirty years.

He was the most hardworking of artists, obsessive in his desire to record the event in front of him. To Lenkiewicz there was more humility involved in presenting one hundred images on a theme that didn't worry about high art than attempting to make the perfect painting. This didn't stop him producing some haunting early individual pieces: "Plymouth Mourning over its Unfortunates"; "The Lynch"; "The Burial of John Kynance"; "Belle and Diogenes at prayer". The sombre colours - greys, greens and earthy browns - give these paintings a reflective, elegiac quality.

These years were a time of great poverty with a very low standard of living in various studios around the city: Keppel Terrace, Clifton Street and Rectory Road. During the winter he would be forced to burn cardboard boxes in his studio to keep warm. The little money he earned from selling paintings was spent on paint and canvas. Often he would paint on parachute silk or sailcloth found in bins by the dossers themselves. Many works from this period have rough seems stitched across them.

In the late seventies in a series of more private Projects, "Love and Romance", "Jealousy" and "The Painter with Mary", Lenkiewicz was not afraid to turn his unflinching eye inwards, investigating his own personal relationships, in particular what he called the "falling in love experience". These he recorded with a manic intensity in paintings and notebooks, often in a more subjective, allegorical pictorial style. His conclusion in these investigations was that the addiction of the lover to the loved one was similar, if not identical, to the addiction of the alcoholic to drink or the fanatic to a belief. Thus was born his philosophy of "aesthetic fascism", treating the other person as property.

He applied this theory starkly on a sociological level in his "Observations on Local Education" to society's treatment of the young. In this project, he painted every head teacher in the city, memorably capturing the gulf between the system's aspirations and its reality in paintings such as "The Blind leading the Blind", "The Burial of Education" and the "The Glue Sniffer", an extraordinary piece of virtuoso painting. Lenkiewicz's hope was that people would see the exhibition and think "Oh my God! These are the people teaching my children!" Lenkiewicz thought it was as futile to try to argue someone out of their cherished beliefs or prejudices as it was to talk them out of thinking they were in love. His point was to shock them into a new awareness, a new aesthetic understanding.

In 1994 this was followed by an ironic look at his own relationships in "The Painter with Women: observations on the theme of the Double". For the first time, Lenkiewicz chose to present the complete exhibition elsewhere than his own studios at the International Convention Centre in Birmingham. More than 35,000 people visited the show in a single week, a figure easily surpassed in 1997 by his first exhibition in a public gallery, the Robert Lenkiewicz Retrospective at Plymouth City Museum.

But time was running out. His health was failing, the result of a serious heart condition. Undaunted, he began his largest project yet on "Addictive Behaviour" with plans for over 800 sitters. His aim was to cover every "addictive scenario", including alcoholism, theological convictions and obsessive relationships, but the project remained unfinished at the time of his death.

Lenkiewicz will be remembered as a genuine outsider and radical, consciously at odds with current thinking on ethical and artistic issues. He cared less about the opinion of the art critic than that of the man-in-the-street. His art is generous in its ability to communicate with ordinary people, who are little interested in the more esoteric world of contemporary art; it is democratic and humane but never sentimental. Above all, his paintings reveal people for what they are without moral judgement. If the task of the artist is to show what it was to be alive in a certain time and in a certain place, then the qualities of Robert Lenkiewicz's work will increasingly become clear to future generations.

Reproduced with the kind permission of White Lane Press © White Lane Press, 2004.

Lenkiewicz: The Artist

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Early Work

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Themed Projects

This section of the book contains information on Lenkiewicz's themed projects.

Project 1: Vagrancy

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"The blindness that opens the eye is not the one that darkens the
vision. Tears and not sight are the essence of the eye." Jacques
Derrida.

In 1973 a small book on the theme of Vagrancy, written by
Lenkiewicz, was published parallel to the opening of the Vagrancy
Exhibition in a large derelict building on The Barbican, known at that
time as 'Jacob's Ladder'. The book was introduced by an essay titled:
Melancholy, the 'Dance of Death' and Fool Symbolism, in relation to
Vagrancy. In this essay Lenkiewicz associated contemporary Vagrancy
with a tradition that predates Durer's brooding figure of 'Melancholia'.

Hieronimo, in Kyd's 'Spanish Tragedy' declaims on melancholy:

"There is a path upon your left hand side, that leadeth from a
guilty conscience unto a forest of distrust and fear, A darksome place
and dangerous to pass: There shall you meet with melancholy thoughts,
whose baleful humours if you but uphold, It will conduct you to despair
and death."

Lenkiewicz considered the extraordinary medieval iconography that
represents the 'Dance of Death'; and in particular the image of Death
as 'Jester'.

"In 1568 a Fool Society elected itself in Poland under the name of
the 'Babinian Republic'. Its structure was a duplicate of the Polish
Constitution, and it filled its offices by employing fools. Those
activities perpetrated by non members that were considered sufficiently
foolish, were admired, and the person responsible for it was forced to
join this Society. He was supplied with a licence, seal and a position
that suited his folly. The Society became so large that hardly any
person of consequence in Church or Government was not a member of it.
Eventually the King of Poland, Sigismund August II, asked the Babinian
Republic if they had a King. He was informed that as long as he lived
the Society would not dream of electing another."

The poor-law legislation act of 1388 forbade the relief of
able-bodied beggars. It took 500 years for repressive and punishment
techniques to be replaced by rehabilitative ones. Attitudes towards the
vagrant have changed far less than the laws. To put the 'law' or
'service' into operation does not carry with it the commitment or the
responsibility of the man paid to do it.

"Fool Societies continue to self-elect."

In the early seventies Lenkiewicz schmilosophically influenced by
Schweitzer, Buber and Dolci, took over a number of derelict premises
where he housed several hundred (dossers, cowboys) vagrants. The
manager of Olivetti's in Southside Street allowed Lenkiewicz to present
the Project on Vagrancy in the large stables at the rear of his
property in 1973. Lenkiewicz became involved with a wide range of
remarkable street-people. Some of them were difficult, dangerous and
extremely demanding. He established relationships with similar
'do-gooding' group activities in Exeter, Birmingham, Liverpool, Leeds
and London; as a result of which, it was possible to 'swap' the problem
'cowboys' with mutual benefit. Endless tales can be told about these
unusual personalities, some of whom reminded Lenkiewicz of wandering
visionaries like the Desert Fathers. He learnt early on not to
romanticise or sentimentalise the lives of people who suffered in
varying and complex ways from alcoholism and who had severed normal
contacts with Society. The 'Cowboys' divided themselves into what they
called "I st, 2nd and 3rd Division and non-league players".

"He is no fool who gives what he cannot keep to gain what he cannot lose."
'Walking Stick'.

"It ain't no good in squawkin' when you're stoney broke and walkin'."
'Brother Blair'.

"If your feet get sore, walk on your hands."
'Senator Lynch'.

They had formulated a curious language out of a limited number of words:

"Let's tarpaulin muster, no deep tankin'. I've done a Hank Marvin
with a comic singer, and the gaff hanger is coming to the bardo. Muster
yolks are dead sham, shoot the craw, no more Jack the Ripper. I haven't
broken ice and there's no Giro for Cairo. A rustle is better than a
rattle, we'll need a Burma Star for the quick draw. Box clever, dive
bomb or we're for Jimmy the rattler. The dirty rat's done a Cagney, so
we'll need a bottle of the hurry up. I'm stuck with a Tootie Hawker and
a colshy Muck, there 's no ships on the horizon an' me trousers are a
laggin' cage."

Some of their names:

'Gentleman Jim', 'The Horse', 'Jukebox', 'Have no fear', 'Mouth
McCarthy', 'Be-my-guest', 'The Bishop', 'Brother Blair', 'Chic the
Bam', 'Steal-a-Horse', ' The Bag-o-Rags', 'The Singer', 'The Steam
Hammer', 'The Rhodesian', 'Harmonica Jim', 'Scarface Fitz', 'Big John
Wayne', 'One Way Rogers', 'Straight Back', 'The Roadrunner',
'Mephistopheles', 'Tank', 'Big Take it Easy', 'Black Sam', 'Cockney
Jim', 'The Irish Compressor', 'Billy the Kid', 'Senator Lynch',
'Brighton', 'Big John Barr', 'The Janner', 'Tragic Limp', 'The Silent
Beggar', 'No more cider for old Les Ryder',

Nearly all of the above are now dead.

Notes accompanying the 1973 Vagrancy Project

The introductory notes published to accompany the exhibition on Vagrancy in 1973.

Includes an essay by Robert Lenkiewicz together with the remarks of
various vagrants and sitters for the project in response to the
questions:

1. How do you define the term "vagrant"?
2. Do you consider yourself a vagrant?
3. If yes, why do you consider yourself a vagrant?
3a. If no, why don't you consider yourself a vagrant?
4. Do you think vagrancy is a problem in the present local environment?
5. If yes, why do you think vagrancy is a problem?
5a. If no, why don't you think vagrancy is a problem?

Melancholy, the "Dance of Death" and Fool Symbolism in relation to Vagrancy

Robert O. Lenkiewicz

Don Quixote: Sancho, tell me, hast thou carefully preserved Mambrino's helmet?

Sancho Panza: Body of me, Sir Knight of the Woeful figure, I can no
longer bear to hear you run on at this rate! Why, this were enough to
make any man believe that all your bragging and bouncing of your
knight-errantry, your winning of kingdoms, and bestowing of islands,
and Heaven knows what, upon your squire, are mere flim-flam stories,
and nothing but shams and lies; for who can hear a man call a barber's
basin a helmet, nay, and stand to it, and vouch it for four days
together, and not think him that says it to be stark mad, or without
brains? I have the basin safe enough here in my pouch, and I'll get it
mended for my own use, if ever I have the luck to get home to my wife
and children.

Don Quixote: I swear thou art the shallowest, silliest, and most
stupid fellow of a squire that ever I heard or read of in my life! How
is it possible for thee to be so dull of apprehension, as not to have
learnt in all this time that thou hast been in my service, that all the
actions and adventures of us knight-errants seem to be mere chimeras,
follies, and impertinencies? Not that they are so indeed, but appear
so; either through the officious care or the malice and envy of those
enchanters that always haunt and persecute us unseen, and by their
fascinations change the appearance of our actions into what they
please, according to their love or hate. This is the very reason why
that which I plainly perceive to be Membrino's helmet seems to thee to
be only a barber's basin, and perhaps another man may take it to be
something else. And in this I can never too much admire the prudence of
the sage who espouses my interests, in making that inestimable helmet
seem a basin; for did it appear in its proper shape, its tempting value
would raise me as many enemies as there are men in the universe, all
eager to snatch from me so desirable a prize; but so long as it shall
seem to be nothing else but a barber's basin, men will not value it.

The History of Don Quixote, by Cervantes. Book One, Chapter XXIV.

Whatever the word "vagrancy" may mean in contemporary terms it has
always been identified with the experience of isolation. We can all
remember a time when the sense of being alone was uppermost in one's
mind, for whatever reason.

The sense of isolation has always gone hand in hand with terms like
"irony" or "the human condition". The word most frequently associated
with this state is "melancholy". It is interesting that melancholy has
for centuries been part of western culture. It was originally related
to medieval medicine, which argued that an increase of black bile
created depression. This bile - on of the four humours governing the
human temperament - had to remain balanced with three other elements;
if it defected or operated in excess it allegedly created the imbalance
known as "melancholie".

Each of the four humours were associated with a planet. Saturn,
because of its slow apparent movement and great distance, became
associated with melancholy. The mythological origins of Saturn the god
reflect a disturbing list of traits: castration, imprisonment beneath
the earth, time, old age and death. The Saturnine mood is familiar to
many through the engraving by Albrecht Durer; the brooding figure of
Melancholia.

A fascinating manuscript in the British Museum (Sloane, 160: fol. 39) records that:

"Some of these malancholike persons... troubled with this disease
imagine manye straunge, incredible and impossible things. Some that
they are monarches and princes, and that all other men are their
subjects: Some that they are brute beasts: Some that they be urinals or
earthen pots, greatly fearinge to be broken: Some that everye one that
meateth them will convey them to the gallows; and yet in the end hang
themselves. One thought that Atlas whom the poets faine to hold up
heaven with his shoulders, would be wearie, and let the skie fall upon
him: ...One (person) that had killed his father, was notablye detected;
by imagininge that a swallowe upbraided him therewith: So as he himself
thereby revealed the murder. But the most notablest example hereof is
one that was in great perplexity imagininge that his nose was as big as
a house..."

Du Laurens, writing at the end of the 16th century, has this to say about the melancholy man:

The melancholike man properly so called... is ordinarily out of
heart, alwaies fearfull and trembling, in such sort that he is afraid
of everything, yea and maketh himselfe a terrour unto himselfe as the
beast which looketh himselfe in a glasse; he woulde runne away and
cannot goe, he goeth oftentimes sighing... with an unseparable sadness,
which oftentimes turneth into dispayre; he is alwaies disquieted both
in bodie and spirit, he is subject to watchfulness, which doth consume
him on the one side; for if he think to make truce with his passions by
taking some rest, behold so soone as hee would shut his eyelides, hee
is assayled with a thousand vaine visions, and hideous buggards, with
fantasticall inventions, and dreadfull dreames... he cannot live with
companie. To conclude, he is become a savadge creature haunting the
shadowed places, suspicious, solitarie, enemie to the Sunne, and one
whom nothing can please, but onely discontent, which forgeth unto
itselfe a thousand false and vaine imaginations...

The above description is clearly psychological and does not relate
to the more cultured variant of the malcontent that developed at this
time. Melancholy was to become an art; a touch of irony, a dash of
unrequited love, the merest flavour of heavy-lidded eyes, folded arms
and floppy wide brimmed hats, these and more were the ingredients for
melancholy pie.

It became equated with the absurd, the tragi-comic and the fool.
Nothing could be taken seriously and yet the "secret" may be under
one's nose. Jaques, in Shakespeare's "As You Like It" says:

"It is ten o'clock:
Thus may we see, ...how the world wags:
'Tis but an hour ago since it was nine,
And after one hour more 'twill be eleven;
And so from hour to hour we ripe and ripe,
And then from hour to hour we rot and rot
And thereby hangs a tale."

Melancholy can also be allegorical; through symbol it may be
possible to bypass a host of preconceptions about terms like "sad" and
"happy".

Kyd's "Spanish Tragedy" has Hieronimo declaim on melancholy with
several "Images" that strike deeper than a more literal approach:

There is a path upon your left-hand side,

That leadeth from a quilty conscience

Unto a forest of distrust and fear,

A darksome place and dangerous to pass:

There shall you meet with melancholy thoughts,

Whose baleful humours if you but behold,

It will conduct you to despair and death:

We have, it seems, the twin factors that seem to relate the
"melancholy state" to the "human situation". The image of the Fool and
the image of Death.

It is at this point that we leave the Elizabethan melancholy
tradition with all its gentle innuendo, its preoccupation with the love
theme, and metaphysical thought, for a period that is earlier and
somehow less refined, but riddled with a stark and sinister duality,
Death and the Fool.

Early medieval culture in Europe inherited a wide variety of symbols
from antiquity. No symbol was more common than the image of death.

Though not everywhere, the symbol of the skeleton is the most common
image of death that was employed. It is said that Egyptian festivals
were preceded with presentations of small skeleton figures to all the
guests in order to remind the party that - in media vita - death may be
ever-present.

A second century Roman mosaic depicts a skeleton pointing to flames
at his feet with the motto "Know Thyselfe". The flames indicate the
cremation process characteristic of Greek funerals.

Christian iconography was not to become familiar with this symbol
until roughly the 14th century; but when it was introduced to this
theme it welcomed it with enthusiasm. The skeleton became a symbol for
the vanity of the world as well as for death.

In the 1850's considerable research was done on the origins of the
Dance of Death; theories abound and differ greatly. Most agree,
however, that the rabid epidemics of bubonic plague and the inability
to deal with it probably influenced, if not created, the concept of the
"danse macabre" first published in Marchand in 1486.

All versions of the Dance of Death, both French and German, depict a
skeleton leading one or several partners. Frequently, he carries a
musical instrument or a pick and shovel, the tools of gravediggers. In
the "Heidelberger Totentanz", the German edition, the title page
records: "Come ye sires and servers, rush here from all estates, young
and old, pretty or ugly, all must come to this house of dance."

The most famous cycle of woodcuts on this theme were produced
between the years 1522 and 1526 by Holbein. Here, Death presents
itself in a number of guises: he appears to kill, to serve or to help,
to fight the living as an opponent, and sometimes he leads the person,
as would a close friend. Holbein's cycle were cut under the impact of
the Reformation; his skeletons dance less but fight and punish more.

It is reported that in Paris people spent their Sunday afternoons
watching a play performing the dance of death. The figure of Death
might have remained on the stage throughout the performance whilst
partners entered, discussed and left the scene.

One acceptable conclusion as to the real origins of the Dance of
Death is put by Eisler in his article on the "Danse Macabre". His
research indicated that the term 'macabre' originally meant
gravedigger. Thus "Danse Macabre" would mean the dance of the
gravediggers; an idea supported by the fact that the skeleton images
often carried the shovel and spade. There are reports of guilds of
gravediggers performing dances in annual pantomimes and even as late as
the early nineteenth century there are tales of Hasidic Rabbis dancing
behind the coffins of the deceased. The "wake" in this country has
similar parallels. Indeed, the early variant of the dancing skeleton
does imply that he is having fun, rather than criticising the human
predicament.

Constant and close contact with death, particularly in the 14th and
15th centuries, quite probably made part of the duties of the
gravedigger more entertaining. The custom of the gravediggers dance
may have cheered the mourners and distracted them from the idea that
death was monstrous or satanic.

The relationship between Death and the Fool might in these terms
become clear. The Fool survives where the wiser person might die; the
survival of the Fool does not make sense, it is as if part of the Fool
operates in another dimension. An aspect of this immortality is
preserved in the circus clown who jumps to his feet having been hit
over the head with an enormous sledge hammer. To quote from Paul
Vercor's novel "Sylva":

It is because the human species is the only one which knows that
death is our common lot that it is also the only one to know laughter
as a saving grace...; during the moment when laughter shakes us we are
immortal."

Death makes a fool of life's joys or purposes, or at any rate
appears to. In order to tolerate him he is dressed in the costume of
his ambition. Durer, Holbein and Beham have all recorded him in
jester's apparel. The symbol of the Fool relates to Death in so far as
both survive inevitably, they have something innately in common. In
one sense death is merely change, a rearrangement; similarly, the Fool,
unable to stabilise his situation or mood, reflects the vacillatory
undertone of chaos and order, life and death. Unlike the more
self-conscious person, the Fool remains unperturbed by his own actions
or those of others.

Like the "little get up man", that child's toy, weighted at the
bottom and often painted as a clown which cannot fail to return to an
erect position no matter how many times it is knocked over, the Fool
survives the difficulties of life. One senses his affinity with chaos,
his passive, innocent, even benign violation of the rules and laws that
are the stock in trade of survival. Our affinity with him is precisely
this detachment from the event, his ability to remain unaffected by the
very things we hate or admire, work for, or fail to work for. In
fending off chaos we hope to assuage the sinister overtones of such
concepts as "freedom", we hope to avoid the nothingness of the human
dilemma. The Fool reminds us of the ancient and essential possibility
that life is not what we think it is and that there may be another
order of things operating under our noses.

It is possible that attempting to resolve the "problem" of vagrancy
as we recognise it today is to fail to see that it may be the modern
counterpart of earlier symbols. Chaos may be an essential ingredient
in society and the organiser and law maker may, by his very interests
and ambitions, be creating the "problem" in all its complexity. Like
trying to remove an air bubble from a closed container, we merely
relocate it for the time being. Today's vagrant is much the same as
yesterdays and not in any romantic sense: he is a product of the social
pattern and perhaps an inevitable and necessary one.

In 1568, a Fool society elected itself in Poland under the name of
the "Babinian Republic". Its structure was a duplicate of the Polish
constitution and it filled its offices by employing fools. Those
activities perpetrated by non-members that were considered sufficiently
foolish were admired and the person responsible for it was forced to
join the society. He was supplied with a license, a seal and a
position which suited his folly. The society became so large that
hardly any person of consequence in the church or government was not a
member of it. Eventually the king of Poland, Sigismund August II,
asked the Babinian Republic if they had a king. He was informed that
as long as he lived the society would not dream of electing another.

A "Fool society" does not have to be self-consciously elected, it may happen by accident.

The Poor Law legislation of 1388 forbade the relief of able-bodied
beggars without any attempt to differentiate between types. It took
over five hundred years for repressive and punitive techniques to be
replaced by rehabilitative ones. It would be a mistake to think that
attitudes towards the vagrant have changed as much as the laws.

Sympathetic and more positive approaches are the product of only the
last few decades and by and large they are represented by only a small
section of the social services. To put the law or service into effect
does not carry with it the commitment or the responsibility of the
person paid to do it. A service may be enlightened while the person
responsible for putting the service into practice remains retarded in
his private attitude.

NOTE

These notes and observations are designed to draw attention to an aspect of local community life.

Plymouth, like all other cities in this country, has a number of
people who are classed as vagrant from one point of view or another.
Experience and familiarity with these people quickly reveal that their
circumstances are at times very difficult for them to come to terms
with. Facilities for the rehabilitation and/or accommodation of these
people are limited. This much is known.

The following pages may help to indicate some of the problems
involved, from the point of view of local welfare and other voluntary
agencies. There are also many contributions from people who for one
reason or another consider themselves vagrant. These contributions
were collected with the full co-operation of the individuals quoted.

The notes conclude with a more philosophic collection of anecdotes
collected from those individuals who were inclined to contribute. This
much is not so well known.

The vagrants' response to questions about the nature of vagrancy

1.     How do you define the term "vagrant"?
2.     Do you consider yourself a vagrant?
3.     If yes, why do you consider yourself a vagrant?
3a.   If no, why don't you consider yourself a vagrant?
4.     Do you think vagrancy is a problem in the present local environment?
5.     If yes, why do you think vagrancy is a problem?
5a.   If no, why don't you think vagrancy is a problem?

 

GORDON WRIGHT

Bath Street Mission

1. Vagrancy is the act of living within a community but never becoming part of it.  A vagrant's lifestyle is ill-defined but usually includes homelessness, unemployment and severed relationships with family and friends.  Its causal factors include traumatic experiences (e.g. sudden bereavement), inability to adjust after prison sentences or, more often than not, an addictive problem such as chronic alcoholism.  It is characterised by suspicion of authority, unreliability and social irresponsibility.

2.  No.

3.  Because for better or worse I conform!  I do what is socially acceptable and have a stability based largely on secure family ties, a regular job and a dominant motivation for living a full life.

4.  Vagrancy is certainly present in the local environment, but what is more, appears to be growing.  Its recognition as a problem, however, is dependent on the attitude of the observer.
I regard it as a serious problem.

5.  Like most towns and cities Plymouth's vagrant population has increased since World War II and particularly so during the last decade.  Plymouth offers its own special attractions to the person living an itinerant and shelterless life.  The climate is temperate, its Police force is regarded as lenient, it has close associations with the sea and is within easy reach of the holiday areas of South Devon and Cornwall.  Vagrancy, however, is not admitted as a local problem by the authorities.
It is this refusal to acknowledge the need that has continually frustrated and often thwarted the attempts of voluntary bodies to provide basic aid for the vagrant.  And the basic requirement surely is a shelter of some kind.  Unconditional and available.
I believe it is rare for a vagrant to be such through choice.  It is usually a question of the lesser of two evils.  The assertion that men prefer to sleep rough, which is often quoted as an excuse for indifference, is not consistent with the numbers of vagrants who come to Bath Street Mission seeking food, warmth and a bed for the night.  The Mission has many times drawn attention to the deficiency in our City in this regard.  Manpower is at present available to staff a hostel.  We need a property.  Facilities for regular medical inspection, de-infestation and rehabilitation are urgently needed.
I do not accept that the lot of the vagrant is inevitable, nor that economic and political pressures should deny him the quality of life deserving of his status as a human being.
 
HAROLD JAMES FROWDE                Born: Plymouth, Devon.  17.10.1923

Station Sergeant
Central Police Station, Plymouth.

1.  A person who has no means of support or, alternatively, a person who having the means of support lacks the wherewithal to use it properly.

2.  No.

3,  I am financially able to look after my family and myself; I am aware of the value of money.

4.  I think it is in Plymouth.

5.  I think first of all that there is not enough accommodation provided for this type of person.  We have two hostels in the city: the Salvation Army hostel and St. Peter's hostel, both of which though helpful to the police are limited in their capacity to accommodate.  Quite a number of their beds are allocated to people classed as residential.  To my knowledge only two beds are provided for people who are absolutely stranded.  This may be enough in the summer when most of these persons prefer to stay out rather than pay for a bed.  Inclement weather, however, means that all the beds are full quite early in the day and the late-comer has no chance.
I deal with quite a few of these people after the pubs have turned out; you get to know the regulars.  The genuine person arrives now and then and if the two beds are occupied, there's nowhere for them to go.
Vagrancy, like crime, is related to unemployment.
I feel like Plymouth made a mistake when they demolished the old hostel - Clarence House - at Stonehouse.  It had a resident warden and was relatively unconditional.  It was run by the Local Authority.
You get the Samaritans, the Alcoholics Anonymous or the Bath Street Mission; they supply advice and food, but when it comes to the problem of a bed there is nowhere to send them; then the problem comes to us.  I've had fellows come here in a state of collapse and there are no facilities available to help them.
According to the Vagrancy Act one has the power of arrest in respect of vagrants who are directed to any reasonable place of shelter and who fail to do so.  But in view of the fact that the hostels are full and there is no reasonable place of shelter to direct him to, your power of arrest falls by the wayside.
 
WILLIAM ROBERT BLACK         Born: Cookstown, Northern Ireland.  01.11.1941

Police Constable, Plymouth.
Known as "Paddy".

1.  Someone who through his own choice, or force of circumstances, has no permanent address.  In the majority of cases it would be through their own particular choice.

2.  Being Irish, and by the nature of my history, I go where the work is; in that sense I could be considered a vagrant.  And for promotion purposes, I would have to become a vagrant, in so far as I would have to be prepared to move around.

3.  Very much so.

4.  Because the official sources have not provided sufficient means to cope with homelessness.  The established institutions for dealing with it have become too class conscious and can't be bothered with the real down and outs.  In my experience, the Salvation Army in Plymouth just don't want to know.  Through force of circumstance or otherwise, there seems to be a change in policy, that means that the real down and outs are ignored.  The Salvation Army is the only place that really gives them help as there is nowhere else for them to go.
The number of people involved in vagrancy has increased and modern facilities have failed to keep pace with this increase.  Vagrants, in my experience, rarely want to be reformed.  They just want a place to sleep.
The Salvation Army has built a reputation on the image of helping people in all circumstances of vagrancy.  Consciously or unconsciously they have now undergone a discreet change of course where they "select" those vagrants that are likely to conform to their standards and requirements.  You can understand why this is necessary; many of these vagrants have no control over themselves and really cannot, for all intents and purposes, be helped.  But nonetheless, the Salvation Army does have a reputation for helping vagrants and where real vagrancy is concerned, they don't.  From the point of view of the law in Plymouth, vagrants have it easy; it is unreasonable and impractical to arrest a vagrant in Plymouth, as there is nothing that can be done with him.  Policemen, being human, realise that the law cannot be complied with.  It is required under the law that a  vagrant be first directed to a place of reasonable free shelter.  (There are two free beds in the Salvation Army, but we have no control over the allocation of those beds; this is entirely at the discretion of the Salvation Army).  The only place of this kind is in Bristol.  The vagrant would need to refuse to go there before he could be arrested and for this reason he is simply "moved on" instead of being arrested.  In any case the Plymouth courts don't like it, as the only option would be to send the man to prison.  They take the view that prisons are not designed to resolve this sort of social problem.
It may appear that I am very critical of the Salvation Army but they are more or less the only institution designed for this problem in Plymouth.  Proportionately, they probably do quite a good job; but they, like the rest of society, choose to ignore the "real" down and outs.  And the public, as usual, want the police to do their dirty work for them.
 
HARRY GREVILLE                    Born:  Oldham, Lancashire.  11.03.1916

Principle Probation Officer

1.  Someone who has defied the efforts of society to make him conform.  He rejects responsibilities except for his own survival and opposes any attack on his independence.

2.  No.

3.  I am a member of a family unit for which I am responsible.  By and large, I conform to the rules and laws of society and subscribe to the doctrine "Take what you need," said God.  "Take it and pay."

4.  It is a problem to the vagrant.  Since the local reception centre, Clarence House, was closed vagrants have had to bed down either in the open or in unoccupied property.  Both these factors create problems both for the individual and the environment.

5.  I deplore the local government attitude that if you don't make residential provision for vagrants, they disappear.  This is a kind of irresponsible social existentialism.  If charity organisations are left to deal with vagrants, then the state, through local government, must make finances available.  Perhaps because the vagrants are usually unable to make known their needs, are inarticulate, are not a formidable force, society and its elected representatives can choose to ignore their needs.  Unfortunately, the more sophisticated society becomes, so will the vagrant have less chance of survival unless someone has concern for their welfare.
 
STEVEN HOWSON                        Born: Yorkshire. 08.02.1907

General Secretary of the Guild of Social Services.

1.  The man that nobody wants to know, because he's dirty, he won't work, either from choice or his inability to be regularly employed.

2.  No.

3.  Because I am endowed with the faculty to wish to live a useful life.

4.  Yes.

5.  Because the standard of living has risen so rapidly over the past 50 years and our society has become so affluent, that the "vagrant" stands out like a sore thumb.  During the 1920's when millions were unemployed, the so-called vagrant or inadequate was simply submerged in the near poverty that then existed.
In other words, the problem has always been with us, but now it is highlighted by its contrast with affluence.  There are far more people with a social conscience, motivated not from "wanting to do good", but from a genuine interest in the lame duck, be they university students or business tycoons.
The high standard of care at present evident and applied to our less fortunate members of society, makes the truly vagrant more vagrant than ever.
When I was young, a tramp was member of society, if he came to the door for food, they'd say; "Hey you, go to the back door, that's your place!"  Then they would give him food; you see he had his place in society, now he is turned away, probably very pleasantly.
There used to be a comic called "The Tramp" when I was young, I remember "weary Willy" and "Tired Tim".
They've closed the workhouses which were the country seats of your vagrant, and they knew every one in the land.  Each county sent them on, they were only allowed to stay a few nights but they knew exactly how far they had to walk to the next one, where it was, and when it shut.  That doesn't exist today.
I would say that Plymouth is a delightful city, is has none of the problems that Birmingham or Wolverhampton have.  But much like the Victorians, Plymouth dose tend to sweep under the carpet one or two problems that it does have.  A greater problem on this issue will develop when they pull down Wolsely Home.  They say that it's substandard, but substandard is what these people need because they will be turned away from any highly professional local authority residence - and they will be turned away - there's no doubt of that.
Some are turned away from Wolsely Home as it is.
 
JEAN GREEN                        Born: Hertfordshire. 05.09.1922

Senior Social Worker.
The Plymouth Guild of Social Service.

1.  Someone who is a homeless wanderer, usually associated with unemployment and frequently rendered inadequate by alcohol.

2.  No.

3.  Because I have the advantage of a settled home, employment and good health and education.  I also have stable family relationships.

4.  Definitely.

5.  Through my work here at the Guild, I have encountered many men and women whom I would term vagrant.  There are frequent requests here for clothing, money and accommodation.
37 of the 55 cases that came to my department in the month of February were requests for clothing, financial aid and accommodation.  Of these, six were technically vagrant.  That may not sound very much but that works out at more than one a week.  It is also important to remember that I only meet the vagrant that has the courage or common sense to approach us in the first place and I should imagine that this is a very small proportion of the vagrant group in Plymouth.
 
ROY HARRIS                            Born: Birmingham. 18.02.1924.

Director of Samaritans, Plymouth.

1.  Generally a person who has opted out of society either through their own free will or by force of circumstance.  He has no means of support and, by and large, does not care to look for any.

2.  No.

3.  Because I am fortunate enough to have had the kind of background that has enabled me to integrate myself into society.  I have a steady income, a home and a job.

4.  Yes, indeed I do, very much so.

5.  There are the "local" vagrants and there are a fair amount of men passing through to Cornwall ostensibly looking for work or claiming to be looking for work.  Most of them have nowhere to go and the fact that there is nowhere west of Exeter for these people to find a roof aggravates the problem.  I have been in touch with Cornwall and there is no accommodation for them there.
I am of the firm opinion that the local authority should take it upon itself to provide, if at all possible, - and I think it should be possible - some form of shelter for all types.  I do not think that this should be left to voluntary agencies.
As Samaritans we find it very difficult - especially in winter - to turn a man away from our door and tell him he will have to sleep in Bretonside Bus Station.  But by our rules we cannot provide accommodation and Bretonside is the only form of accommodation, as far as I am aware, apart from the Salvation Army and St. Peter's Hostels to which such a person can go.
 
CAPTAIN JOHN YOUNG                Born: Selkirk, Scotland. 12.07.1941

Salvation Army Officer.
Officer in Charge,
The Salvation Army Hostel,
102 King Street, Plymouth.

1.  A vagrant is a person without any means of support and who is unable to look after himself or herself, and who has fallen out of society.

2.  No.

3.  Because I am able to look after myself and I support myself.

4.  Yes, I would say it was.

5.  The problem of vagrancy is such that  many down and outs - because of their social behaviour - have nowhere to go.  It is true that we are unable to take some of these people because of: (a) the lack of facilities such as medical supervision for the alcoholic and the drug addict; (b) when you have a great percentage of men who want a restful night's sleep, the disturbance caused by these types of men can create quite a problem.
It would be untrue to say that we have turned away all such people but when we have given such a person a chance to redeem himself, he has invariably abused the opportunity.
Therefore, what is required in Plymouth would be a hostel solely designed to cater for the "problem" person.  It is a full-time job to look after the "problem" person, and this is the main type of person that we have to refuse.  However, we are accommodating people who are alcoholics and others who would be down and outs if we didn't accommodate them.
I think that we as an organisation need more staff and more appropriate training.  I speak of an organisation that I respect and believe makes a valuable contribution to the community.
Local authority is technically responsible for the well being of every person that enters the city.  This city needs people who have been trained to deal with the problem person.  We believe that God ultimately redeems such persons but we believe that a man also needs material help.  Therefore, it is up to the local authorities to provide finance to train people for this type of job and then to establish a suitable residence for them.
 
ALFRED GEORGE ELLIOTT                Born : Plymouth. 18.06.1918

Manager of St. Peter's Hostel for Men,
100 King Street, Plymouth.

1.  A person that has no means of support.

2.  No.

3.  Because I am able to look after my wife and family and  to keep a roof over my head.

4.  Yes.

5.  There are not enough hostels in the town for these people.  There are people who are dirty in their habits, who need medical treatment, and it is just not possible nor practical for me to take them in.  We do not have the facilities to cope with their sort of problem.
I think I should explain that the only funds we receive, from which we operate, comes "over the counter"; that is to say that we are not subsidised by any other bodies.  We are self-supporting and we only just make ends meet.  To accept the sort of person that makes life in the hostel difficult would be to undermine the whole purpose of the hostel.
Drink is the biggest problem of all where vagrancy is concerned.  What's needed is some sort of hostel where they can get the treatment they want or need.  It is a difficult problem; I wouldn't envy anyone who had the job of looking after such people, I've seen so much of it here during the last sixteen years.  They want doctors and people that understand their problems better than I do.  I honestly think that closing Clarence House was a very bad mistake; there was a need for it then and there is a greater need for it now.  Sometimes, I'm so full up that I've got to turn away some of the regulars.  Another problem that occasionally contributes to vagrancy is the person that arrives in the city with no money; he's too late for the MSS and he comes into my place to be let in for nothing on the agreement that he pays after the weekend.  When I let him in, invariably I never see him again.  Arrangements could be made where I could have an official form for him to sign, promising to return with the money.  This suggestion has not even got off the ground.
There should be no need for any man to be sleeping rough.  But what can you do?  They've got nowhere for these poor devils to go, have they?
 
ANONYMOUS            Born: Motherwell, Lanarkshire, Scotland. 22.02.1901

Known as: Crabbit Jock.

1.  A man who hasn't got the price o' his bed.

2.  Not at all, I've loads of money, I've been a man o' the road but not a vagrant.  There's a difference.

3.  

4.  I don't think so.

5.  It's a problem for the people that are sleeping out, but not for the other people.
 
ANONYMOUS                    Born: County Limerick, Eire.  1925.

1.  Somebody that sleeps "abroad".  No fixed abode, in other words.

2.  At the moment, yes, I suppose.

3.  Well, I've been roughing it quite a bit of late and I haven't done any work for some while.  No settled home of any description, a night or a week, that's it maybe then.
I should imagine that's enough reason , isn't it?

4.  Well I think it's a problem all over the country.  All these poor areas are being pulled down and these are the only places where you can get a cheap room or lodgin' house.  They're being pulled down and you've got nowhere to go, there's no new places going up, no new hostels, really.  You gettin' conned left, right and centre with digs and places like that.  Seven eight pounds a week and no food, it's ridiculous.  The honest fact is that I'm a drinkin' man, some of us can regulate the drink and some can't.  Most of us are on the way to becoming alcoholics, you know that as well as I do.  That's the honest point, isn't it?  You can put it  down to the person themselves I suppose, there's just no go in them, no ambition, it's as simple as that.
 
ANONYMOUS                        Born: Freedom Fields, Plymouth.

1.  I've seen a man goin' through the bins and I feel sorry for him, but he likes to have his own way, he likes to keep to himself.  It's like the old fellow at my place, he's eighty one and he had property down Ebrington Street and they took it all off him, and now he just sits there, and he gets 27 shillings a week, but he seems quite happy, with his pipe.

2. No.

3.  I can get out and about, if I got money I can spend it, not like some that can't even move from the Sally.  I'm still young ain't I?

4.  Yes.

5.  Everything's going up, we're going into the Common Market now aren't we?  The old people can't afford to buy the things with the money they've got.  We had a chap out at our place, but as soon as he runs out of money, he goes and sleeps rough, see?  Then when he's got a few bob, he comes back again.  They say there's a lot of jobs going round, but I don't see them and I've really been looking.
 
ALAN BAIRD                            Born: Fife, Scotland. 02.07.1928.

Known as:    "Tich".

1.  A person with no money.  No visible means of support, that's what they class you as.

2.  I do at times, especially when I'm sleeping rough.  But you're still a vagrant as far as "they're" concerned, if you're at the Sally Anne.  It's no fixed abode, isn't it?

3.  

4.  It is in this town; they don't want you in it.

5.  They don't give you enough money to feed yourself in this town.  Everything goes up in price after a week.
 
WILLIAM HENRY BANFIELD        Born: Indian Queens, Cornwall. 04.12.1903.

Known as:    Joe, Bill, Ernie, Henry.

1.  No visible means.  If I'd gone in the bloody Sally, they'd want two an' six; well, I ain't got two an' six, see?  No visible means.

2.  Yes.

3.  No income, no weekly wage.  No accommodation in Plymouth, is there?

4.  Yes.

5.  Well, there's no accommodation, no room, no lodgings, no home.  Can't be nothin' else, can it?  I'll go to the Mission tonight and see a dozen of 'em an' they'll be sleepin' rough.
 
CHARLES CHRISTOPHER BYRNE        Born: Dublin, Ireland.  06.02.1914

Known as:    The Singer.

1.  Now vagrancy is what you want to do, that's all.  The word vagrancy is stupid, we're all human beings.  It's bad to call a man a vagrant, he's a human being, that's all.
I've met all kinds of people that were called vagrants, their clothing  might  look a bit rough, but the mind is the most important thing in the world and some of them have wonderful minds you know.

2.  Now come here 'till I tell yer, I consider myself a human being like anybody else.  Someone might have a lot of money, but he's got nothing more than me when it comes down to basics.  Anyway, Paul Getty's a vagrant, and all the lords and peers are vagrants, they live off the fat of the land and they do no work, they're all vagrants, aren't they?
I used to be a "spider-man", a steel erector.  I was a man, I mean a man, I'm old now, I won't accept defeat.  You think that you're the man you used to be, so you hate charity, so I prefer to sleep rough, you know?

3.

4.  It's not a problem anywhere, I'm tryin' to tell yer; if he wants to be that way - he'll be that way.  Can't you see that, now accept that, accept it, it's as it is.  I'm going to tell yer something my friend, if you want to be on the monorail of life, you'll never sleep out.  I mean, they'll give you a bowl of rice pudding with a bit of religion or whatever, and you've got to be in at nine.  Don't drink, don't do this, don't do that, don't do the other; Lord above!  You've got to drift away from that.  To be yourself, you've got to sleep out, you know.  It's a problem all over the world, not only in Plymouth.  Human beings are everywhere, aren't they?  Sleeping out all over the world, right at this minute.  God knows what they're fighting or what they're fighting against.  The vagrancy act according to law is wrong, if a man has nowhere to go and you arrest him, and you make a criminal out of him right away.  I was a "vagrant" in this country in 1930.  There was no need for me to do it - not a bit of it - it's my way, you see, it's my way.
Vagrancy is not a problem, the problem is just to be able to understand each other.  If I go to the Social Security, he looks at me as though I'm a German or somethin', it's a problem of understanding.
When you tell the truth - it's bad news.
 
PATRICK CONNELL CAMPBELL                Born: Port Glasgow. 31.03.1931.

Known as:    Paddy.

1.  Well now, it's a bloke that wanders about with no aim in life, eh?  Ninety percent  of them from what I've seen have taken to the hard alcohol, you know, the "Jake".  I've noticed that the cause of all that is blokes that's got broken marriages; there's a hell of a lot of that.  You know this "Justice Manual", well I've read that an' it's got a clause in that dealin' with vagrancy, and it seems to me that it's been cut and dried to suit these magistrates.  You'll be walking from town to town, like me, I've walked from Bournemouth to Torquay - pulled up fifteen times by police patrols, and I was tidily dressed, sober, and I'd got myself a job which had lasted twelve weeks in a hostel.  This word vagrancy seems like a term coined to suit the law, to whip someone inside for being a "vagrant".

2.  No.

3.  Because I can get work and a place to live, providing that the money is reasonable.  That is one of the reasons that I keep on the move, to find a better job all the time.

4.  Well now, I won't mention any particular spot, but I've been all round the country, I've been in Sally armies, doss-'ouses, and from what I've seen in these places, it looks to me like a collection of alcoholics and head cases; and what I think causes a lot of it is that they've become a bit disillusioned about themselves, they might have been good workin' class people, who hit the drink.  It breaks the mind up, and they can't stand on their own feet, I've seen some of the concoctions that they get up and they definitely need some kind of help.  As I say, I've been all over, I sit and read the paper and I listen and watch, and it seems to me that there's something missin' up top, you know?  Something missin'.
 
HENRY CANN                Born: Stonehouse, Plymouth. 08.04.1932.

Member of staff at the Salvation Army Hostel,
102 King Street, Plymouth.

Known as:    Henry or Harry.

1.  Someone that's got nowhere to live, he's on the streets all the time.

2.  Yes, basically.

3.  Put it this way, at the moment I'm on the staff of the Salvation Army.  If I get another job, I can't live 'ere, they say so.  So I got to find other accommodation.  To find that - which I've tried to find - it's a matter of seven to eight pounds a week.

4.  Yes, definitely.

5.  Because, to start with, we 'aven't got enough hostels to accommodate for the likes of these men.  A man comes into the town, he goes to MSS, they gives 'im what they think they'll give 'im.  He's got to live on nothing for a week, a man's bound to be a vagrant, he can't afford to do anythin' else.  He sleeps rough, he gets loused up, he drinks, he's up in court and fined.  What's the reason, eh?.
I see 'em here every day, they got a few bob, they're goin' to starve themselves, to drink themselves stupid.  They got six quid, "We'll sleep rough", they reckon; they're down on the Hoe, the bus station.
They're killin' the workin' man in this town.  You know who I mean.
 
JOHN CASEY                Born: Mile End, Bow, London. 22.05.1937.

1.  It's an 'ard question; it's a fear - not bein' able to communicate with people.

2.  I work, sometimes - but it covers up my real self.  I' m far 'appier walkin' down the Hoe with a few pence.  But then you've got to 'ave the money for food, sleep, an' all that.  You're not in society unless you workin', are you?
In the eyes of the public, I suppose I am a vagrant.

3.  No qualifications.  My appearance - I seem to look a suspicious person to some people.  I'm not really, but there you are.

4.  Yes.

5.  I'd say it was accommodation, any town you go it's the same, accommodation.  It's easy to fall into the atmosphere of despair, depression and all that when you're livin' in a place that costs two quid a week or somethin'.  You know what I mean, the Sally Anne, for instance, it's no good for you, you're not encouraged to do anythin' livin' in a place like that.  They go into their own cocoon, their own world, you know what I mean?  The distrust that is caused by livin' in those places.
In a proper lodgin' house, if things get bad - you look for a likely guy that you can put the 'ammer on - if things get bad, you know; but in these places they're all locked up in themselves, they don't want to know about anythin'.
I know what it's like, I mean I've lived in parks and dossed around for ages and when I settled down somewhere for a bit it would take others two months or more to get a word out of me.  So I know what it's like not being able to talk to anybody.  I'm English and all that, but I went to the foreigners in the West End for three or four years, which was a mistake.  I mean, you can't escape your own in the end.  It catches up with you.  I went right down and ended up in a rehabilitation centre and the group therapy and the talk definitely did it for me.  I saw others there like me and it made me realise that you've got to push yourself.
 
JEREMIAH JOSEPH CRONE            Born: Cork, S. Ireland. 15.05.1909.

Known as:    Corky or The Irish Compressor.

1.  A person who is not prepared to help themselves and who prefers the wide open spaces.

2.  No.

3.  Because I am prepared to help myself as regards work.  And owing to illness, it's what's keeping me down at the moment.

4.  A considerable amount of it is prevailing here in Plymouth.

5.  Plymouth is an open door for chaps that have been in trouble.  They make from London to Exeter and finish up in Plymouth.
At the same time, they're wonderful people.  Many of them possess a great deal of education, 'cos I've met them.  I've been in Plymouth 24 years now.  I've seen them come and I've seen them go.
 
ALEXANDER DOUGLAS        Born: Alloa, Clackmannanshire, Scotland. 19.03.1942.

Known as:    Dougy or Jock.

1.  Someone who don't get the chance to improve himself, I should think.  Definitely someone who's had it so hard that they've hid themselves away from the rest of society.

2.  I have been a vagrant, I'm not at the moment 'cause I've got a bed and breakfast place to stay at.

3.

4.  Of course it is.

5.  You've got people who know that all this is going on, they've seen it on television an' all that but they don't do nothin' about it.
It's one of the most beautiful things that can happen, to see someone the likes of me an' the others bein' built up from nothin'.
I've been an alcoholic since I was eighteen years old and I've done eleven years inside now, off and on.  All for the drink, you know?  It's since the parents died, you see.  The world represents the wild side of life, you know?  You steal and you drink an' things like that.  The daffodil represents the divine thought as a child, which I'm sure is still in me it gets a chance to bloom.  I wrote this poem, see; goes like this:

When I was young, I loved to roam
        O'er moor, o'er hills and craggy stone,
O'er fen and glen, aye, fields and shore,
        I even loved this all the more.
But growing to a certain age
        I seen the world with all its rage
With lust and greed with urge to kill
        Soon I forgot the Daffodil.
So out to the world I then did go
        I was an orphan then you know
Lost the best friends I'd ever had
        Pertaining to my Mother and Dad
Now in the wicked jungle
        Where the main thing is a bundle
Of money, dope and cigarettes
        Even urges of blackmail threats
Were these things meant to be
        Like living in a cage not free
With darkness daily as a cloak
        On a pathway no one can cope
Or is there something still in store
        Something else worth living for
Like finding a pathway to the light

        Which at the end is great delight
Now in my mind I wander
        And let my heart just ponder
Of  lust and greed how it did kill
        And stole away my daffodils.
If I go find my daffodils
        Would they hate or love me still
For if they didn't anymore
        I'd wander and wander
O'er many a shore.

 
THOMAS DUNSTAN                Born: Rochdale, Lancashire. 21.04.1914.

Known as:    Tom.

1.  Personally, a vagrant is a tramp, a man who's got nobody at all to worry about him.  He's got nowhere to go.  It could have been caused by a marriage break-up or home troubles - an' he's never bothered to worry about himself or anybody else.  It could have been a soldier or a sailor returnin' from the wars to find his wife and kids dead or gone.
A vagrant is a man without home or habitation - he has no future in life.  A little while ago - almost twelve months now - I found myself put in the streets at 12 noon by bailiffs - my wife and son and me - we was treated callously and very unjustly.  It was more or less the rich overidin' the poor.  I nearly packed up everything and took to the road.  But then I sat sown and thought sensibly that if I run away and give up hope everythin' would be lost an' I decided to put me back against the wall an' hit back with everythin' I had.
After a week of terrible hardship, 'avin no proper meals an' no recognised place to sleep, I was eventually helped by the social welfare an' we was given the sanctuary of the old workhouse, St. Mary's, King Street.  Another reason I didn't give up, I 'ave a very sick wife who has got heart trouble an' if I 'ad become a vagrant it would 'ave been very a selfish act, an' I would only 'ave been thinkin' about meself.

2.  No.

3.  Because I 'ave a recognised place of 'abitation.  I 'ave my son an' wife an' me dog an' I 'ave a regular job which I built up - as a window cleaner.  Everybody knows an' trusts me.

4.  I think it's a major problem.

5.  Because a lot of people don't want to be 'elped - they just want to carry on in their own crazy way of livin' an' it is impossible to 'elp a person that will not make an effort to 'elp themselves.
There should be no such word as vagrancy 'cause in this day and age if you're willin' to work you can become a first class citizen an' you can get a regular place to sleep - an' be somebody.
The majority want the drink, they are content to carry on with the drink an' stay wherever they can.  They've got no outlook on life.
You must make an effort to establish an' help yourself before you can expect other people to help you.  There is no need for vagrancy today 'cause there are enough jobs for any man.
This is not 1925 - in the days of the old work'ouses - the tramps an' the soup kitchens.

WILLIAM ELLIOTT                    Born: Durham City. 30.03 1920.

1.  A vagrant is a bloke, he's just a down and out, he's just thrown aside, nobody seems interested.

2.  No.

3.  At least when I get the money, I try to get a bed.

4.  Yes.

5.  There's not enough places for blokes, not like there used to be.  The simple reason as to why there's lots of vagrancy today is that they've closed so many of the old lodging houses and they've not bothered opening any new ones.
 
ANTHONY EDWARD FENTUM             Born: Redhill, Surrey. 08.05.1944.

Known as:    Tony.

1.  A person that has nowhere to live.

2.  No.

3.  Because I always have somewhere to live.

4.  Yes.

5.  I did a year's work at the Bath Street Mission and met several vagrants there.  I think that there are people outside the benefits of Social Security.  You will never solve the problem of vagrancy because there are people who want to be vagrants.
 
ALBERT ERNEST FISHER                Born: Belper, Derbyshire. 20.01.1920.

Known as:     The Bishop or Lord Nelson.

1.  Apart from the vicissitudes of fortune, I would say it's one of those things that comes to you automatically.

2.  Yes.

3.  I was a typical wayfarer and it was my ambition and desire to travel to those different places there and found it to be a very important and vital thing.

4.  Yes.

5.  I don't think anyone can explain it.
 
JAMES FOSTER                Born: Sunderland, County Durham.  15.11.1920.

Known as:    Butch or Harmonica Jim.

1.  Outcast.

2.  No.

3.  I can work if I want to, I can get a room if I want to.  I'm just happy as I am, that's all.

4.  No.

5.  Well, it ain't no problem to me.
 
TERRY ALEXANDER GOLDSTONE        Born: Lipson, Plymouth. 09.11.1938.

Known as:    Terry.

1.  We're all vagrants in the sense that we're not here to stay and in that most people are educated for the past and not for the present, which makes them feel that they don't entirely belong in this society.

2.  As much as anyone.

3.  From a legal point of view I am not a vagrant as I have property and sound relationships.  I feel myself vagrant, however, because society is not aware of the individual and consequently does not educate the individual to play a meaningful role to the best of his natural abilities and talents.  I don't blame anyone for dropping out;  I've known destitution myself and almost regret that I was too sane at that time to retaliate more aggressively.  As it is, I didn't find the courage to strike out blindly.  I satisfied myself with philosophy and verbal fisticuffs and became a convinced Marxist.

4.  Yes.

5.  Because Plymouth, as much as any benighted bastion in this crumbling empire, is unaware if its own real problems.  The quality of its government demonstrates this.  Many smaller cities have attempted to deal with their social problems in a more positive way, with some effect, despite the strangulating bumbling of Whitehall.
The City Fathers, in their anxiety to attract foreign industry, ignore the immense natural potential of such a large population.  Education is neglected - whatever they say - the Dockyard continues its futile production.  The arts and social services are a travesty in a city of this size.  Only the dole queues are booming, despite Plymouth's subservience to foreign capital.
There will be many more of these vagrants outside the Labour Exchange and only a vagrant city would continue to sit around with its begging bowl extended.
 
HUGH HARGIE                    Born: Greenock, Scotland. 19.05.1936.

Known as:    Jock.

1.  A man of no means.

2.  Yes.

3.  It's a way of life - you travel from job to job - you sleep rough.

4.  Yes.

5.  A lot of hostels are too dear.  You only get just enough to keep you and that's not enough for proper meals.

REGINALD FREDERICK HAWKE             Born: Wadebridge, Cornwall. 15.03.1924

Known as:    Jan.

1.  Going around with nothing in your pocket.

2.  Yes.

3.  Sometimes I've got a fixed address, then I walk out of it.  Maybe I can't mix.  I keep my own counsel.

4.  Yes.

5.  Like a sheep trying to get off his back.
You start off by choice; I regret it now.
It's like an escaped convict - everybody's against me.
 
JOHN DONALD HAYDON                Born: Precincts of the Parish of the
Cathedral, Exeter.  08.05.1917.

Known as: Jack.

1.  It's a term that could apply to anyone.  I could be that way if I let myself go.  The word is too severe.  There's a lot in vagrancy: you're nervous or suffering from a complaint.  There's alcoholism, could be your home life.  You might have been upset in your home life, you might have been...
 
ANTHONY HEGGADON                        Born: Bristol. 20.03.1942.

Known as:    Tony.

1.  I'd say a man that's got no money - down and out.

2.  At the moment, yes.

3.  Simple reason is that I've no money.  The family don't want to know me.

4.  Definitely.

5.  I don't know why, really.  If they could get some money for some place for the likes of me to go it would be a good thing, I think.  That's my opinion.
 
DAVID LOUIS HELINGOE                Born: Looe, Cornwall. 20.07.1944.

1.  A wanderer.

2.  No.

3.  Because I have definite kinds of accommodation, from hotels to rooms to hostels.

4.  I don't know.  A vagrant is a wanderer, a wanderer is a vagrant, nobody can stop them.  Who can stop them?  They put them into prison sometimes - they used to anyway.  I don't think they do nowadays.  It is a problem; bound to be a problem, isn't it?

5.  A problem to who?  A problem to society or a problem to the vagrant himself?  I'm not sure what "problem" means.
Society wants to make a community and a vagrant wants to wander, don't they?
 
LEONARD WOTTEN HILL                Born: New Haven, Sussex. 16.09.1909.

Known as:    Rodhi.

1.  A man that wants to go his own way through life.

2.  No, I consider myself a hobo, a bushwacker, not exactly a vagrant.

3.  Because living in the bush most of my life, all over Africa, having seen elephants and been bitten by various insects and catching a good dose of malaria and having travelled all over there for over thirty years, that is why I consider myself a bushwacker.

4.  Yes, it is a problem, a big problem.

5.  The simple reason is that there's no decent hostel in Plymouth for people to go to.  Hence, if what there is full up, you've got to go into empty houses and live it rough for a bit.  It's not only the old, but it's the young that are doing the same thing because there is no suitable accommodation here.
I should say that broken homes - through the man or wife, that's most of the trouble.  It's one of those awkward questions that even a psychiatrist couldn't answer really, isn't it?  Naturally, I drink; but I can go without it.  And the average vagrant likes to get a few "shikers" just to get out of the world, pro tem; that's why he lives a life on his own in parks and so on.
I slept under a hedgerow near Home Park one particular night and by five o'clock the next morning people were bringing their dogs out and nosing around and I had to get up.  On another occasion I slept under a shelter near the same place, had some drink with me and sandwiches.  Police came at 12 p.m. , 2 a.m. and four o'clock a.m., with a dog, and said "Shift on", so I moved.
So much has happened, you know.  I used to be in the Rhodesian Air Force and now, since Smith and Wilson have had an argument, I'm neither in the place nor out of it.
I wonder sometimes why I raced around the skies helping people and I think, "Was it all worth it?"  But I'm fed up thinking and worrying about it.  There's no point in talking about it for the simple reason that nobody wants to listen.
 
CYRIL HOCKING                    Born: Penzance, Cornwall. 24.10.1914.

Known as:    Cyril or Mephistopheles.

1.  Somebody a bit off they 'ead.

2.  No.

3.  Cos oi'm not.

4.  Yes.

5.  Cos they want their brains examined.
 
LLEWELLYN WILLIAM JAMES HOWELLS    Born: Tiverton, Devon. 26.06.1933.

Known as:    Chris or Jim.

1.  A person who's sleeping rough, who has no money, who has no help.

2.  Yes.

3.  It's a most peculiar thing; I'm a vagrant because of my own fault.  I love my mother, but I'm an alcoholic so therefore it puts me down as a vagrant.
Being an alcoholic, I am unable to stay in lodgings.  I need people who will understand me, which I've never found.
My shaking of the hands, and absolutely peculiar looks when I've not had a drink, makes me conspicuous.

4.  Yes.

5.  All vagrants want someone to love them.  A man would not be a vagrant if he had someone to trust him.
 
MAURICE HUSTLER                    Born:  Manchester. 12.12.1934.

Known as:    Rose.

1.  Poor people, penniless people.

2.  Not quite.

3.  Part time work sometimes comes.  Umemployment pay comes each week.

4.  No.

5.  Plymouth is a fairly high-class city.  The environment is well above average.
 
WILLIAM JOHN HUXLEY                    Born: Worcester. 23.03.1919.

Known as:    Bill.

1.  Well, trampin', drinkin', which is the biggest fault of the vagrant..  A vagrant is just a tramp of the road; there's some cause that makes him that way.

2.  On and off, yes.

3.  Everythin' went wrong after the war, you know?  We come out of a farm house and we went into tied cottages and we had to come out of them just after I come out of the army.  At that time, I'd come from a prisoner of war camp, I had a nervous disorder which an army doctor says to me many people would 'ave for a short spell.  To cope with that nervousness that I 'ad I started drinkin' and after a time it did go away; the nervousness, that is, but it left the problem of the drink.  Then we got evicted from the tied cottage through a court order.  At that time there were no 'ouses goin' up after the war.  Any lodgings an' things, that time, was full of refugees.  My parents at that time couldn't get no other accommodation.  My aunt took my parents in, my other brother managed somehow to get into lodge and I kept to the road.

4.  Yes.

5.  Vagrancy is a problem of society; they're more or less away from society, ain't they?  Myself, I think that somethin' should be done outright to get men off the road.  It's not just Plymouth; it's all over, isn't it?
 
FRANCIS JACKSON                    Born: Garston, Liverpool. 10.08.1928.

Known as:    Scouse or Jacko.

1.  A man that's in need.

2.  Sometimes I'm not sure.

3.  I'm capable of working and earning my own living, if given the chance.

4.  It is the most minute problem and yet an overbearing problem.

5.  Because it's been created by society.  A government, and when I say government I mean N.A.B. (National Assistance Board).  If a man has no fixed abode, whatever nationality, he has no call or demand upon any of Her Majesty's royalties.  Before a man can be given assistance he has to find a home.
 
JAMES JOHNSTONE                 Born: Belfast, N. Ireland. 17.03.1938.

Known as:    Momo.

1.  There's no definition really, is there?  Alcoholics - you're used to the scrumpy; the only thing you're lookin' for is your drink, isn't it?

2.  Yes.

3.  Too fond of alcohol.  All my money goes on alcohol.

4.  Definitely.

5.  There's no accommodation.  If you come into the Salvation Army a bit drunk and all that, they won't even let you book in.  That's the reason for most vagrancy in Plymouth.
Plymouth's only got two hostels: there's nothing else, so you go skipperin'.
 
VICTOR JONSON, ALIAS JAMES HOWARD    Born: St. Pancras, London. 12.08.1905.

Known as:      The Scarlet Pimpernel,
        Sturmwaffer or Cockney Jim.

1.  A man who has outlived his usefulness to society and is a society drop-out.

2.  Yes.

3.  Before World War II I was on the road because there was no other alternative - mass unemployment - and I had at least my freedom from commercialisation.

4.  Yes.

5.  They wander from place to place in order to get away from capitalism and all that applies to it.
 
ROBERT CHARLES WILLIAM LEE        Born: St. Austell, Cornwall. 26.09.1930.

Known as:    Rob.

1.  You can be down and out and then come up again, and keep up, if you can.  You can get marching orders from any job and that takes you down again, don't it?

2.  Sometimes yes, and sometimes no.

3.  

4.  With some, yes.

5.  You get some people that are given jobs but don't go to them, then they start to wonder why they get their dole money stopped.  It's a waste of time stopping it 'cause they then go to the Social Security.  If they didn't have that they'd have to get work.
 
EDWIN JAMES MACKENZIE        Born: Camelshead, Plymouth. 30.03.1912.

Known as:    Mac, Gabby, Ed, Steptoe, Jim,
        Lofty, Diogenes, Blackie.

1.  I'm not much of a scholar.

2.  Yes.

3.  Cos I'm in every bugger's way.

4.  In some cases it is, in some it isn't.

5.  Cos you'm making yourself a bloody nuisance, not only to yourself, but to everybody else.  Some can control theyselves, some cain't.
 
HENRY JOSEPH MCDONALD        Born: Guyana, South America.  31.01.1938.

Known as:    Henry.

1.  It is not necessarily true that a man who wanders around and has no money is a vagrant.  It could be that he's a sick person suffering from an incurable illness and society just neglects him.  Whether the injury was a natural injury or it was inflicted by someone does not matter.
If a person walks around all day and he has no employment, you still can't call him a vagrant: for you to call him a vagrant you'd have to prove to him that he's done something wrong, you know what I mean?

2.  If I'm a vagrant person, people wouldn't like to say, "Yes, I consider myself a vagrant".  I would term myself a person who walks about all day and don't have no employment; I would refer to the first statement I made.  I don't think I have an injury but I "feel" I have an injury that has been inflicted on me that caused me to walk all day on the street, to have no job, without any money.

3..

4.  I don't know how much about Plymouth, really.  I am just here a few days wandering around, you know?  Sometimes I get 65 pence a day and sometimes I goes around people for 10 pence, to have a sandwich or some cigarettes.
As far as I see, I haven't seen anyone - if I see someone stealing I would get a hundred pounds for it, wouldn't I?  I would willingly give information.  But I haven't seen anyone, you know?  I don't have any clue of what really goes on you see.
You ask some people for a bit of money to save you from dying, you know?  A bit of money, perhaps 10 pence or somethin' for a cup a tea, 'cause you is hungry.
I was working in the Dockyard about seven years ago.  Someone inflicted an injury on my eyes, so it is not easy for me to identify anyone now.  Someone put on a torch light when I was walking in the dark, you see; it affected my eyes, it just did, see?
An injury has been afflicted on me in the Dockyard in January 1964 aboard the surveying ship, the Hecla.  It's an injury which after I look at it for a few years is absolutely incurable, you see.  It leads to... it leads to... to... the statement I made in question one.
 
EUGENE MCDONNELL                 Born: County Cork, Eire. 26.06.1925.

Known as:    Mac.

1.  No visible means of support - just fiddling, a bit of scrounging.

2.  Not really.

3.  I'm just sort of down and out and I can't get a job.  Bit I don't want one, to be honest.  It's one of those subjects that you could talk for ever on, or say little.

4.  Yes.

5.  Well, basically it's insufficient jobs to go around.  If they had more jobs they'd have more prosperity and everything.  I did one of these government courses as a carpenter, but I'm no good with me hands so I packed it in.
It casts a reflection on the social set-up, the rich and the well to do, they don't want to know 'em 'cause they got a bit of a guilty conscience about it, I should think.
 
PETER ANTHONY PEPPERELL                Born: Bournemouth. 23.05.1934.

Known as:    Peps or Big Pete.

1.  A person that is out of work, on the road and skippering.

2.  Not at the moment.

3. Because I'm working.

4.  Yes.

5.  Because I think there are not enough hostels to take the people in and there is not enough public support to finance them.
 
KENNETH OWEN PHILLIPS                Born: South Wales. 16.08.1941.

Known as:    Ken.

1.  I define the word vagrant as a person who has either voluntarily or involuntarily bowed out of the rat race.  By some people he may be identified as a court jester or perhaps he has put his own fantasy into practice and retained his own identity.  I also identify the term "vagrant" with that of Christ, the reason being he stores up no worldly possessions.

2.  Yes.

3.  I consider myself a vagrant for the following reasons:  I am more than capable of joining the ranks of industrialised battery chickens and earning a so-called living.  I received a university education, which I do not use to earn myself a living.  I would prefer to retain my own identity and not become indoctrinated with the useless literature of that dreadful creeping mass affectionately known as the Establishment.

4.  Yes.

5.  I think vagrancy is a problem in the local environment mainly for the reason that the local environment happens to be situated reasonably out of the way from the rest of the country.  I don't think, personally, that the local environment has anything to do with vagrancy, as this exists in other environments.  But I must stress strongly that the inhabited, repressed, uninitiated people who represent the so-called local environment are remarkable for their own degree of inadequacy.  It is a case of the inhibited and repressed leading the illiterate and uninitiated.  They would rather think the problem did not exist.
 
SAMUEL ERIC ROBERTS                    Born: Plymouth. 09.03.1912.

Known as:    Black Sam.

1.  Sickness - mentally sick.  They're barred no matter where they go.  Religion's a fraud.

2.  A misfit.  An escapist.  I'm not a vagrant.  I'd like to be, I'd like to disappear somewhere.

3.  I never married.  All these bums and layabouts, there's some answer.
Now I've got an old mother of 87 in this town.  Now I know the gypsies around here.  Poor old bugger laying out rough all night.  If he's a half pence short he wouldn't get his tea.

4.  Yes.

5.  Nine out of ten of these fellas are mentally sick.  They get their N.A.B. money, they go bonkers.  They escape, that's how it is.  You neglect yourself, you forget to eat, all you're worried about is a bottle.  You wake up in the morning, you put your hand in your pocket - is there enough, enough for a bottle, a bottle, a bottle.
I've met some good men among them.  But it boils down to one thing - you're mentally sick; searching and searching and searching, but you get no breaks.
Once you've been in the nick a few times, you've had it.
Something must have disturbed him to push himself off the rails, something must have; you push and push and he goes to hell.
The brain can stand so much, you don't know it, you're mentally sick, you don't know it.  You think you can fight 'em, but you can't.  Another bottle, yes then you can.  And you carry on and carry on and the next moment you're in the gutter.  People gape at you.  I used to be smart once but I'm going that way myself - no interest.
 
JAMES EDWARD SMY            Born: Prince Rock, Plymouth.  20.09.1904.

Known as:    Big Jim.

1.  Somebody of no fixed abode or habitation.

2.  Definitely not.

3.  Because I am an ex-police officer of Palestine.

4.  Yes, with the present state of affairs.

5.  Because there is prosperity everywhere; there's no need for vagrancy, especially with young persons.
 
KATHLEEN STEVENS                    Born: Ireland.  20.02.1932.

Known as:    Kathleen.

1.  They start drinkin' too much, they end up with no money and nowhere to go.  I expect that's what it is, that's all I know about it anyway.

2.  No, I wouldn't say it was.  I was a long time ago.

3.  Well, I've somewhere to stay, haven't I?

4.  No, I don't really, I don't think it's much of a problem here.

5.  I don't know Plymouth all that way, I just go by what I see and there's not much of it really.
 
VERNON SAMUEL STEVENS        Born: Tregeazel, St. Just, Cornwall.  26.02.1915.

Known as:    Digger.

1.  The whole word vagrant means bein' out of accommodation plus havin' nowhere to sleep.  You've always got a couple of shillin's from the Security to keep yourself goin'.

2.  I'm not.

3.  I was born and bred in a responsible home, brought up following the Methodist chapel all my younger days.  I joined the Navy at eighteen: I done twelve years there.  I'm used to being in a good home an' I like everybody else around me to be the same, that's the way I feel about it.

4.  It is at the present moment.

5.  Because there's more and more comin' in from other towns.  The majority of persons have been drummed out of the other towns and they comes to Plymouth 'cos it's a new town, you see?  Well, the top and bottom of vagrancy actually is that a lot of these boys like to take a drink.  Some of these boys overdo it an' take to the wine.  They can't get into any of the decent public houses.  That's the whole reason for it I think, that's the problem in Plymouth.
I'm not talking about the teenagers - they're real good boys really and they are going to come to the top in the end.  The majority of these lads have gone into places like the Salvation Army an' St. Peter's, the only two places for that sort of person in Plymouth.  Meself now, I mean I like a drink but my limit is cider.  These places now, they chuck the boys out if they've had too much; their next choice is just to go on the wine and all that.  Of course, I've no proof of that, it's just my opinion.  Wine drinkin' has gone to excess, I think you could enjoy a pint of beer more than goin' onto this wine, but there you are.  If you go for a job now all they want is young people.  I've been in most of the really good bakeries in town over the years an' I tell you as an experienced man, if I go there now, a man of 57, I just can't be entertained.
Another big problem is the lack of good accommodation.  I mean, I pay £7.10 a week an' I can't afford it, you know?  I'm supposed to live on two pounds a week, you know, for a midday meal an' smokes an' all that.
 
JOHN HENRY WALKIE                Born: Truro, Cornwall. 19.05.1936.

Known as:    John.

1.  The term vagrant I always understood to be someone without means, somebody on their own.  I always thought of someone who're really scruffy, dirty, but I find now that it can be all classes of people.

2.  No.

3.  I can't put it in words.  It's due to ill lick, being pushed from pillar to post.  Nobody wants to take any responsibility, nobody wants to know.

4.  What I've seen around in Plymouth, it is.  There's so many blokes sleeping rough in old houses.  It's about time the council did something.  The Salvation Army here has nine empty beds in a room and they say they're full up!  It's not helping anybody, is it?

5.  I think it comes back to the fact that nobody wants to be responsible.  You go and see so and so, he sends you to such and such who says, "No, we can't do this or we can't do that - go to somebody else".
I come from Cornwall and they sent me up here to Plymouth - give me a railway ticket an' all, just to get rid of me.  When I gets to Plymouth nobody knows anything about me, nothin' about me coming, just nothing.
 
TERENCE PATRICK DANIEL STOTT            Born: Liverpool. 08.05.1933.

Known as:    Blue.

1.  A person with wanderlust, that likes to move on.

2.  Yes.

3.  Because I can't sleep in enclosed premises, I like to sleep in the open air.  It's care free and easy, no rent to pay.

4.  No.  It's up to the vagrant.

5.  It's a man doing what he wants to do, living the way he wants to live; it's independence.
 
ALAN PUL-WRECE                    Born: St. Judes, Plymouth. 01.10.1925.

Known as:    Lofty.

1.  Vagrancy is a symptom of a society that's gone wrong, a society that does not cater for the needs of the individual.  A vagrant is someone who thinks he's escaping to somethin' when in actual fact he's escaping from somethin'.

2.  Not yet.  Time will tell.

3.  Because I'm not sufficiently disenchanted with the world yet, I'm still trying to make a go of things.  I'm optimistic enough to think that things will change, it's just not good enough to stick an old fella in a doss 'ouse when he's got a drink problem and just wait for him to die.  This is not the answer, it just isn't.

4.  Yes.

5.  'Cos there's somethin' definitely wrong and no one's interested enough to find a real solution.  They'd rather sweep it under the carpet.  The problem's not just with the vagrant but with the whole community.  A community is a group of people living together, not a framework for some people to go up and for some to die in the gutter.  It's criminal to see some people with cars and two houses when there's others starvin'.  Not that the answer's to give them a doss 'ouse, but to give them dignity.
And that would be just the starting point.  These people haven't just got nowhere to live, there's a real psychological problem and they're rejected.  I think that they can see that society lacks in many ways, they just can't adjust to that.
Some of us will wait for a change to take place and some can't stand it and drop out.  The thing to remember is that they're human bein's an' not things that get drunk and piss themselves.  People reckon we're useless but we helped this artist with his stupid survey.

 
MAXIMS, APHORISMS AND OPINIONS

 
"THE BISHOP"

I go to bed and I think, "What's it going to be tonight, Albert?  A dream?  A nightmare?   An hallucination?"
What few brains I've got, I'm destroying them!  What few brains I've got, I'd best keep them.

I've been called to higher service about two years ago:  I've not gone yet though!

I'm not a gangster, I'm a lunatic.  The slightest thing gives you away.

I'm glad I'm poor.  If I'd been rich, I'd have been dead years ago.

Why should it be so?  And yet it is so!

What you see is nothing; the head manufactures the world.

Wally:    My favourite actor was George Sanders
Albert:    Well there, Wally, I'll tell you my favourite actor.
Wally:    Who's that, Albert?
Albert:    My bloody self there!

I'm saying my prayers to the hidden powers.  Don't tell me I'm dying.

Talk is cheap, but never let imagination run away with you; it can't see where it's going.

Always keep the creases in your trousers.  But don't shit 'em; that will take the creases out.

You're like horseshit Albert; you're all over the place.

There's quite a lot of Fisher's around; there's quite a lot in the sea, too.

I'm like a piece of newspaper blowing here and there in the gutter; it all depends on the wind.

Seemingly there are better things to do than what I'm doing.

This is what they call reality... but I'm beginning to find one thing out there, one great thing there;  there is something further afield that what there is here.

The mind builds fear... and lots of other things besides.

When you go to sleep at night times or early morning there, you seem to pay visitations to other planets there.  Of course, that may be the drunken man's talk - I know a fool can talk.

I'm not worried about opening time.  All I'm worried about is closing time.

The ash goes on the carpet: where are you going?

There is no death.  The so-called death is only transition and that is a major factor.

I never asked to come into this world and yet I'm here.  And now that I know what it's like, if I had been asked I would have said NO!  I would have stopped where I came from.  But the hidden powers said one thing there, "Give it a trial".

A bigger liar than Jeremiah, but I like his rubbish, I do.

Watch the action there!  What's seen and unseen there!

Full stops, question marks and commas, there!

I have a gift.  Maybe it's flowing away.  But then, that gift never flows away.

Seagulls don't need blankets and sheets, all they need is rocks.

Let it remain stationary.

Sometimes I get afraid of myself there.

It's just as well to look a fool as not to be one.

I'm what they call the unwanted guest and that's the way I'm always going to be.

There are tributaries and estuaries and they go into the great deep sea there to be obliterated.

It takes a lunatic to find out what is really going on.  You are now talking to a lunatic, sir!  A lunatic is someone who takes an interest in something no one else takes an interest in.  For the rest there is no escape.
 
"THE SINGER"

After a few years you don't want to hear or listen to guys and their troubles 'cause our troubles are nothin'.
Most of us people have been around and can't live with stupid people with their wristwatches and rings and all that sort of business.  Sure we're not worried about all that any more.
This man with his wristwatch, his emblem for life - ah, 'tis rubbish!

If you're goin' to prepare yourself for life, why not prepare yourself for death?  College may prepare you for a bit of life, but what about death?

Retrospective thinking is bad news.

I'm goin' to die with the roses.  I've only one lung, so I'm out of the game, you know.  I'll not die in hospital.
Why shouldn't a man prepare his own death?  I'll go out gracefully with the flowers.  I'll even clip my toenails for the pathologist so that he can't look at me and say, "The dirty bastard!"

Now you've got a long distance talker and you've got a quiet talker; indeed, you've got all kinds of talkers.  Now this is the quiet talking champion of the world and this is the loud talking champion of the world; and this is such and such a talker and that is so and so a talker, and we get to meet them at the Olympic Games place or somewhere so they can battle their brains out, just talking.  You see, my friend, the world will go on anyway, the world forgets everything.  Now these talkers will all be wearing uniforms and they'll have a big mouth emblazoned on the pocket of their jackets in bright colours.  An' they'll yackety yack for the rest of their lives.  I think such people are called politicians.

Without suffering, I'm lost: I wouldn't know what to do without suffering.

You know them aviary designers in high places?  Well, Lord Snowdon designs aviaries for birds; Mountbatten designs aviaries for humans.

Sure they like to go to church, and why not; they can't go into a pub and sing, you know, they haven't got the nerve, so they just go to the church instead.  They go there and they sing, just like some South American tribe, you know.  The organist thinks he's Mozart and the man in the pulpit thinks he's Christ and yacks on.
Them Salvation Army people, they can busk away and collect money; as much as they like.  But if I get out there and do it, there'll be a policeman rushin' me off in five minutes

Now I live in a church as well, you know, God's church, the only real one there is, not an architects' one, a proper one.  No painted stars on my ceiling, but real ones; none of them silly statues, but trees and bushes.
Some time back now I knocked on the door of this vicar an' I asked him for some food; do you know I could see him thinkin' twice on the matter.  I says to him, "Do you believe in God?"   "Of course I do!" he shouts.  "Well then," I says, "come on the road with me.  I believe in him implicitly.  Go lock up your car an' come with me."  Well, he nearly cut my head off with the slammin' of his door.
 
"BLACK SAM"

I went to Moorhaven once - injections, pills and all that.  I realised it was a load of rubbish.  I sees this psychiatrist bloke, only a young 'un.  I was weighing him up.  He was like me; he knew nothing.

We're all searching for something, aren't we?

All right professor, I'll tell ya somethin' now: what's gone wrong is this - greed; that's God, that's God today.  Nothin's friendly today.  The young are vicious.

A tinker give me this dog.  I went to the north of Scotland with him; I loved that dog.  He lay on me 'ead in any barn.  He died, though.  It didn't make any sense.

A handshake can judge you.

With experience you can write a book, but no one would believe it.

You try to probe into somethin', but suddenly it's full stop.

We're all strange people; we're all escapin'; we're al fanatics.

You searchin' for somethin', but what?  If I could have had one spark, just one spark.  There's some force that governs.  Some gigantic force, but  what does it govern?

I can't explain it; when I drink I seems to get some Dutch courage.  And when I get it, I want more and I'll get it any way I can, includin' if it hurts people.  Then you're worse than before, but that's self pity.  Someone says somethin' to you and you're in trouble.  You're too much of a coward to drown yourself.  Then the drink wears off and you're in hell!

You tell a person straight to his face, they don't like it.  They say, "You bastard!"  See?  Who likes the truth?

Is there a God?  That's what they say.  Bah!  Nature's the god.  Force, that's all, force and more force.  The birds know it; that's why they sing.

I've seen everythin' an' I'm out of control.

I can like and dislike - even hate - instantly: that's a gift, ain't it?

All the bums, the tramps, the misfits, the lot - I knows 'em.  I'm a misfit, I knows that; I admits it anyways.  I've got these ideas in my mush.  I've been punched a few times.  I had a fight with Johnny King in Liverpool - lasted one round.

They go to the NAB and balls around with them people for a few bob.  By the time they gets it they're so fed up they buys cider.  It's not always sunshine, you know; sometimes it pisses down with rain.

The likes of me, when you're down, they keep yer down.  Ya go to the NAB and they keeps yer waiting for hours.  I seen it in Manchester, Birmingham, all over the place.  I've seen really starvin' sick men wait four hours for ten bob.

I get as far north as possible; maybe I'll get some crofter's cottage.  The more barren the better.  Escape: no noise, nothin'; just seagulls an' gannets.  The chains will drop off me if I can get up there.  I'm an "alky" but I don't drink much up there.  Now, I'm a wreck.
I have actually seen somethin', honest - peace, quiet.  My ears are so full of nerves.

When I look at yer pictures of the lads, I feel like I'm in a mortuary.
 
"DIOGENES"

I knows I'm a bloody fool and there's some bloody fools don't know it.

Live while you may,
And live in clover.
When you'm dead,
You'm dead all over.

If  anybody looks ahead, nine times out of ten, they snuffs it.

A man says "See you in the morning" to me.  I says "Never say 'see you' to me, always say 'goodbye' - you'm safer that way."

You'm longer dead than you'm alive.

My landlord don't worry about rent.

You can look backwards but you can't look forwards.

You can hurry up an' take yer time.

There was this man out o' work and he said on this sunny day, "If oi were workin' I'd take the day orf."

Ah!  It's six o'clock; I'm orf to see the parson in the church where they've got bibles with handles on 'em.

The word "if" has only got two letters but it's got an 'eck of a meanin'.

If anybody understands simple things, they can understand other things.

Always a true word spoken in a joke.

We're goin' on strike down the Labour Exchange tomorrow.  Our shop steward says if they don't get them cranes down there quick to lift the pencils up for us, we're packin' in.
 
"HARMONICA JIM"

Good atoms know their own, in this world of atoms.
If we make them into muck we become flies.
Somehow an atom can become a proper human being.

If you want to know what's on this earth, then be careful what comes out of your mouth.  There's beauty on the world and you can get beauty out of it.  The little voice is stupid; if you let that control you, then heaven help you.

Don't forget the atom people who won this world long before we came.

That little fly is very intelligent but on the cross I beat him.

You've got to make them understand you, not you them, otherwise they'll soon make shit out of you; they're very powerful people.

I get more from talking to myself than talking to most of the buggers round here.

At least I'm good for one thing - nothing.

You can walk through a graveyard and some of them that's buried there could have been you.

Come and visit me any time, the doors are always open, so are the windows.  There's no floors in my house, so watch it!

I come from sod all, so why worry if I go back to sod all?  Little atoms look after their own.

Give us a bomb; I want to sit on it.  I want to get home quick.

People bore me stiff; it's all fighting down here, all hating.

The bloody police have moved me again, I've got to find another derry.  Bloody nuisance; they can't see through their own name, can they?  'Po' for house and 'lice' for louse, see?
 
"COCKNEY JIM"

I've kept away from women - which are the damaging process.

Before the war, when mass unemployment was in, you was too old at forty.  Then, miraculously, the war turned up and even men of forty or fifty were pressed into service.  Suddenly, these poor derelicts were put to work, even imbeciles were put into factories.

Everybody has got their liabilities and their disabilities.

Gather ye dollars while ye may.

I am a tea-totaller;  that is, a total abstainer from tea.

In the old days, imprisonment was one in a cell.  Now it's three dogs yapping at each other in one kennel.

I had a peculiar attraction towards jewellers' windows; it must have been the sparkle of the diamond rings.  I got a craze for them, there must have been an old baroness in my family.

I was arrested, locked in the cells, court case and released.  Twelve quid's worth of expenses, all for what?

Birds sing in cages, but I'm not a bird.

Anybody that has seven children is entitled to a heart attack.

Prison Governor:  What religion are you?

Cockney Jim:        I am nonconformist.

Prison Governor:   So what?  We are the Orthodox British Church.Why are you nonconformist?
Cockney Jim:        I do not conform to conformity.

Prison Governor:    We will soon alter that.

Before I'm lowered into the grave, I'll always have the knowledge that I've had my own back on society in many ways.

He goes around the world to tell you what I could tell you walking up the High Street.

The 1973 Vagrancy Exhibition Price List

The 1973 Vagrancy Exhibition Price List

Theme: VAGRANCY

Form: PAINTINGS

R. O. Lenkiewicz

It is to be
understood that these paintings reflect a study of local vagrancy in
and around Plymouth between the months of May 1972 till March 1973.

They are related
to Melancholy, the ‘Dance of Death’ and Fool Symbolism. A greater
understanding of the collection would be gained by the purchase of the
book “Observations on local Vagrancy” -by R .O • Lenkiewicz.

01. Cyril seated £100
02. Diogenes standing £110
03. Mr. John Kynance n.f.s.
04. Big Pete £50
05. The Singer £70
06. Melancholy - group-study £65
07. The Singer on the Barbican £35
08. Tinker Joe - pencil drawing £24
09. MR. JOHN KYNANCE ONE HOUR BEFORE DEATH - pencil drawing n.f.s.
010. Man skippering - pencil drawing £24
011. Diogenes on the Barbican £35
012. Study for burial of John Kynance £21
013. Barney - pencil drawing £22
014. Mr. Fisher and The Singer £45
015. Mr. Fisher £25
016. Harmonica Jim £34
017. Reg £44
018. David - study for the apotheosis of Mr. Albert Fisher £27
109. Big Pete - pencil drawing £23
020. Mr. Fisher on what he terms an ‘astral plain’ £45
021. Blue with guitar and Glyn £60
022. Eddie in oversized coat £31
023. Momo £31
024. Mr. Fisher with right hand raised £230
025. Singer with rose £80
026. Man with string around left arm £100
027. Corky £40
028. Harmonica Jim and Diogenes £90
029. Mr. Albert Ernest Fisher shitting himself outside a St. Andrew’s Cross building. £101
030. Mr. Fisher with Harmonica Jim £30
031. Barny £30
032. Diogenes standing £20
033. Diogenes silhouetted against window £30

[Numbers continue as:]
1. Mr. Fisher with clown doll £270
2. Mr. Fisher with bottle of Strongbow £130
3. Mr. Fisher in Pierrot costume with clown doll £180
4. Mr. Fisher conversing with a fox at Stoke Damerel Church-Yard £31
5. Mr. Fisher having a conversation as far as is possible under the circumstances with death £31
6. Mr. Fisher - paying as little attention – as is possible under the circumstances – to death £31
7. Mr. Fisher having a conservation with death £31
8. Mr. Fisher talking to the sun £29
9. Ghosts of Mr. Fisher £29
10. Mr. Fisher: pencil drawing £22
11. Mr. Fisher: pencil drawlng £22
12. Mr. Fisher at the Magistrates Court for his 44th drunken offence £37
13. Mr. Fisher pen and ink on offence sheet. £27
14. Mr. Fisher seated £31
15. Mr. Fisher singing “The Troubadour” - pencil drawing £23
16. Diogenes in barn £170
17. Diogenes £50
18. Diogenes £70
19. Diogenes and Harmonica Jim £65
20. Diogenes £50
21. Diogenes leaning on chair £31
22. Diogenes seated £31
23. Diogenes in clown costume £31
24. Diogenes in clown costume £31
25. Diogenes - pencil drawing £21
26. Diogenes asleep £31
27. Diogenes on the Barbican £35
28. The Singer on the Barbican £35
29. Mr. Fisher at the Barbican £38
30. Gentleman leaning on stick £23
31. Oriental Gentleman £40
32. Cyril resting on Southside Street £20
33. Gentleman in Pierrot costume £250
34. Cockney Jim £50
35. Cockney Jim £55
36. Cockney Jim listening to Wagner £23
37. Cockney Jim in red tie £25
38. Cockney Jim listening to Wagner £36
39. David £30
40. Geordie £27
41. Barney £27
42. The Singer £30
43. Little Joe £34
44. Gentleman Jim £34
45. THE BURIAL OF MR. JOHN KYMANCE s.t.n
46. John - pencil drawing £22
47. Big Pete with cup £50
48. Vernon seated £31
49, Baker Bill with cup £31
50. Doc seated £31
51. Big Jim £55
52. Vernon standing £31
53. Cyril seated £31
54. Vernon leaning £31
55. Cyril seated £31
56. Henry with cigarette £31
57. Ernie Banfiel4 with sack. £31
58. Henry £31
59. Henry and Mr. Fisher £31
60. Gentleman with arms folded £55
61. Lemon n.f.s
62. The Singer with cup £31
63. Man leaning £31
64. Wally £50
65. Harmonica Jim £36
66. Ghosts at Stonehouse Creek n.f.s
67. MR. EDWIN MACKENZIE - FLYING PAST THE SALVATION ARMY HOSTEL IN KING STREET PLYMOUTH AT 12 NOON s.t.n.
68. THE APOTHEOSIS OF MR. ALBERT FISHER s.t.n.
69. Wee Jock with arms folded £65
70. Wee Jock £70
71. Wee Jock seated £31
72. Wee Jock and Danny seated £34
73. Maurice with green thread around finger £55
74. Mr. R. Lenkiewicz £65
75. Fred £60
76. Joe and Mr. Crow £80
77. Gentleman with long hair £70
78. Cyril with green pencil £40

Project 1a: Vagrancy

In 1996 or thereabouts, Robert exhibited the following paintings at The Annexe and associated them with the Vagrancy Project in 1973.

However, several features of the exhibition lead one to conclude that most of the paintings were of far newer vintage. Firstly, the images show the thin paint and very purple pallette seen in the artist's later work rather than the thick paint and sombre blues and greens of 'genuine' vagrancy work. There is also the proponderance of images of Les Ryder, looking his age in 1996 rather than 1973! It is no coincidence that Mr Ryder was the only surviving vagrant still available to sit for paintings.

The condition of the older canvases suggest that much of the work consisted of extensive restoration of old canvases - often to the point of complete repainting.

  1. ‘The Bishop’ and the Painter dance to Mahler in ‘Jacob’s Ladder’.
  2. ‘King Ryder’.
  3. Crying man in Wells St Skipper.
  4. Double study for ‘Plymouth Mourning over its Unfortunates’ (This painting can be viewed at the main studio.)
  5. Les Ryder just out of prison (Available as a Limited Edition print.)
  6. ‘Diogenes’ in the window studio at night.
  7. Albert Edward Ernest Fisher (‘The Bishop’) startled.
  8. Les Ryder sleeping in ‘Jacob’s Ladder’.
  9. ‘The Singer’ asleep in ‘Jacob’s Ladder’.
  10. ‘The Lynch’ asleep in ‘Jacob’s Ladder’ (The Cardboard Box man).
  11. Les Ryder in blanket.
  12. ‘Box-car Riley’ Isolation Study.
  13. ‘Box-car Riley’ Rear View Isolation Study.
  14. ‘The Bishop’ explaining to ‘Diogenes’ why the sky was falling down. ‘Diogenes’ did not want to listen, but I did.
  15. ‘Black Mac’ crying - The Man with big hands.
  16. ‘Diogenes’ Double study.
  17. Les Ryder judging the world in his sleep.
  18. ‘The Bishop’ talking to the fox in Stoke Damerel Churchyard.
  19. ‘Diogenes’ reading the newspaper.
  20. ‘The Bishop’, ‘Diogenes’ and Les Ryder asleep in ‘Jacob’s Ladder’.
    Study for ‘Plymouth Mourning over its Unfortunates’. See No. 4.
  21. ‘The Bishop’ asleep on red chair.
  22. ‘The Bishop’ and ‘Diogenes’ naked.

Project 2: Death and the Maiden

The Death and the Maiden Project was exhibited twice, first in Plymouth and then in Coventry:

1) Date: 20 July - 1 Nov, 1974.
Venue: The Fool, 7 Clifton Street, Plymouth.

2) Date: c. 10 Nov – mid Dec, 1974.
Venue: Wilmas Galleries, 163 Spon St., Coventry.

There were 72 paintings shown at The Fool. Less than 20 sold. All paintings plus an additional four were included in the show at Wilmas Galleries. Wilmas’ price list names the buyers of the sold works, and for the others the prices were raised 75% on average.

Lenkiewicz produced a booklet, ‘Notes on Death and the Maiden’, that was sold at the exhibitions. The booklet is 37 pp, plus a page explaining the front cover illustration. Most unusual for Robert, this illustration, which is also used on the exhibition poster, is not his own but redrawn from a German 19th century book. There are also two extra plates, clearly late additions.

In 1997, the following brief explanation of the Project was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work.

"All union of sexes is a sign of (coming) of death; and we could not know 'love' were we to live indefinitely." Anatole France.

In 1974 Lenkiewicz produced a small book titled: Notes on Death and the Maiden. This ran parallel with the Exhibition of the same title at his premises on the corner of Clifton Street. The book was an abbreviated version of a large book of notes on cultural attitudes towards death, corruption and decay. Page 10 of these notes introduces ideas that linked the fear of hell with the fear of decay. The notes proceed to develop the idea frequently suggested by art-historians, that the allegory of Death and the Maiden expresses not only the fear of death but fear of the female. Lenkiewicz felt this was an unsatisfactory interpretation, and that the issue was complex, with shadows cast from unexpected areas.

He noted the curious attention in Medieval Danse Macabre images given to the corpses. Striking woodcuts of decaying representations of Death dance before their victims on the edges of graves. What seized his attention however in these ghastly images were the flailing viscera from open abdomens - a parody of pregnancy:

"...this decomposing woman was designed to bear children, but the contents of her stomach reveal only the destiny of birth. "

Many of Lenkiewicz's studies for this project considered the cycle of birth and death. 'Death' presenting his intestines to the Maiden was explored along with the formula of the Three Magi and their Gifts. The decay of the body is frightening. It is this same body, however, that is bound up with our personal sex lives. Fear may stimulate eroticism and death takes on unexpected possibilities. Desire and decomposition interrelate. Putrefaction need not smell the decay of 'love' has its own immediately recognisabie odour. Illusions rot and fragment, and as the body filters into the earth, so the memories of 'loves' vaporise and die. In the decomposition of our 'loves' we unwittingly attend our own funeral. Death and the Maiden echoes the mortality of our affections, and encourages us to consider them more carefully.

Death & The Maiden notes and price list

The official notes and price list to the Death & The Maiden Project exhibited at 'The Fool', Clifton Street, Plymouth.

THE FOOL

7 CLIFTON STREET

THESE PAINTINGS AND STUDIES FORM A SMALL PART OF A VERY LARGE THEME. THE PRESENT COLLECTION IS GATHERED UNDER THE TITLE: DEATH AND THE MAIDEN.

THE PAINTER IS WORKING ON THE THEME:

RELATIONSHIPS; Attitudes towards love.

  • Section (a) Love and Romance.
  • Section (b) Love and Humour.
  • Section (c) Love and Tragedy.
  • Section (d) Love and Mediocrity

THE PRESENT COLLECTION FORMS ROUGHLY ONE QUARTER OF THE Love and Tragedy SECTION.

IT IS INTENDED THAT THE COMPLETE THEME WILL BE EXHIBITED IN A VERY LARGE BUILDING SOMETIME IN THE YEAR 1976. THE TOTAL ‘RELATIONSHIPS’ EXHIBITION WILL CONSIST OF SOME 2,500 PAINTINGS.

IT IS HOPED THAT THOSE WITH A MORE SPECIALISED INTEREST IN THE IMPLICATIONS OF THIS AND FURTHER COLLECTION IN THE SERIES, WILL READ THE NOTES THAT WILL ALWAYS ACCOMPANY THE EXHIBITIONS.

“NOTES ON DEATH AND THE MAIDEN” IS AVAILABLE THROUGH THE ASSISTANT AT THE DESK.

The formula ‘Death and the Maiden’ finds its origins in antiquity. To the knowledge of the painter no literary studies of this theme exist. The relationship between ‘death’ and the ‘feminine’ is frequently echoed throughout the iconography of the Eastern and Western worlds. It is echoed also, in what may be termed the ‘love experience’.

No sooner has one become interested and preoccupied with another person, then one commences the normal gamut of ‘time/possessive’ fears, e.g. ‘How long will it last?’ ‘What authority do I hold in this situation?’ ‘Upon what can I rely on if I compromise?’

An intense aesthetic/personality interest in another person seems always to carry with it the inevitability of change.

In this change we witness the death of love and the decay of our interest. The undermining influence of this experience, hints at the contact between ‘Death and the Maiden’

— between ‘Love and Tragedy’ — between life and us.
1. A painter in a graveyard. (large study for mile long painting)
2. A painter and Nimadi, with shoes. £67
3. Death and Nimadi. £50
4. Death and Belle, in Lower Compton. £90
5. Diogenes and Albert talking with or about Death. £47
6. Death and Belle, in Lower Compton. £60
7. Death and Ruti. £40
8. Death presenting Peace to the Maiden. £90
9. Death and Togga, in Sweden. £39
10. The Maiden remembering her past. £37
11. Death and Human Female gently asking for love. £35
12. Death and Monca in a room in Lower Compton. £38
13. Man chasing woman/Woman being chased by Man. £35
14. Death and Francesca. £36
15. Death presenting Peace. £23
16. The Three Magi — studies for large painting. £38
17. The Three Magi — studies, etc. £38
18. Diogenes, Death and the Maiden. £35
19. Study for wise man (Magi) presenting his entrails. £92
20. Death and the Maiden. £60
21. Death making love to the Maiden. £42
22. Death making love to the Maiden. £52
23. Death making love to the Maiden. £60
24. Death with poor study of Annie. £45
25. Death and the Maiden. £17
26. Ruti and Laila, with Death. £46
27. Death the Lover, presents his entrails. £14

THIS end wall consists of a small display from a variety of the painter’s sketch-books dealing with the Death and the Maiden theme. They are exhibited in order to clarify or emphasize certain aspects of the present collection and to indicate the various associations. THESE STUDIES ARE NOT FOR SALE.

28. Diogenes looking at the Maiden through the mask of Youth. £17
29. Albert, Death and the Maiden. £34
30. Nimadi, Spiky and Death. £20
31. Pierrot and Jeny, dancing with Death. £36
32. Woman considering her lovers. £34
33. Maggan and Death, in Sweden. £37
34. Death with Annie and red chair. £32
35. The Lovers. £36
36. Girl with thin arms and black hat. £36
37. Jeny with Death and Dutch torture machine. £37
38. Monca and Death. £32
39. The Maiden smells her past and her future in the grave. £18
40. Death with Annie and clown. £37
41. Death makes love to the Maiden in the grave. £23
42. Death with Annie in fur coat. £37
43. Maiden with snake (death) and wolf (death). £20
44. Death and Francesca with cup of tea. £38
45. Little Red Riding Hood and the Wolf. £20
46. Elizabeth (Thrush) and Death. £37
47. Jeny and Death. £30
48. Death and Pierrot. £38
49. The Maiden and the Wolf. £20
50. Death and the Musicians. £39
51. Death with Jeny and Ruti. £38
52. Jane and Maggie, with Death. £60
53. Ruti and Laila, with Death. £50
54. Diogenes and the Maiden. £38
55. Death kisses the Maiden. £25
56. Death with Jane and the Black Coat. £75
57. Death and the Three Graces. (A com­plicated formula) £400
58. The Putrefaction of Diogenes. £200

The left hand academic portrait section, is to be given away free to the purchaser of the right-hand section.

59. Diogenes, Thrush and Pierrot. £52
60. Elizabeth (Thrush) in a patch of light. £55
61. Diogenes with Death and the Maiden. £58
62. Death snuffing out Albert’s cigarette. £54
63. Bernardette and Death. £56
64. Francesca and Death. £50
65. Francesca and Death. £50
66. Monca and Jan, in the Rijksmuseum. £160
67. Francesca and Diogenes. £90
68. Aude and Death. £60
69. Monca and Death. £65
70. Annie and Death standing on a path in Lower Compton. £41
71. Pierrot. £37
72. The Maiden and the Black Dog. £34

NOTE

THE FOOL is a converted house designed to exhibit — on a large and consistent scale —the work of R.O. Lenkiewicz.

Running parallel with the exhibitions will be a variety of socio/educational activities connected with local schools and other group classes.

It is hoped that liaisons may be formed with schools in Plymouth, and that the published results of class-skills are widely seminated through these schools.

It is further hoped that more buildings of this kind will develop, and that the present organisors will be given more assistance (non-financial) to do this.

R. O. Lenkiewicz

Annie Hill-Smith

An exhibition opens on the 21st of November. Theme: “PAINTINGS DESIGNED SOLELY TO MAKE MONEY”. (with accompanying booklet)

Project 3: Mental Handicap

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"Some people has brains and don't use 'em. I'd give most things for my kids to 'ave 'em. There you are, it's a funny old world." Parent.

n 1976 Lenkiewicz produced a small book titled: Mental Handicap/Survey Plymouth. He asked several hundred families for permission to paint children and adults, representing a variety of mentally disadvantaged conditions.

The Exhibition was presented in the same derelict warehouse that had housed the Vagrancy project on the Barbican. Massive though the project was, it fell on deaf ears. Though some degree of social insight had developed and it had been a long time coming - it was still far from satisfactory at the time of this project. Today, complacency is fast replacing ignorance. At the end of her contribution to Lenkiewicz's published survey, Baroness Vickers of Devonport and Life President of the Plymouth Society for Mental Handicap, noted:

five hundred parents of those depicted (in Project 3) have had great courage in allowing these portraits to be shown because they realised that this Exhibition may make a major change in the whole of the general public to the mentally retarded in Britain."

Lenkiewicz's somewhat harsh preface to the Mental Handicap Survey observed that:

"A handicapped child means a handicapped parent...complaint has produced most of our art and literature, and most of our social and educational patterns. We say "Why me? I did not deliberately inflict this problem upon myself. " And here is where we miss the point, for we assume that we do anything, anything at all deliberately... Over the last eight months, four hundred persons and myself have been engaged upon an act of complaint. "

Lenkiewicz proceeds with the observation that 'parents' versus 'society' has always operated upon a basis of certain rules, and that this ritual of maudlin altruism is unproductive.

"The paradox consists of two kinds of brain damage running parallel; the mentally handicapped child/adult and the 'normal ' member of Society. "

A thread runs through even the earliest projects, linking the two issues of ethics and aesthetics, and they certainly surface in both Project 1 and Project 3.

Mental Handicap Project notes and price list

[Poster's Note: in the prices for items nos. 21-37 I had some difficulty making out the final digit in the copy of the list I have. When in doubt I have made the last digit a '5' by default. If you have a legible list please corrent them].

PAINTINGS: R. O. LENKIEWICZ

MENTAL HANDICAP

  • A. This person is “NORMAL”. He/She is not mentally handicapped. £Very expensive but always available at a price.
  • B. This person is BLIND. She is not mentally handicapped, £50
  • C. This person considers himself mentally ill. He is not mentally handicapped. £45
  • D, This person is DEAF. He is not mentally handicapped. £30
  • E. This person is physically handicapped, He Is not mentally handicapped. £35
  • P. This person is not:
    • BLIND:
    • DEAF:
    • PHYSICALLY HANDICAPPED:
    • NOT MENTALLY ILL:
    • NOT “NORMAL”
    • He is mentally handicapped. £30

1. Mr. and Mrs. Greep with Francis, Tracey and Darren, £300
2. Sharon Rogers. £40
3. Francis and Tracey Greep £60
4. Barbara Bridgeman and Caroline Young £300
5. Barbara, Carol and Mark Bridgeman £160
6. Barbara Bridgeman. £12
7. Barbara Bridgeman £46
8. Mark Bridgeman £70
9. Andrew Lowe £8
10. Andrew Lowe £140
11. Andrew Lowe £18
12. Andrew Brandon £160
13. Andrew Brandon £12
14. Andrew Brandon £11
15. Martin Carter £30
16. Andrew Brandon £20
17. Andrew Brandon £15
18. Martin Carter with his Father £95
19. Martin Carter £5
20. Clare Armour £10
21. Tanya Smith £90
22. Neil Bloxham, Kenny Welsh, Richard Southgate £10
23. Michael Arnold £110
24. Richard Gavin £25
25. Ethne Waters £35
26. Gillian Cousins £45
27. Susan Harrison £25
28. Boy with Cerebral Palsy £65
29. David Pearce £35
30. Alison Honey £35
31. Scott Heathcote £55
32. John Chegwin £40
33. John Chegwin in party hat £22
34. Jackie Oliver £28
35. Child Crawling £50
36. Couple dancing £30
37. Christine Abbot £28
38. Barbara Bridgeman with self portrait. (To be completed) £300
39. Ivan Hardie £34
40. Jean Barretto £50
41. Dean Bawden and parents £120
42. Dean Bawden £35
43. Dean Bawden £60
44. Dean Bawden £15
45. Dean Bawden £20
46. Dean Bawden £4
47. Dean Bawden in the bath £8
48. Nicky Wilkinson and his Father £140
49. Nicky Wilkinson £32
50. Peter Allen £110
51. Michael Yeo £110
52. Michael Hodge £110
53. David Freeman £120
54. Julian Luscombe £30
55. Mathew Hannah £50
56. Shirley Eastel £40
57. Christine Maunder £45
58. John Beasley £40
59. George Fallick £65
60. George Fallick £50
61. Terry Robbins £22
62. Anita and Julie Rabey with their Mother £180
63. Nicky Deasey £50
64. Julian Roberts £50
65. Rita Hicks £40
66. Still-Life: Shoes/Casts, from Trengweath £60
67. Mandy and Mr. O’Hagan £50
68. James Nodder £50
69. Philip Freeman £29
70. Peter Lane £30
71. Peter Sibley £30
72. Mrs. Dempster with Russell £210
73. Pat Scannel £30
74. Victoria Pooley £32
75. Tina Clarke £28
76. Boy with Jig-Saw Puzzle £16
77. Malcolm Adams £25
78. Malcolm with his Father £18
79. Young Man in cot £18
80. Liza Downing £22
81. Neil Bloxham seated £24
82. Neil Bloxham / Two heads £20
83. M. H. S. Unit Downham School £35
84. Derek Hannaford £23
85. Kenny Welsh seated £25
86. Kenny Welsh seated, £30
87. Boy In a hoist £22
88. David Tierney with toy hammer £19
89. Dawn Frazer and Dawn Boylan £25 90. Linda Green £40
91. Carol Beeson £35
92. Christopher Wilson £35
93. Christopher Fleet £35
94. Jennifer Rogers £40
95. Steven Lane £44
96. Valerie Morgan £44
97. Christopher Stoneman £40
98. Lesley Rothery £45
99. Christine Maxstead £45
100. Stephen Peterson £18
101. Andrew Adams £14
102. David Cuthbert £40
103. June Whitehead £39
104. Boy turning away £28
105. Kim James £30
106. Hilary Kennington £30
107. Albina Shippili £28
108. Clare Armour £40
109. Nicky Veale £35
110. Mathew Vale £35
111. Christopher Martin £40
112. Alan Pyne £40
113. Samantha Martin £9
114. Dawn Boylan (study) £25
115. Robert Couch £34
116. Joyce Sheldon £34
117. Karen McJury £29
118. Julie Gruit £29
119. Sarah Clarke £28
120. Darien Siviour £28
121. Darien Siviour £35
122. Elizabeth Smallman £35
123. Thomas Wills £35
124. Allson Lamble £30
125. Brian Hodgins £28
126. Susan Wooten £36
127. Susan Wooten £30
128. June Philips £35
129. Christopher Collins £32
130. Angela Jeffries £20
131. Pauline Jeffries £20
132. David Jeffries £30
133. Judith Simpson £22
134. Pam McTighe £26

For details about the NIGHT WATCH see texts on the panels either side of large painting.

Project 4: Love and Romance

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"How nicely does doggish lust beg for a piece of spirit when a piece of flesh is denied it." Nietzche.

In 1975 Lenkiewicz produced a booklet titled: Love and Romance: A Note. This ran parallel with an Exhibition on the theme of Love and Romance. Lenkiewicz held the view that the traditional 'love' experience involved some kind of selective procedure; and that this selectivity was not conscious or deliberate. This worldwide human commonplace has been aggrandised and raised on pedestals of all kinds. Poetry and Literature has exemplified this physiological phenomenon from ancient times. He thought it interesting that other 'transcendent' or 'theological' experiences seemed to be made out of similar ingredients and that unexpected deprivation - grief, jealousy - revealed physiological trauma similar or identical to that experienced by the alcoholic or heroin-addict.

He felt that it might be possible to aesthetically 'measure' the degree of addiction and the degree of withdrawals. He commenced a series of 'Aesthetic Notes' which attempted to record physiological sensation by means of certain colours and certain shapes. These notes are rarely seen but are voluminous. This line of enquiry has involved using himself as a guinea-pig and is an ongoing activity. A number of the paintings in Project 4 were elaborate constructions associating with theological artefacts and often gilded with ornate emblems. A large number of ironic devices were constructed in order to draw attention to the mythic undertones that people (usually young) associate with the poetic notion of 'two' becoming 'one'. Lenkiewicz held the view that these behaviours indicated an obsessive, pathological ruthlessness involving patterns that were not unlike those found in political persuasions and fascism. They characterised human emotional development, or rather the lack of it.

Andre Breton once wrote:

"Before I knew you - look, the words are meaningless. You know very well that, when I saw you for the first time, I recognised you at once. "

Lenkiewicz noted in his research that one of the primary claims made by the 'lover' was that of 'union'. A unique twosome leading to a single unit. This did not seem to be so much a philosophical belief as a physiological need. If one were touched aesthetically at a deep enough level then 'ideology', 'fanaticism', 'love', would emerge. These observations were to lead to a careful investigation of physiological behaviour under crisis. The following projects were an expression of these. Imagery centring around The New Testament characterised sections of this project - Lenkiewicz's notes record:

"We are told of two thieves who hang by the side of a crucified man, (in romantic love, there are two thieves constantly stealing from each other, who finally crucify each other). We are further told of the Deposition, when the dead man is brought down from the cross and mourned. (In romantic love, one partner grieves after the lost affections of the other). We are finally told that the dead man resurrected. (In romantic Love, the 'loser' in the attachment replaces the addiction with a new companion.)"

Project 4: Love & Romance price list

I can love both fairs and browne,
Her whom abundance melts, and her whom want betraies,
Her who loves lonenesse best, and her who maskes and plaies,
Her whom the country form'd, and whom the town,
Her who believes, and her who tries,
Her who still weepes with spungie eyes,
And her who is dry corke, and never cries;
I can love her, and her, and you and you

    
(John Donne)

(1)    Cup with human still life    £55
(2)    Three humans in front of ‘The Jewish Bride’ by Rembrandt in the Rijksmuseum.    £300
(3)    Human that might be in love looking in the mirror at night time: or Tristran and Isolde    £85
(4)    Human that might be in love looking in the mirror at day time: or Dante and Beatrice    £65
(5)    Human that might be in love looking in the mirror or Abelard and Heloise    £65
(6)    Human that might be in love looking in the mirror or Majnan and Laili    £85
(7)    Lovers    £40
(8)    Orgasm    £47
(9)    Woman gently asking for love    £45

'There is no solution because there is no problem.’
M DUCHAMP.
 
(10)    And she dreams of far away lovers    £100
(11)    Woman with dead rose    £100
(12)    Belle with Mantegna's dead Christ in Bellini's landscape    £100
(13)    Francesca with Grunwald's Christ in Cranach's Landscape    £100
(14)    Lelya on the cross with Peselino's saints    £100
(15)    Orpheus and Eurydice    £130
(16)    Man looking at woman's dress    £45
(17)    Man holding woman's dress (studies)    £35
(18)    Human heart    £50
(19)    Lovers in Joe's Cafe    £55
(20)    The touch    £55
(21)    Towel with human still life    £65
(22)    The city of love collapses as the lovers separate    £75
(23)    Man and woman look at each other as lightning strikes the city of love    £45
(24)    I could have 'had her' if I was older/I could have 'had her' if I was younger    £85
(25)    Lovers in the stocks    £85
(26)    Katherine and Heathcliffe/or our love has nothing to do with sex    £45
(27)    Pugilist in love    £110

“I'm afraid I'm an agnostic in art. I just don't believe in it with all the mystical trimmings. As a drug it's probably very useful for a number of people, very sedative, but as a religion it's not even as good as God.”

M.  DUCHAMP.
 
(28)    Two lovers holding mirrors    £60
(29)    Once upon a time    £85
(30)    Belle with child    £55
(31)    Two humans or Plato and Dion    £60
(32)    Pot with human still life    £50
(33)    Man and woman touching all the ones before and all the ones after    £50
(34)    The touch (watercolour)    £30
(35)    Lovers hands (drawing)    £20
(36)    Ruti and the troubadour    £55
(37)    Ruti without the troubadour    £55
(38)    Ruti and empty bed (study)    £55
(39)    Child and empty bed    £50
(40)    Which one?    £55
(41)    Wait and see    £140
(42)    Two humans or John Donne and Anne More    £80
(43)    Affection    £50

A small selection of paintings on the theme of 'Death and the Maiden’ is exhibited as an indication of another aspect of the relationships theme
 
(a)    Death presenting peace to the maiden    £160
(b)    Death and the maiden    £55
(c)    Death and the maiden    £28
(d)    Death making love to the maiden in the grave    £28
(e)    Death with lover    £28
(f)    The decay of love/the putrefaction of Diogenes    £250
(g)    One of the Three Magi presenting his gift to the Virgin (study)    £200

“I just wanted turn identities, that's all. It was a sort of readymadeish action. I first wanted to get a Jewish name, but I didn't find one. Then the idea jumped at me, why not a female name? Marvellous!  Much better than to change religion would be to change sex. Rose was the most corny name for a girl at that time in French, and Selavy of course, was 'C'est la vie’. My name is Rose Selavy.”

M. DUCHAMP.

Project 5: Love and Mediocrity

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"The promises have been kept, nevertheless, I have been swindled." Simone de Beauvoir.

This project surveyed a wide range of assumptions and expectations about human relationships. Lenkiewicz viewed many of these expectations as foolish and unkind. In these ironic explorations, he attempted to demonstrate that rituals between couples were not based on reliable precepts: indeed, he attempted to demonstrate that there were no precepts. 'Fidelity' was a theme that ran through many of the images. It cut across a whole range of irrational expectations in human relationships. In the notes on Love and Mediocrity, he writes:

"The experience of 'betrayal' is abrupt, sudden. The sense of shock, of being thrown back against a wall; of being reminded, of remembering something almost primeval. One is not just remembering the 'last time' or the 'time before that'. One is remembering something characteristic of being what one is, characteristic of all that one forgets. The sense of betrayal is to have forgotten that one has forgotten. The inherited isolation which tradition tells us to be happy about, raises it's head (or rather we sink ours into it) every time one has 'forgotten'. The shock is in no way connected with the 'other' person, for they could never be the cause. Oneself and the mirrored image of oneself - disguised as the other person - play this trick time and again. "

Images of 'Lovers kissing each other in front of all their past and future lovers', of 'Man chasing woman chasing man chasing woman chasing man....' Images of Man and Woman tied into a knot. Images of 'Man looking at a woman from a distance - with whom he has just copulated'. Of elderly couples with memories, of isolated individuals involved in a variety of auto-erotic activities. All these and more investigated the thesis that by and large the major part of a relationship's 'meaning' or 'value' passes entirely unnoticed by both partners. 'Addiction Ladders' were considered:

"The memory of an incident halves in intensity each time it is thought about until it becomes as finite as forgetting allows. "

Eccentric links were formed between time ratios for addictions, the aesthetic experience that brought them about, and arithmetical and geometric formulas. Lenkiewicz notes:

"The experimental lover finds that a constant sequence of breakdowns in relationships is supported by the softened edges of previous 'reflections and 'refractions'. Each time the mirror is employed the memory re-situates or 'refracts' the experience through the image of the following one. The recent lover has to thank all the previous 'refractions' of his lover - through other mirrors - for his present obsession. Their previous activities have created the 'refractions' to which his previous taste responded. He has 'fallen in love' therefore, with an infinite sequence of 'refractions ' through the mirror - lover - he now stares into . . . It is a startling thought that as we suffer so deeply from the withdrawals of the 'present' scenario, the next situation is heading inexorably towards us from the future; and it too will be replaced by a sequel. Indeed, most readers of this text can anticipate significant relationships with people who have not yet been born. "

Love and Mediocrity Price List

THIS COLLECTION IS SECTION TWO OF THE ‘LOVE & MEDIOCRITY THEME: THIS THEME IS ONE OF FOUR SECTIONS – (RELATIONSHIPS; ATTITUDES TOWARDS LOVE), THE OTHERS ARE ‘LOVE & ROMANCE’, ‘LOVE & TRAGEDY’ AND ‘LOVE & HUMOUR’. THE PRESENT EXHIBITION IS EASIER TO APPROACH BY PURCHASING THE NOTES AVAILABLE AT THE DESK. IT IS TO BE UNDERSTOOD THAT THESE PROJECTS ARE VIEWED BY THE PAINTER AS A MEANS OF PRESENTING INFORMATION THAT HAS RESULTED FROM OBSERVATION, INQUIRY AND RESEARCH. AT NO POINT ARE THESE EXHIBITIONS VIEWED BY HIM AS HAVING ANY CONNECTION WITH WHAT IS CALLED ‘ART’.

1.    Vivolyn:    £65
2.    Lesley:    £50
3.    Belle:    £50
4.    Mabel:    £40
5.    Magdalena:    £30
6.    Myriam and Magdalena    £250
7.    Annie with three towels    SOLD
8.    You gave me a dead rose; may I give you a dead rat?    £65
9.    Self portrait:    SOLD
10.    Self portrait:    £50
11.    Self portrait with lover:    SOLD
12.    Letter boxes running to catch the post on a cloudy day just before
    the end of the world:    £18
13.    Man with pillow and man with pillow:    £80
14.    Dave and Anona:    £60
15.    The Great Lover:    £26
16.    The Great Lover:    £25
17.    The Great Lover:    £22
18.    The Great Lover:    £32
19.    The Great Lover:    £50
20.    Myriam:    £30
21.    Myriam:    £26
22.    Belle:    £28
23.    Lelya:    £30
24.    Myriam:    £34
25.    Francesca:    £30
26.    Belle:    £28
27.    Liz:    £30
28.    Myriam:    £30
29.    Belle:    £28
30.    Francesca:    £32
31.    Myriam:    £30
32.    Lovers with child:    £50
33.    Lovers with child:    £40
34.    Annie ‘with child’:    £50
35.    Annie ‘with child’:    £26
36.    Lovers with child:    £50
37.    Three women:    £50
38.    Self Portrait:    £25
39.    The Burial of Belle Pecorini and Monica Quirk:    £300
40.    Rodin’s/Delacroix’s Three Shades burying Belle Pecorini and Monica Quirk:    £35
41.    The Burial of Belle Pecorini and Monica Quirk:    £29
42.    The Great Lover:    £40
43.    The Burial of Belle Pecorini and Monica Quirk:    £35
44.    The Burial of Belle Pecorini and Monica Quirk:    £44
45.    Lovers dancing over the graves of previous lovers:    £12
46.    Man & Woman attempting to kiss each other in front of all the lovers
    of the past and all the lovers of the future:    £14
47.    Lovers dancing over the graves of previous lovers:    £26
48.    Lover with memories:    £30
49.    Lover with six memories:    £50
50.    Man chasing woman or woman being chased by a man:    £45
51.    Woman with dead lover:    SOLD
52.    The auto-lover hydra with seven memories:    £16
53.    The Great Lover:    £15
54.    Lover with Memory:    £35
55.    Lovers with memory:    £50
56.    Man watching woman with whom he has just copulated
    walking into the distance    £23
57.    Lovers kissing through a rainbow with a dark cloud:    £25
58.    Self portrait with Myriam:    £55
59.    Lovers passing through:    £40
60.    Wating for True love:    £28
61.    Francesca:    £40
62.    I’m dying to see you:    £20
63.    I’m dying to see you:    £20
64.    Man watching woman looking at herself in a mirror:    £26
65.    Woman looking into a mirror:    £23
66.    Woman watching man looking at himself in a mirror:    £24
67.    Lovers in the stocks:    £75
68.    Lovers, all in good time:    £26
69.    ‘Jimmy Peg-leg’:    £55
70.    Old man AND the moon:    £30
71.    Lovers:    £30
72.    Study for a fuck graph:    £35
73.    Getting to know each other:    £60
74.    Lovers in a street:    £32
75.    Katherine and Heathclife:    £80
76.    Myriam:    £22
77.    Magdalena:    £25
78.    Thais and Athanael:    £35
79.    Lovers touching all the ones before and all the ones after:    £30
80.    Lovers with each others lovers:    £30
81.    See that stranger who’s just asked me the time?    £20

Project 6: Paintings Designed to Make Money

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"It is curious to note to what an extent memory is unfaithful, even for the most important periods of one's life. It is this indeed, that explains the delightful fantasy of history." Marcel Duchamp.

This collection parodied some attitudes towards 'Art'. The 'Diogenes Con Show' displayed 35 studies of 'Diogenes' all of which were titled: This study took 27 minutes, This study took 43 minutes etc. From early portrayals of St. Jerome to today's Father Christmas Cards, the be-whiskered, harmless philosopher-rogue has always been a money-spinner. Even Rembrandt painted such images for Russian and European collectors as a sure income.

'Diogenes' was a well known tramp who lived in a barrel at Chelson Meadow. Lenkiewicz wrote that one clear distinction between the 'image' of 'Diogenes'/philosopher-rogue and 'Diogenes'/Edwin Mackenzie in the real world, is that the 'image' of him is far more acceptable in the average household, than the man himself. Ethics and aesthetics was an issue again.

The second part of Project 6, called 'The Masterpiece Museum', considered another aspect of salesmanship/art. Lenkiewicz wrote:

"The innuendo of the 'masterpiece' is that it's creator has transcended both himself and Society; that it is in some sense, prophecy. If the item has been purchased, then we are reminded of a slave-trader wily enough to buy 'good stock'. Such images develop like institutions or minor religions imbued with qualities that we conspire with. The 'masterpiece' can be seen as an abstracted extension of the 'hero', and its function in Society operates as an amulet or talisman. "

The Exhibition was presented as though the painter had been dead for some years. Lenkiewicz wrote:

"There are many similar personalities in the colourful pageant of (provincial) 'art-heroes'. Few share the distinction of achieving so complete an obscurity in so short a space of time."

A cabinet containing various artefacts of the 'deceased' painter stood by the entrance. Of special interest was the article 'The Uses of Bad Art ' by Geoffrey Grigson, with the note: "It is said that the painter died with this paper clutched to his heart."

Diogenes Con Show & the Masterpiece Museum notes

This project was exhibited both at 'The Fool' in Clifton Street, Plymouth and then at Blenheim Gallery in 1975. Originally entitled 'Paintings Designed Solely to Make Money'. it was scheduled for November 1974 but was first shown in January 1975.

The Con Show section consists of rapidly worked studies of the vagrant Diogenes (Edward Mackenzie).

The Notes

R.O. LENKIEWICZ
PAINTINGS

May 6 to June 20 1975
Blenheim Gallery 21 Cork Street W1

NOTE: Amusing or not, the present exhibition is a joke. It is hoped that those who profess an interest will take the trouble to read the leaflets that accompany the collection.

1. The Red Chair* £500 (* This has been submitted to the Royal Academy.)
2. Painter and female associate. NFS
3. Painter and female associate. £100
4. Painter and female associate. £110
5. Painter and female associate. £100
6. Painter and female associate. £120
6a. Painter and female associate. £90
6b. Painter and female associate. £100
6c. Painter and female associate. £90
7. The Painter aged 92. £100 (Completed shortly before he died)
8. The Painter with Courbet’s Self-portrait. £140
8a. The Painter with Van Gogh’s Self-portrait. £140
8b. The Painter with Rembrandt’s Self-portrait. £140
9. The Painter aged 32. £100
10. The Painter aged 32. £110
11. The Painter aged 17. NFS (Painted at the age of 17)
12. The Painter aged 16. NFS (Five studies painted at the age of 16)
13. The Painter aged 32. £90
14. The Painter aged 32. £85
15. The Painter aged 32. £115
16. The Painter at 32. £115

Miscellaneous
17. a. Roger and Roger standing on the Barbican at 12 noon
b. Barbican Boys
c. Two vagabonds of Spain. £115
18. Roger with cap. £65
19. Roger with cap. £60
20. The Painter’s right boot. £110<
21. Part of the Painter’s antiquarian erotica collection. £110
22. Apple and Grapefruit. £85 (It may be of special interest to note that the painter ate both these items on completion of the study)
23. Tomato and Onion. £50
24. Banana. £50
25. 26 of the Painter’s signatures (On an old palette). £60

THE DIOGENES CON SHOW
Effective posters of this man’s head are available from the desk: price £2
26. This study took 39 minutes. £90
27. This study took 41 minutes. £90
28. This study took 37 minutes. £90
29. This study took 27 minutes. £90
30. This study took 30 minutes. £90
31. This study took 39 minutes. £90
32. This study took 1 hour 18 minutes. £100
33. This study took 34 minutes. £75
34. This study took 23 minutes. £55
35. This study took 35 minutes. £75
36. This study took 41 minutes. £90
37. This study took 43 minutes. £90
38. This study took 27 minutes. £60
39. This study took 17 minutes. £60
40. This study took 22 minutes. £60
41. This study took 27 minutes. £60
42. This study took 29 minutes. £60
43. This study took 37 minutes. £100
44. This study took 1 hour 11 minutes. £75
45. This study took 8 minutes. £40 (Diogenes’ hand clutching American tourist’s 50 pence piece)
46. This study took 14 minutes. £45 (Diogenes’ hand holding Painter’s pound note)
47. This study took 11 minutes. £35
48. This study took 9 minutes. £35
49. This study took 14 minutes. £35
50. This study took 12 minutes. £35
51. This study took 10 minutes. £35
52. These studies took 38 minutes right-hand head, 44 minutes left-hand head. £130
53. This study took 49 minutes. £95
54. This study took 54 minutes. £80
55. This study took 43 minutes. £100
56. This study took 38 minutes (Monochrome Gouache). £65
57. This study took 34 minutes. £90
58. This study took 25 minutes. £45
59. This study took 7 minutes £20
60. The putrefaction of Diogenes. Not for sale

THE MASTERPIECE MUSEUM
The gallery has experimented with a small display of the work of a now forgotten painter. Please take leaflet to the left of the entrance.
61.Old man beaten up during fit of the D.T.’s. £75
62. Eddie Fagin; Notes. £45
63. Study of Albert in front of a study of Albert. £135
64. Study of Albert. £30
65. Albert falling asleep. £120
66. View of the Barbican with human interpolation. £100
67. Cyril. £80
68. Cyril (Two studies). £90
69. Cyril. £35
70. Cyril. £45
71. Harry asleep (Two studies). £90
72. Diogenes asleep. £35
73. Albert asleep; five studies. £85
74. Albert asleep. £85
75. Albert with clown doll. £90
76. The Masterpiece; or, ‘Plymouth mourning over it’s unfortunates’ Value? Priceless.

This complex work conceals a large amount of allegorical symbol; suffice it to say that what is known of it’s underlying meaning covers the following associations:

THE SEVEN SLEEPERS OF EPHESUS: THE STUDIO, BY GUSTAVE COURBET: SOCIAL ART AT IT’S WORST: THE MYTHOLOGY OF SLEEP, etc.
77. Dave Hocking asleep. £90
78. Mac. £100
79. Mac. £110
80. Barbican night scene with human interpolations. £130
81. Study for redundant ‘Masterpiece’ pilgrim. £95
82. Cowboy’s Holiday Inn; study. £40
83. Study of Diogenes’ piss-pot and dishevelled beds. £45
84. Tinker Jo. £40
85. Harry and Diogenes asleep. £50
86. Les Ryder. £50
87. The Singer. £65
88. The Singer and Diogenes. £100
89. Studies of Albert. £90
90. Dave Hocking. Studies. £50
91. Studies of Albert asleep £75
92. Diogenes at the Barbican Fair. £75

Some attention should be drawn towards the manuscript cabinet which contains a few very rare examples of the painter’s numberless sketch-books.

We are grateful to the Plymouth Archives for the loan of these items. The remainder were unfortunately stolen from the museum by an irresponsible art student some years ago. An added attraction is the collection of miscellaneous pieces in the tall cabinet near the entrance. Of special interest is the article on ‘The Uses of Bad Art’ by Geoffrey Grigson. It is said that the painter died with this paper clutched to his heart.

There are no ‘last words’ recorded of this strange man: though it is significant that an envelope filled with cuttings and quotations of famous last words, was after found beneath his pillow. In the cabinet can be seen a feeble scrawl on blue paper (one of many in the envelope) which says:

‘I have as my guarantee the hatred I bear towards men and towards our society, which will last as long as I live.’

Courbet to Bruyas, 1854

This blue scrap was underlined and on the floor; it would not be over-imaginative to speculate that this indeed was the intended ‘last word’ of our hero.

SOME BRIEF BIOGRAPHICAL DETAILS
Robert Lenkiewicz - Born 1942 - Attended Saint Martin’s School of Art in London and the Royal Academy. His Grandfather had been Court Painter to Ludwig of Bavaria, and although Lenkiewicz shrugs off this distinguished ancestor as an average painter, he presumably inherited something of his skill. Lenkiewicz is responsible for painting the now famous Barbican Mural in Plymouth. This massive work covers 3,000 sq. ft. and is in the Elizabethan period, with complex reference to alchemy, Mysticism and Metaphysical thought.

End of Notes

Project 7: Gossip on The Barbican

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"The gossip, man... the gossip!" Hume to Boswell.

This project replaced the painter's intention of proceeding with the two more projects 'Love and Humour' and 'Love and Tragedy', which indeed were never to come to fruition. Project 7 localised his enquiry into the notion that 'Gossip was the glue that stuck Society together'. Gossip, Lenkiewicz thought, was an entirely aesthetic activity. Indiscretion came second in the race towards feeling significant in one's immediate environment. But what exactly it was that came first was not so easily identified. In a sense this project was a hint and precursor to Project 10 on the theme of Self-Portrait.

large number of individuals in the Barbican area, from Community Policeman to window-cleaner, sat for Lenkiewicz. The exhibits were coupled with a text, a personal view of The Barbican and it's occupants written by each of the sitters. Project 7 was the first to be exhibited in the premises now holding his Libraries.

Exhibition list for Project 7: Gossip on The Barbican

PAINTINGS
LENKIEWICZ
GOSSIP ON THE BARBICAN

1.    The Cox Family.    £550
2.    Stanley Goodman: Chairman of the Barbican Association.    £150
3.    Sandy Bennett: Waitress in the ‘Pilgrim’s Rest’.    £90
4.    ‘Big Tony’: Fisherman / Plumber.    £90
5.    ‘The Bishop’: Local Tramp / Character.    £90
6.    John: Fisherman: Repairer of Boats.    £150
7.    Mr. McMullin: Furniture Storer and Remover.    £100
8.    John Pollex: Potter on the Barbican.    £300
9.    Frederick Richard Hutchins: Oldest fisherman on the Barbican.    £100
10.    Frederick Richard Hutchins: Oldest fisherman on the Barbican.    £90
11.    ‘Denise’: Sells fish at the Crab Factory.    £90
12.    Mr Leonard Corkett: Dealer in Antiquities.    £250
13.    ‘Frank’: Local Character.    £100
14.    Sandy Bennett: Waitress at the ‘Pilgrim’s Rest’.    £200
15.    View of the Harbour from top of the Painter’s Studio.    £350
16.    ‘Diogenes’: Tramp; Local Character: assistant to the painter.    £140
17.    View of the Flats opposite Painter’s Studios.    £130
18.    ‘Corky’: Local Character; known as the Irish Compressor    £120
19.    Southside Street: Colliers Building.    £100
20.    ‘Tattoo Vic’: known as Rembrandt.    £150
21.    View of Harbour: Early Morning.    £100
22.    ‘Judith’: Sells fish at the Crab Factory.    £90
23.    Philip Saunder: Picture Dealer; Reynold’s Gallery.    £100
24.    ‘Big Tony’: urinating over side of Boat.    £100
25.    ‘Robin’: The Local Policeman.    £150
26.    Reflections in the Painter’s Window.    £190
27.    ‘Willie’: Local Character; good at playing the spoons.    £70
28.    Stuart Armfield; Painter.    £150
29.    Joe Prete: Ice Cream Maker and Café Owner.    £120
30.    Andrew Mabin: Born on the Barbican.    £100
31.    Mr. Waterfield: Born on the Barbican.    £100
32.    Local Children: Fight by the Mayflower Steps.    £600
33.    ‘Billy Clarke’ and ‘Gordon Rowe’: Local boys.    £200
34.    ‘Young Steve’: Local boy.    £120
35.    ‘George Rowe’: Signwriter.    £350
36.    Mr. Jacka: Baker.    £200
37.    ‘Christmas Dinner at the Bus Station’: Cockney Jim and associates.    (-)
38.    John Theobald of the Independent Newspaper    (-)
39.    Miss Hayes: Elderly resident on the Barbican    £250
40.    Miss Hayes: Elderly resident on the Barbican    (-)
41.    John and Adele Nash.    (-)
42.    Dave Clarke: Carpenter; local character.    £150
43.    Mr. Tony Headworth: Owner of the ‘Pilgrim’s Rest’.    £120
44.    Eileen Williams: Secretary at the University
    Administration, Southside Street    £100
45.    Cockney Jim in the Studio.    £90
46.    Richard Tope: Sail Maker, etc.    £100
47.    John Dudley: Proprietor; Cap’n Jasper’s.    £150
48.    Steve Barrett: Proprietor; Wine Enthusiast; Piermasters.    £150
49.    ‘Big Tony’: Fisherman.    £95
50.    Mary Fewings: Born on the Barbican; daughter of ‘Blind a Pig’.    £95
51.    Bert and Ernie Emden: 350 years Family on the Barbican; Toy Sellers.    £150
52.    Joe Frude. Skipper of trawler and fisherman of the old school.    £100
53.    Joe Frude.    £100
54.    Joseph Prete; Ice Cream maker par excellence and café owner.    £90
55.    Mr. Parkinson. Taxi driver.    £90
56.    ‘Barbican Flo’: Genuine old time Barbican family.    £220
57.    Douglas.    £110
58.    Tony Evans; Potter in New Street.    £120
59.    Mr. Clements; Second hand bookdealer.    £100
60.    Bill Hodges; Owner of the ‘Barbican Gallery’ and its eccentric contents.    £95
61.    Patricia Bennett; Dealer in antiques.    £100
62.    Dave Lamley: Fisherman.    £100
63.    Tommy Dunstan; Local window cleaner, until robbed of his life savings    £400
64.    Marie; Chef and owner of the ‘Walrus & the Carpenter’.    £300
65.    Big Tony; Fisherman.    £250

Project 8: Jealousy

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"..... how can we move a finger to preserve ourselves from death, in a world in which love is provoked only by falsehood, and consists merely in our need to see our sufferings appeased by the person who has made us suffer?..." Marcel Proust.

In 1978 Lenkiewicz exhibited his eighth project in the 'Relationships Series' on the theme of Jealousy. The original notes were stolen during a lecture that he gave, and have never surfaced. His thesis generally, was that Jealousy takes three, envy takes two. That 'Jealousy' was a natural disorder brought about by aesthetic withdrawal. If the original addiction measured 5% then the withdrawal would be 5%. If it measured 90% then the withdrawal was 90%.

High level withdrawals, particularly for the young, were very difficult to deal with. Lenkiewicz also noted that the vagrant alcoholics he had become involved with, had a term that they employed for the third or fourth time they had withdrawn from alcohol. They called it a "shit and a shave". It appeared to be easier to withdraw as repetition went on. Lenkiewicz wrote,

"Perhaps the 'lover' operated with a similar physiology. The visceral sensations experienced by the jealous lover, torment and isolate with remarkable clarity. "

Lenkiewicz did not subscribe to the notion that some people were more susceptible to jealousy than others, any more than he subscribed to the notion that some starving people were more hungry than others. He saw the process as purely physiological, and that the loss of certain aesthetic 'packages' can create severe, even lethal deprivations. The idea that jealousy is a reaction to trespass on property was an inadequate notion. Certain jealousies call forth sympathy and others, ridicule.

Clearly jealousy arises when there is a challenge to a special relationship. But it becomes clear that the relationship need not be 'special' at all. Entirely unexpected areas of 'aesthetic addiction' can be called up in an atmosphere of loss. The 'Woman walking away' series gave expression to the 'to love is to live in fear of loss' thesis. Further enquiries into the bits/sections/parts of a partner that elicited passions, clarified the possibility that the partner was relevant only in so far as he/she 'sparked off' the long tunnel of aesthetic addictions the lover has entered. Above all, it seemed to Lenkiewicz that the claim that the 'lover' makes on behalf of their partner, viz: that they are concerned for their welfare independently of the 'lover's' own needs is irrationally eccentric.

Images like 'Woman Walking Away', 'Man and Woman Screaming at Memories in the Dark', 'Man holding Woman's Dress Watching her Walk Away', 'Her previous lover disguised as a curtain, watching her with the new one', ... indicate that human viscera has an independent intelligence in these matters. Jealousy was a study of physiology in which the power of aesthetics came fully into focus.

Jealousy Project: notes and price list

JEALOUSY
THE FOOL, 7 CLIFTON ST

This is number eight of sixteen sections on the theme: RELATIONSHIPS – ATTITUDES TOWARDS LOVE.

Notes on the theme of Jealousy are available at the desk. These will help clarify ideas and images that are otherwise easily misunderstood.

‘I shall leave the bed as she left it, unmade and disrupted, with the sheets tangled, so that the form of her body will remain imprinted beside mine. Until tomorrow, I shall not go to the bath, I shall wear no garments and I shall not comb my hair lest I efface her caresses. I shall not eat this morning, nor this evening, and on my lips I shall put neither rouge nor powder, so that her kiss will remain. I shall leave the shutters closed and I shall not open the door, lest the lingering memory be carried away by the wind.’

(Chansons de Bilitis, ‘Le passe qui survit’).
Pierre Louys.

... how can we move a finger to preserve ourselves from death, in a world in which love is provoked only by falsehood, and consists merely in our need to see our sufferings appeased by the person who has made us suffer?

Remembrance of Things Past; The Captive; part one, p. 120.
Marcel Proust.

Love for any one thing is barbaric, for it is exercised at the expense of everything else. This includes the love of God.

Aphorism 67. 4th article.
Beyond Good and Evil.
Friedrich Nietzsche.

1. Myriam with a switch. £100
2. Man with pillow and man with pillow. £80
3. Man eating his heart and entrails N.F.S
4. Man warming his head with her scarf. He will hang himself with it. They will tie it around his head after death to maintain the position of his jaw. £90
5. Man looking into mirror as woman walks away. £55
6. Myriam. £80
7. Old man. £55
8. Excuse me? £25
9. Don’t leave me. £90
10. I have a taste for unhappiness. £26
11. Two men having a tug-of-war. £15
12. Jealous lover. £30
13. Jealous lover with flower. £65
14. I wonder if I can see anyone in these shadows? £35
15. Still Life. £50
16. The Meeting. £30
17. Francesca and Ruti. £160
18. Lovers. £30
19. Lovers with a watching chair that in all £95
probability is either his previous lady or her previous man.
20. (Ditto) Study. £15
21. Jealous Lover watching a leaf blown by the wind £35
22. Lovers eating each others hearts £40
23. Woman. £35
24. Myriam watching herself watching herself on the bed £95
25. Woman with jealous lover. £40
26. My paint rag was her dress £40
27. Man holding woman’s dress. £180
28. Lovers killing each other with a kiss. £50
29. She left her scarf behind. £45
30. And what is the difference between his penis and my knife? £25
31. Man with bits of a girl friend. £25
32. Her previous boyfriend disguised as a curtain
watching her with the new one £28
33. Stay with me £26
34. The Great Lover. £47
35. Man with woman’s kitchen cloth. £60
36. Man holding onto the parts he liked best. £24
37. Why hello me!! and how is me today? £27
38. Whose might it have been? £30
39. Rembrandt, me and Hendrijck Stoffels £28
40. She’s on the bed with fifty invisible lovers. £30
41. Mirror image. £36
42. Waiting for signs of fidelity. £33
43. Lovers ... oh no they’re not… £25
44. Man watching himself carrying his dead sell. £56
45. Actually ...and why? £45
46, Man and woman screaming at memories in the dark. £36
47. His cup. £30
48, Man watching woman walking away. £36
49. Study of Diogenes. £28
50. You were like my right arm, £27
51. Through love I shall arrive, £27
52, There she is .,.and there £26
53, Man and woman stalking each other from their own worlds, £ 24
54. Woman walking away. £25
55. Lovers. £27
56. Staircase. £170
57 Death eating his entrails £25
58. Jealous lover (pottery). N .P
59. Man holding a woman’s dress watching her walk away. £50
60. Man and woman leaving each other. £25
61. Woman walking away. N.F.S.
62, Lover’s hands. £50
63 Painter with Mary. £110
64, Man and Woman with bed. £30
65. Mary with bed. £60
66. Man with Mary on a bed. £80
67. Man watching himself with Mary. £60
68. I shall always have her heart; ‘figure’ carries resemblance to Duchamp. £60
69. Jealous Lover, (Papier-mâché). N.F.S.
70. Man chasing woman chasing man. £25
71. Physiology. £40
72. For I am a jealous God. £27
73. You won’t leave just now ‘- will you? £27
74. Come in - I can’t be threatened by shadows in the dark. £30
75. Man jealous of his other selves with Mary. £60
76. Man watching a window. £25

Project 9: Orgasm

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"Inter faeces et urinam nascimur." (We are born between faeces and urine.) St. Augustine.

This project involved a number of cross-referential ideas. Orgasm, sometimes referred to as 'The Little Death', crosses boundaries without a heart. The sexual channels are also the body's sewers. There are unmistakable links between excreta, decay and sexuality. Life can be seen as instability and disequilibrium exhausting it's own resources. It proceeds on one condition; the extravagant procedure of things given life, making room for fresh cycles.

Lenkiewicz notes:

"...that excitement is death-like, the feeling of losing control, being swept off one's feet, the swoon, 'I die because I cannot die', says St. Theresa. "

In earlier cultures than our own the horror of carrion or decomposition linked in a Faustian style with punishment for pleasure. Decomposition was a sign of failure, the underlying meaning of the macabre. Baroque Theatre staged its love scenes in tombs. The sexual act, like death, could be seen as a transgression separating us from daily life, from rational society, work, etc.; plunging us into a violent otherness. A dictatorship controls the body. The genitalia acts on behalf of the whole organism. Orgasm as the release of tension is a revolution, anarchic and dangerous to the order of the body politic. What we desire to possess we fear to lose. The body is never static, it is an energy system whose 'reality' does not consist of substances but of events. These events are aesthetic in their nature. Whatever attraction directs our energy is strangely cannibalistic. What we desire is incorporated- seeing is eating.

"This needful, never spent, And nursing element; My more than meat and drink, My meal at every wink."

When the Aranda Tribe ask each other: "Have you eaten?" they mean, "Have you had intercourse?". The very corpse through which we derive our pleasure is slowly consumed, "eaten", by time, sorrow, sickness and death. "You look good enough to eat", is autophagy, aesthetic cannibalism. At the risk of stretching the metaphor too far, orgasm is the result of 'the vagina' eating 'the penis'. The vagina has a boundary, the penis has it's boundary, orgasm dissolves these boundaries. Only the exaggerations feel true. St. Theresa's remark describes orgasm far more effectively than Bernini's Vatican statue. Orgasm places some part of our consciousness on a tangent to the rest of it; like a moebius strip, the circle appears to have two sides, but in fact it only has one. It is said that we 'love' in order to defend ourselves from beauty. We cannot escape our private aesthetic so we drown in it."

These observations and many others litter Lenkiewicz's notebook on this theme.

Orgasm Project: price list

  1. MAGDALENA IN BED. £ 50
  2. ORGASM. £ 50
  3. ORGASM. £ 50
  4. SELF PORTRAIT WITH RUTI. £350
  5. NUDE STUDY. £100
  6. LELYA ON BED. £ 60
  7. Aesthetic Note. NFS
  8. ELIZA WITH LOVERS. NFS
  9. Aesthetic Note. NFS
  10. ………………. £ 40
  11. LOVERS. £ 75
  12. BELLE AND CANDLES. £ 45
  13. ELIZA IN STUDIO. £ 45
  14. ORGASM. £ 54
  15. THE LAST KISS. £ 45
  16. ORGASM.
  17. Aesthetic Note. NFS
  18. ORGASM. £ 35
  19. ORGASM. £ 47
  20. PAINTERS’ BED AFTER EVENT £ 60
  21. MAGDALENA ON HILL. £ 60
  22. PAINTER IN BED. £ 40
  23. RUTI IN BED. £ 50
  24. Aesthetic Note. NFS
  25. Aesthetic Note. NFS
  26. LOVERS WITH PILLOW. £ 90
  27. PAINTER WITH AMELIE £ 36
  28. MAN WATCHING HIMSELF CARRY HIS DEAD SELF. £ 65
  29. ORGASM. £ 40
  30. I GIVE YOU MY WORD... £40
  31. PYGMALION. £ 34
  32. ORGASM. £ 34
  33. ORGASM. £ 35
  34. ORGASM. £ 35
  35. PAINTER AMELIE AND CAT £130
  36. ORGASM. £ 45
  37. Aesthetic Note. NFS
  38. MAN EATING. £ 25
  39. Aesthetic Note NFS
  40. Aesthetic Note. NFS
  41. Aesthetic Note. NFS
  42. MAN AND WOMAN. £250
  43. Aesthetic Note NFS
  44. Aesthetic Note. NFS
  45. Aesthetic Note. NFS
  46. Aesthetic Note NFS
  47. Aesthetic Note. NFS
  48. BELLE ON BED. £ 45

Project 10: Self Portrait

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"The mirror, above all - the mirror is our teacher." Leonardo da Vinci.

"The things you experience when you are alone are far stronger and fresher." Journal, 31 March 1824. Eugene Delacroix.

"They say - and I am very willing to believe it - that it is difficult to know yourself - but it isn't easy to paint yourself either." Letter 604 to Theo, St. Remy. 1889. Vincent Van Gough.

"Every day in the mirror I see death at work." Francis Bacon.

Lenkiewicz has always painted his image in the mirror. In 1978 he noted:

"All paintings are 'self ' portraits, only I do not believe in a 'self '. We identify an individual by the boundary their body forms, but that is nothing to do with 'self'. 'Self', like 'Justice', 'Truth', 'Beauty', is poetry."

A large painting titled: The Dead Painter Surrounded by his Children and Companions, relates a number of formulas to the single theme of ET IN ARCADIA EGO. 'I death, am in Arcadia also'. Amongst these formulas are the 'Deposition', the 'Pieta'; and a number of 'Anatomy Lessons'. The self-portrait in this picture is a parody of the death of his own mother and a drawing by Andre Slom of Courbet on his deathbed. There were further thoughts in relation to Munch's Chamber of Death 1892, Daumier's 'We can set that one free, He's no longer dangerous'. Lenkiewicz wrote:

"They surround me, while I live they will always 'set me free'. It is unnecessary to wait for my death, I am given leave to 'die' -within them - long before. Dispensability is death. I shall always be dispensable. For as long as I 'live' I 'die'."

Lenkiewicz also associated this image with Delacroix's 'The Death of Sardanapalus' 1827, and Rembrandt's 'Anatomy Lessons' of Tulp and Deyman. It was Joseph Wright of Derby's painting, 'A Philosopher giving a Lecture on the Orrery' however, that struck Lenkiewicz as an appropriate metaphor. He had been taken by Nietzsche's remark from Beyond Good & Evil:

"There are countless dark bodies which must be inferred to lie near the sun; we shall never be able to see them. Among ourselves that is a parable; a moral psychologist needs the whole language of the stars as only an allegorical and symbolic language. Many things can be kept dark with it."

Lenkiewicz's notes continue:

"... Dead but lit by attending candles from my orbit. Each their own sun, awaiting their extinguished moment... child-philosophers stare in passionless silence at my passing."

He quotes Edward Young in 1759:

"Born originals how comes it to pass that we die copies?"

Project 11: Old Age

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"Dying while young, is a boon in old age." Yiddish proverb.

In the late 70's Lenkiewicz was invited by Plymouth Age Concern to give a talk on ageing.In order to make his point clearer he had himself disguised as an elderly professor. An assistant apologised for Lenkiewicz's absence and brought on with wheelchair and bath-rug Professor Jeremy Jacobson from a London University hospital. Tottering onto the stage (and genuinely unrecognised) Jacobson/Lenkiewicz delivered a commentary on 'Geriatrics versus Gerontology'. He ended the talk with a vitriolic rush of quotations from saints and sages of western culture, illustrating that there was no such thing as a 'green old age'.

"We harden in some places and rot in others; we never a ripen." Sainte-Beauve. "So you managed then, you got by somehow or other? Let somebody else do as much without breaking his neck." Goethe. "I am a disgusting object; the flies, oh these flies, they smell a corpse." Renoir. "The strange thing about growing old is that the intimate identification with the here and now is slowly lost; alone, no hope, no fear, only observation." Einstein. "An armour of insensitivity is slowly forming around me; I observe it, I do not complain of it. It is a natural evolution, a way of beginning to become inorganic. It is what I believe they call 'the detachment proper to old age.' I still cannot get used to the grief and afflictions of old age, and I look forward with longing to the journey into the void." Freud. "In the 'monuments to the dead' that stud my history, it is I who am buried." Simone de Beauvoir. "My diseases are an asthma and a dropsy, and what is less curable, 75 years." Dr. Johnson. "You have my acutest sympathy for what you delicately call the 'nuisance of growing old'. A train has to stop at some station or other I only wish it wasn't such a ugly and lonesome place, don't you?" Rudyard Kipling. "An old man's memories are like ants whose ant-hill has been destroyed, one's eyes cannot follow any single one of them for long." Mauriac. "There is only one irreparable and cruel evil in life - old age. Life is unbearable and the void is all I hunger and thirst for." Anatole France. "My past escapes me. I tug at one end, I tug at the other, and all that stays in my hand is a rotten scrap of fraying cloth. Everything turns into a ghost or a lie." Emmanuel Berl. "Life is like a play, acted at first by live actors and then finished by automata wearing the same costumes." Schopenhauer. "The heart does not grow old, but it is sad to dwell among ruins." Voltaire.

In conclusion, Lenkiewicz removed his make-up, put aside his walking stick and stood up straight, to find himself the most unpopular lecturer Plymouth Age Concern had ever invited. The project consisted of a large number of ironic images as well as many studies of centenarians, ranging from 100 to 113 years old. McVities decided as a mark of respect, to give to the 113 year old lady, a packet of biscuits for every day that she remained alive. She was dead in a fortnight. Lenkiewicz was brought up in an old age home and thought it a moving and salutary experience. It would however, be difficult to dissuade him from the notion that ageing is poor coinage compared with youth and middle age.

Project 12: Suicide

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"Everywhere there were people living out their lives using aspects of suicide against themselves. They did not even have the authenticity of the final act to speak for them. Suicide is, in short, the one continuous, everyday, ever-persistent problem of living. It is a question of degree. I' seen the all in varying stages of development and despair. the failed lawyer, the cynical doctor, the depressed housewife, the angry teenager... all of mankind engaged in the massive conspiracy against their own lives that is their daily activity. The meaning of suicide, the true meaning, had yet to be defined, had yet to be created in the broad dimensions it deserved." Daniel Stern.

The room on 'Death' in Lenkiewicz's Library has a large section devoted to the subject of Suicide. He had studied this material for some time, and subscribed more or less entirely to views like those of Daniel Stern. Lenkiewicz found the whole issue the most compelling of subjects. Viewing life as a tragedy on the grand scale, and well aware that people can suffer, he explored this theme with the intention that he might re-explore it every ten years or so. Suicide raises such harrowing ironies both for the perpetrator as well as the witness, that even the casual observer is haunted to the quick by it.

Some social activities immensely popular in a wide range of cultures, eg. marriage and the family are viewed by Lenkiewicz as suicide techniques. He feels strongly about this and a number of the images in this project relate to the misery people inflict upon each other in short or long term relationships. Depression locks its sufferer into a cage through which one can neither see out of nor in to. It is, in a sense, the psychic equivalent of black holes in space. Great pain leads to silence. Except for suicide, silence is the most extreme form of revolt. As Kierkegaard has observed, whether one does or does not think about despair one musters:

". . . everything to re-explain and explain away entrance and exit, simply lost in the interval between the birth-cry... and the death struggle."

What interested Lenkiewicz in this project was the notion that suicide was murder through mistaken identity; that the suicide may not be motivated towards his personal extinction but rather, he wishes to annihilate the world. Psychology has a great deal to say about this; but how interesting it is that we live so irrationally and insist that suicide cannot be rational. The complex issue of euthanasia will raise its head again and again until it is no longer unlawful. When that day comes, suicide as a whole will become far more acceptable.

Suicide Project: notes and price list

Everywhere there were people living out their lives using aspects of suicide against themselves. They did not even have the authenticity of the final act to speak for them. Suicide is, in short, the one continuous, everyday, ever-present problem of living. It is a question of degree. I’d seen them in all varying stages of development and despair. The failed lawyer, the cynical doctor, the depressed housewife, the angry teenager... all of mankind engaged in the massive conspiracy against their own lives that is their daily activity. The meaning of suicide, the true meaning, had yet to be defined, had yet to be created in the broad dimensions it deserved.

DANIEL STERN

SUICIDE PROJECT

  1. Eugene MacDonald. £150
  2. David with ‘One Way’ book.
  3. The kiss as suicide/caging birds.
  4. Eliza waiting. £90
  5. Man separating from Her. £110
  6. Lelya waiting. £500
  7. ‘Silent John’. £150
  8. Lelya showing her wrist. £120
  9. Monca waiting.
  10. Christina with water bottle. £130
  11. Monca on white chair. £130
  12. Man on floor. £120
  13. Eliza feeling ill. £150
  14. Man watching his empty hand. £NFS
  15. Man killing himself with a caress. £NFS
  16. Man in a knot by the straight back of a woman. £NFS
  17. Woman cutting herself in two; one half for herself the other half for herself. £100
  18. Man watching himself carrying his dead self. £110
  19. Monca cross armed on a white chair. £150
  20. Christina waiting. £150
  21. Man killing himself. £NFS
  22. Christina waiting. £150
  23. Geoff. £130
  24. Eliza waiting. £50
  25. Marina. £120
  26. Suicide. Beginning and Beginning. £100
  27. Man cutting himself/ Canadian wood pine. £NFS
  28. Geoff. £130
  29. Lelya waiting. £120
  30. Man devouring his entrails. £50
  31. Aesthetic note. £NFS
  32. Mary. £120
  33. He must love his pain. £90
  34. Couple and setting sun. £90
  35. Man wetting his hand in a river. £160
  36. Francoise waiting. £140
  37. Man in a Boat. £90
  38. Christina with a sharp instrument. £90
  39. Monca in a grey pullover on a white chair. £130
  40. Monca with a white chair. £120
  41. Man killing himself by allowing a lover to eat his entrails. £--
  42. Man killing himself with forgetting her. £100
  43. It could happen only at 10.15 pm... £80
  44. Self portrait at 37 imagining himself at 67 with a stroke, imagining himself at 37 without one. £220
  45. Christina waiting. £150
  46. Angel killing himself to get to earth; Man killing himself to get to Heaven. £
  47. Self portrait at eleven years. £100
  48. Painter when young consoling himself when older; Painter when older consoling himself when young. £
  49. A passion for being; an anxiety at not sufficiently being. £NFS
  50. Elvis Presley. £150
  51. Note books for previous objects: ORGASM; SELF PORTRAIT, OLD AGE; DEATH AND THE MAIDEN; LOVE AND MEDIOCRITY; JEALOUSY.
  52. Man and Woman drinking each others blood. £100
  53. At school they called it a broken heart. £90
  54. Annie. £100
  55. Eddie with Samurai Sword. £350
  56. Lelya waiting. £200
  57. Lelya waiting. £300

Project 13: Still Lives

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

This was a smaller project, and like a number of other projects not all the work was completed or exhibited. Lenkiewicz wrote:

"The inert, the inanimate, is a metaphor for silence. It began with empty chairs, presence and absence. Paintings are still-lives."

He continued:

"Children vitalise the inanimate in a thousand ways; that pullover dark against the back of the door, the door handle, yes it is moving, that lightbulb, that shadow. This remains with us; anything stared at long enough springs to life."

Project 14: The Painter With Mary

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"In all great deceivers a remarkable process is at work, to which they owe their power. In the very act of deception with all its preparations, the dreadful voice and face and gestures, amid the whole effective scenario they are overcome by their belief in themselves which then speaks so miraculously, so persuasively, to their audience... For men believe in the truth of all that is seen to be firmly believed." Nietzsche.

This project involved an unusually intense relationship between the painter and 'another person'. More accurately, this project involved an unusually intense relationship between the painter and himself. More accurately still, this project involved an unusually intense relationship between the painter and some aspect of 'aesthetic fascism'.

Lenkiewicz would meet Mary like clockwork at the Coop cafe. He would run back to the studio and immediately record with eccentric subjectivity a series of notes, written and visual, attempting to illustrate as incisively as he could the precise sensation, physiologically, of what had characterised the meeting. A sense of distance, an erotic innuendo - or was it? A twinge of jealousy, the closeness of the wall to the left of his head contrasting with the great space to his right. The sound of her voice, the way he felt he could balance on one leg on the end part of her laugh, the movements of her mouth, the flow of blouse against the curve of breast. Her running down the stairs with a black flapping coat, the rain outside, the fatigue of the waitress.... and on and on it went. Every transitory trivia, page after page, attempting to trap moments with the old familiar visceral smile.

All this led to a decision to present a complete project on The Painter with Mary. What became clear to Lenkiewicz was that it had nothing to do with Mary; she was to remain a mystery, as all 'others' are mysteries. What did become clear was that the painters' relationship with his own aesthetic vulnerability - known as Mary - was more likely to be a pot pourri of earlier memories kicked into touch by the sighting of 'a person'; with full mouth, blond hair, tall, slender, long-waisted, and entirely indifferent to him. An unrequited energy is the life-blood of creativity. Transcribing these impulses became a sacrificial act, a clear crisp methodology for imposing himself upon himself. It was like a 'scientific discovery', it could haunt the mind for its own sake, nothing to do with the 'other'. The notes were not shown or shared, at least, rarely so. Lenkiewicz found an 'idea' like a 'person' cannot be fixed, he could record only the passing by of things, and that rather poorly. The situation indicated that absorption, fanaticism, obsessive behaviour, lead to the same futility as ideological convictions. Indeed the project became a crossroad in Lenkiewicz's work, with the understanding that relationships do not solve the problem of existence.

The Painter With Mary: project list

1.PIETA IN STUDIO. £400
2.Study in green. £200
3.Mary with piece of newspaper n her hair. £250
4.Mary with white rag. £170
5.The Argument. £190
6.Mary on the floor with rubbish. £350
7.Mary with violin. -.£300
8.Study on the train from London after Rome. £125
9.The Painter with Mary in Piermasters Restaurant accompanied by the Painter with Mary. N.F.S.
10.Mary with Red Scarf.£300
11.Mary with finger in her, mouth. £100
12.Mary lying down on three cushions. £160
13.Mary in white. N.F.S.
14.Mary - two hands. £110
15.Man and Woman leaving each other. N.F.S.
16.Mary in Red. N.F.S.
17.Mary with magenta shawl. £180
18.Pen and ink study. £ 90
19.Candlelight study - Mary. £130
20.Self - portrait holding Mary’s hand. £170
21.Self Portrait fantasizing playing Mary like a cello. £160
22.Painter on the lavatory with Mary. £130
23.PAINTER WITH MARY IN NEWSPAPER MAGI - FOOLS HATS. N.F.S.
24.Mary genuinely reading. £150
25.Mary with two candles. £200
26.Mary and yellow curtain. N.F.S.
27.Self Portrait with Mary. £210
28.The Painter dipping his hand into the river of Mary. N.F.S.
29.The Painter with Mary walking past a meeting of the New National Front. N.F.S.
30.Study of Mache model. £300
31.Papier Mache figures. Apollo and Daphne
32. Don’t leave. N.F.S.
33. Lying down in the French Canopy bed. £250
34.The Painter with Mary and four hands. £300
35.Mary on the floor with crimson dress. £150
36.Mary in blue dress with orange circle. £150
37.Yana seated on Mary wrapped up in newspaper in the gutter outside her front door. N.F.S.
38.Mary in white an orange cushion. £150
39.Mary with flowers and blue plate. £200

[PLEASE BE CAREFUL WITH THE BOOK OF NOTES - DON’T HANDLE UNLESS INTELLIGENTLY INTERESTED]

40.Man killing himself with a caress. N.F.S.
41.Mary with candle. £160
42.Mary with Papier Mache model. £ 80
43.Mary - head down. £160
44.Mary with white cup. £190
45.Mary on brown cushion. £240
46.Painter with Mary. N.F.S.
47.Self -Portrait with Mary. £300
48.Lovers try to place pleasure in boxes. N.F.S.
49.Man allowing lover to eat his heart. N.F.S.
50.Painter watching himself with Mary. N.F.S.
51.‘A passion for being an anxiety at not sufficiently being’. N.F.S.
52.First contact. N.F.S.
53.Man in a knot by the straight back of a woman. N.F.S.
54.The Painter with Mary hold tightly as they make Love with their own selves. N.F.S.
55.Man watching his empty hand during the caress . N.F.S.
56.Painter separating from Mary. N.F.S.
57.The hold. N.F.S.
58.The Resurrection of Mary. N.F.S.
39.The Resurrection of Mary. Papier Mache. N.F.S.
60.Man cutting himself - wood carving. N.F.S.
61.Lovers meeting. N.F.S..
62.Painter wondering where something has gone. N.F.S.
63.‘ .. Curae sua cuique voluptus.” N.F.S.
64.The claw moves in the stomach as she leaves. N.F.S.
65.The ‘line of thought’ manufactures fear. N.F.S.
66.Study for model. N.F.S.
67.MARY AND THE PAINTER. Red, blue and yellow. N.F.S.
68.Mary flayed. -Marsyas. N.F.S.
69.The Painter and Mary dancing in forest. £160
70.Self Portrait with Palette and Mary. £200
71.Self Portrait with Mary with newspaper in her hair. (In the downstairs studio window). £400
72.Ochre study for Mary in the Round Room Mural at Port -Eliot Estate. N.F.S.

NOTE
The next project is on the theme of Death. If there is anyone you know who is dying and would be willing to pose for a study please in form the painter. The exhibition will be opened in July 1982.

Project 15: Death

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"We must either outlive our friends, or our friends must outlive us, and I see few men who would hesitate about the choice." Dr. Johnson.

On Thursday February 11th 1982, an article by Lenkiewicz titled 'The Changing Pattern of Dying' was published in The Western Evening Herald. It was a survey of Western attitudes towards dying from the 12th Century to the present. The observations were, to a large degree, based on ideas presented by Professor Edwin Shneidman and Dr. Phillipe Aries. The article concluded with a request that any dying reader might offer themselves as a sitter for Project 15. A number of 'for and against' letters were published in the following days, in the same newspaper, giving some indication of the climate of views on this subject. Individuals who were dying did agree to sit for Lenkiewicz with startling and varied attitudes. Parallel with these works were paintings of Doctors and Surgeons; "I tend to deal with survival rather than death; but I daresay I've killed a few in my time... regrettable." "Doctor, doctor must I die? Yes my dear and so must I" A number of Clergy, Priests, Bishops; "You would embarrass me greatly if you pursued this matter." (Clergyman's response to request for displaying painting in Project 15.)

Funeral and Burial representatives. Above all, however, the individual sitters who were dying; " I don't know, tell me dear, is it three or four months that I have to live?", "I'm not sure dear, I think it's three." (Husband and wife in conversation.)

Their unsentimental acceptance of what had inevitably arrived became the basis for fascinating and humane conversation. Lenkiewicz noted:

"One may anticipate, but never fully experience death; it is in the nature of this anxiety that it can never be stimulated by a 'fully rounded' danger, as it is unlikely that there will be opportunity for 'postreflection'."

Throughout this project Lenkiewicz had done a great deal of reading on this theme and was frequently reminded of Walter Kaufmann's thesis that:

"Freedom from fear is a pipe dream as long as one fears death. "

Death Project: project list

  1. The putrefying athlete trying to get a message through.
  2. The Lovers decaying.
  3. Woman copulating with Death the grey man.
  4. The two-headed necrophiliac.
  5. 'Go away — nearer!” Studies.
  6. Go away — nearer!’
  7. Tryptich: Belsen.
  8. Death and the Maiden.
  9. Dying woman.
  10. Myriam with dead bird.
  11. The painter’s mother.
  12. Miss Lesley Karen Ciambriello with her children.
  13. The painter with Mary, meeting the painter with Mary.
  14. Myriam with paper mask.
  15. Mary with dead bird.
  16. Old man dying.
  17. "A passion for being, an anxiety at riot sufficiently being’.
  18. “Go away — nearer!” Study
  19. Eugene - dying.
  20. Death presents peace to the maiden.
  21. New lovers dancing on the graves of previous lovers.
  22. Man devouring his entrails.
  23. “Barbican Flo”.
  24. Andy Lynch returning a pound note to the painter, shortly before his death.
  25. Andy Lynch with oak leaves.
  26. Mrs Dempster with her son.
  27. Self-portrait with piece of paper and Yana.
  28. Life/Death.
  29. Young man and old man fighting.
  30. The painter’s death-bed, with children and women.
  31. Yana with paper mask.
  32. Self-portrait as old fool embracing Yana.
  33. The painter dying watches himself rutting.
  34. Man in a boat: suicide study.
  35. Self-portrait, study.
  36. The resurrection of Mary: study. (adjacent, papier-maché figures).
  37. Mary with dead white bird.
  38. Old snowy.
  39. ‘Diogenes’ (the painter’s assistant) double study.
  40. Death with woman in the grave.
  41. Myriam with paper hat.
  42. Mr David Bishop: Her Majesty’s Coroner., For the City of Plymouth and South West Devon.
  43. DR. BRIAN POLLARD: GENERAL PRACTITIONER.
  44. The Ascension of Andy Lynch with two of the painter’s sons. (unresolved study).
  45. The Reverend Walker: Administrator of the Central Methodist Church Hall.
  46. Father Samuel Philpot: Administrator of St. Peter’s and All Saints, Wyndham Square.
  47. Canon Bede Davis: Administrator of the Cathedral Church of St. Mary and St. Boniface.
  48. Myriam with Moebius strips.
  49. The Reverend John Watson: Vicar of St. Andrews Church, in front of Piper’s ‘Creation’ window.
  50. Mr Earl Senior, of Earl of Plymouth funeral service; employees and family.
  51. Young woman dying.
  52. DR. HUNT AND COLLEAGUES IN CONFERENCE.
  53. MR IAN SUTHERLAND JONES: M.A., M. CHIR., (Cantab)., F.R.C.S. (Eng)., SURGEON.
  54. MR A.J.M. BRODRIBB: B.Sc., M.S., F.R.C.S., SURGEON.
  55. MICHAEL REILLY, SURGEON.
  56. DR. SHEILA A. CASSIDY: MEDICAL DIRECTOR.
  57. African children with protein deficiency.
  58. Self portrait with self portrait at ninety
  59. Still-born child in kitchen.
  60. Reuben Lenkiewicz drawing skulls.
  61. The Father eats the son.

Project 16: Sexual Behaviour

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

In 1983 Lenkiewicz exhibited Project 16. This project attempted to survey as wide a range as possible of human activities relating to sexual behaviour. He attempted to do this seriously without attention to the law. As the show was presented he was asked by the Council and the Police to warn visitors, "Local Authority regard this project as unsuitable for those under eighteen, this is not the painter's opinion". It seemed extraordinary to Lenkiewicz that sexual proclivities active all day and all night in the private lives of the complainees should become an issue in law. The policeman who removed a painting on masturbation admitted that he masturbated. The Council representative who restricted imagery connected with prostitution was friendly with the prostitutes. Heterosexual behaviour, homosexual behaviour, auto-erotic behaviour, bestiality, even necrophilia are commonplace in our society and most societies, and characterise more than 50% of all human entertainments. It is interesting that when the authorities visited the Exhibition to consider closure, the paedophilia section went entirely unnoticed. The local reaction to the project was of far greater interest and stimulation in Lenkiewicz's view than the project itself and much more revelatory.

The project attempted to demonstrate that there was no end to human creativity, that loneliness combined with human passion could animate a hoover to far more gratifying potentials than one's wife. The project seemed to indicate that all sexual behaviour was auto-erotic, from marriage partners to strangers' underwear. It seemed an inherent and terrible isolation lay just under the surface of some of the most powerful desires to consult with and connect to the world around us. Auto-erotic activity finds itself its own reward, such as it is. It has little to do with the subtler aspects of human relationships and claims for the credibility of 'the other'.

Sexual Behaviour: project list

  1. The painter taking the pulse of his son Reuben.
  2. Wolfe with Ghiberti detail.
  3. Moira with mirror.
  4. Orgasm study.
  5. Intercourse.
  6. The painter on the lavatory with Mary.
  7. James Pascoe and Ruth Torsten.
  8. The painter with Mary.
  9. The painter with Mary and cat.
  10. Donna with Paul.
  11. Daphne with shoes.
  12. Jane Brown 6 months and 3 weeks with child; with Robin Brown, Rachel Brown and Emma Brown.
  13. Yana Travail with the painter.
  14. The painter playing Mary as a cello.
  15. Man chasing woman.
  16. The painter with his daughter Alice.
  17. Cathy Clipson with tampax.
  18. Yana Travail with paper mask.
  19. The painter watching himself with Mary.
  20. Marie and Kimber.
  21. Myriam with the painter.
  22. Man/Woman.
  23. Woman with five men.
  24. Lovers.
  25. Myriam masturbating.
  26. First Contact.
  27. The Resurrection of Mary.
  28. Young man and Old man fighting.
  29. Dr Morrision; consultant Veneriologist.
  30. Auto-erotic death.
  31. Dr Willcox; Vereriologist.
  32. Aesthetic note.
  33. The Argument.
  34. Sexual Therapist with client in the Psycho-sexual clinic; Plymouth.
  35. ‘Diogenes’ reading Page 3.
  36. Aesthetic note.
  37. Aesthetic note.
  38. Her previous boyfriend disguised as a curtain watching her with the new one.
  39. Woman cutting herself in half; one half for herself, the other half for herself.
  40. The painter with Mary.
  41. The painter with Ruti and his daughter, Laila.
  42. Death and the maiden.
  43. The flaying of Marsyas.
  44. Aesthetic note.
  45. The painter rutting with a goat.
  46. Simon and Ira.
  47. Lovers decaying.
  48. The painter with Mary.
  49. Simon and Ira.
  50. Karen with male dummy.
  51. Aesthetic note.
  52. Barry - South West and Shropshire disco dancing champion.
  53. Mary in the big studio.
  54. The painter with the painter; Mary with Mary.
  55. Moira with Wolfe.
  56. Donna masturbating.
  57. Woman walking away.
  58. Sara combing her hair.
  59. Ada.
  60. Elderly lovers.
  61. Mary in pink.
  62. Petrina masturbating.
  63. Man and Woman masturbating.
  64. Bill with magazine.
  65. Mr Harry’s club.
  66. Necrophiliac.
  67. Oral circle.
  68. Jojo and Carey in front of the Palace Theatre.
  69. Man in knot by the straight back of a woman.
  70. The last kiss.
  71. Karen Ciambriello.
  72. Gary and Carol in leather.
  73. Elderly lovers.
  74. Aesthetic note: “Go away, nearer!”
  75. Study.
  76. The painter with his daughter Alice.
  77. Keith with Mohan.
  78. The family Smith.
  79. Wolfe with Donna.
  80. Lorraine with Paul.
  81. Spanish homosexual.
  82. Scholem and Jascha.
  83. Yvonne and Lesley.
  84. Katie masturbating.
  85. Donna masturbating.
  86. Study - woman masturbating.
  87. Peter Morgan - drag artist.
  88. See-Saw.
  89. Cunninglingus.
  90. Notes - Lovers.

Project 17: Observations on Local Education

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"When we try to examine the mirror in itself we eventually detect nothing but the thing reflected by it. When we wish to grasp the things reflected, we touch nothing but the mirror. This is the general history of knowledge." The Dawn of Day; fourth book, 243. Nietzsche.

In 1988 Lenkiewicz exhibited 150 paintings on the theme of Education. There were over 500 sitters ranging from the Chief Education Officer to lavatory attendants. He edited two large volumes where each of the sitters wrote 1000 words or more on their feelings about education. These books were introduced by a series of observations written by Michael Duane, Headmaster of Rising Hill School in London. Duane was one of the few sitters with a deeply child-centred instinct. In different ways other sitters that Lenkiewicz had the privilege to work with; Dr. Reuven Feuerstein, Dora Russell, Colin Wilson, Ivor D. Eliot, shared this quality but it was rare. Lenkiewicz wrote:

"Education, as we experience it in 'civilised' societies, is primarily concerned with the linking of human behaviour to commercial enterprise ... the conscription character of schooling, the effects of isolation amongst large numbers of other people, examinations, and destructive forms of competition, are patterns of control. Sensuality, energy and amoral curiosity frighten the adult, and the adult will fear the child."

Some of the canvasses were huge; The Blind Leading the Blind, Caritas Romanus, Staff at The Plymouth City Museum and Art Gallery, Straitjacketed Girls- former pupils, Public High for Girls, Ivor D. Eliot with a group of children at Ilfracombe School working with 'Philosophy for Children', Triptych: The Massacre of the Innocents (the left and right panels depicting Saint Vocation and Saint Myopia). One of the largest, The Deposition- The Burial of Education, based on Mahler's Songs on The Death of Children, shows the painter wrapped in a union jack, lowering a dying child in the format of E1 Greco's Burial of Count Orgaz. Lenkiewicz noted a conversation with an explorer who asked a young boy in the Amazon to point out his father from among the tribes people, the boy slapped the man's face and with offended passion said, "I belong to no-one, at this moment you are my father." Lenkiewicz writes,

"The young persons sensitivity to example is immeasurable. A parent or mentor whose creative life is passionless, dulled and uninspired, will have great difficulty in valuing themselves... We do not value another person by feeling superior or inferior to them. That is the straight road to fascism. That we may mean the young harm is a very unattractive thought, but refutation is tenuous when we observe our schooling procedures. "

He concluded his remarks in the catalogue to the Exhibition with the observation that:

"I barely recollect a moments depression in my life and I am certainly of an optimistic nature. The projects that I work on are academic surveys of aspects of human behaviour. They attempt to assimilate information impartially. Of the 17 large projects I have worked on in recent years, this one on the theme of Education has been the least salutary and the most sinister and depressing."

Observations on Local Education: project list

  1. JOHN D WOODFIELD. Former Headteacher, Carbeile County
    Primary school , Torpoint, Cornwall,Present violin and bow maker and
    Musical Director of the Rame Peninsula Male Voice Choir.
  2. Dr P.A.H. SEYMOUR Principal lecturer in Astronomy and Director of the William Day Planetarium.
  3. ‘PIGGY-BACK FIGHT’.
  4. MARK PIERCE Former pupil, Manor Junior School Ivybridge.
  5. ANNE WOODCOCK Former Senior District Health Education Officer, Plymouth. Presently at Scarborough.
  6. COMMITTEE
    MEMBERS OF THE PLYMOUTH BRANCH WORKERS EDUCATIONAL ASSOCIATION. Right
    to left: foreground JILL WARD Former secretary for W.E.A. Present
    student; Exeter University, Law and Society. Mrs P. McCARTHY GEORGE
    HATHERLY Former Chairman FRANK McLEAN West Devon Tutor Organiser
    CHRISTINE MANGER Former Deputy Head TOM WATSON Current Chairman. Left
    to right: back row KEN CLARK Hon. Treasurer JOHN WOOD Electronic
    Engineer-Marine Biology TESSA THOMAS ANDREW NELSON Mr PASKINS Dr PERCY
    SEYMOUR Principal Lecturer in Astronomy.
  7. REV. Brother C.J. SREENAN Former Headmaster St Boniface School.
  8. MARIANNE
    TIERNEY Former Assistant Teacher; Department of English. Southway
    School. Present Deputy Manager for long-term unemployed RACHELTIERNEY
    Former pupil Southway School. Present Chief Assistant , Hoopers Turf
    Accountants Head Office.
  9. JUDY SPIERS with GUS HONEYBUN Television Presenter and entertainer.
  10. ANNE CLIEFE Supply Teacher.
  11. DIANE COLLINSON Faculty of Arts; The Open University.
  12. SUZANNE CALEY Parent - working with Young Offenders and Training Schemes.
  13. KAY JARDINE Student, B.A. (Hons) Social Policy and Administration and Diploma in Community Work.
  14. AUDREY CLAYTON Former Headmistress Devonport High School for Girls.
  15. MARGARET
    ROGERS Former Head Of Education Maria Grey College. Former Chair: Devon
    Education Committee. Present Alliance Spokesperson for Education.
  16. MARK VAUGHAN Founder of: Centre for Studies on
    Integration in Education (CSIE) Former worker, Advisory Centre for
    Education (ACE) Former Deputy News Editor. Times Educational
    Supplement.
  17. JOSLYN OWEN C.B.E. Chief Education Officer.
  18. LESLIE
    PAUL Former member of the Plymouth Education Committee for 30 years,
    and Chairman for its final eight years. Senior Past Lord Mayor; Hon
    Freeman of the City.
  19. TED PINNEY O.B.E. Former Chairman of the Education Committee; Present Leader of the Conservative Group, Devon County Council.
  20. COMMITTEE
    MEMBERS OF THE PLYMOUTH NATIONAL UNION OF TEACHERS. Left to right:-
    AGNES ROGERS Headteacher Hyde Park Infants VAL TINDALL Deputy Head
    Burleigh Secondary SUE LEONARD Senior Mistress Longcause School JOHN
    LEONARD Headteacher Bane Barton Primary School PAUL MATHEWS
    Instrumental and String Teacher West Devon. LYN HESELTON Teacher, Laira
    Green Primary. Former President Plymouth N.U.T. ANNE ROCHESTER Teacher,
    Hyde Park Infants. IVAN JEFFERSON Former Assistant Master, Plympton
    Grammar School. Present Hele’s School Plympton. MARGARET BATE Head
    Teacher Salisbury Road Infant. Former Devon County President, N.U.T.
  21. TUTORS AND STAFF OF THE PLYMOUTH BRANCH OPEN UNIVERSITY
    RAY MORGAN Staff Tutor-- Technology Prof; J.E.PHYTHIAN Staff Tutor
    Mathematics ROGER B. BECK Staff Tutor - Science MAGGIE OVENDEN Chief
    Clerk LAN GOODFELLOW Senior Councellor DIANE COLLINSON Staff Tutor -
    Faculty of Arts Dr RUDI DALLOS Staff Tutor- Psychology Dr A.THOMAS
    Staff Tutor- School of Education VERA N.BAILEY Secretary to the Senior
    Counsellor.
  22. MAURICE HOLT. M.A. M.ed.Ph.D. Writer and Lecturer on Education; College of St Mark and St John.
  23. JOHN WRIGHT. M.A. Area Education Officer West Devon.
  24. PHILIP TILDEN Pupil , Plymouth College.
  25. SYD Sniffing Glue.
  26. COUNCILLOR
    RALPH VERNON MORRELL Chairman of Governors College of Further Education
    Chairman of Governors College of Art and Design Chairman of Board of
    Directors, Theatre Royal.
  27. JACQUI CARREL Supply Teacher.
  28. ZELDA HILL
    Former pupil , Devonport County Secondary School; Wells Cathedral
    School; Devonport High School for Girls. Dartington College. Present
    accepted Exhibition Scholar undergraduate Royal Academy of Music. Aged
    Sixteen.
  29. MARGARET DONCASTER Former Principal Lecturer (Education, Children with Special Needs).College of St Mark and St John.
  30. Dr MICHAEL ROBBINS. C.B.E. Director. Plymouth Polytechnic.
  31. W.B.FOSTER. Principal. College of Further Education.
  32. DAVID OWEN County Advisor for Primary Mathematics.
  33. Dr GEORGE CHRYSSIDES Senior Lecturer in Philosophy. Plymouth Polytechnic.
  34. MIKE BRINDLEY Principal of the Plymouth College of Art and Design.
  35. DEREK CLOKE Warden. Plymouth Teachers’ Centre.
  36. Dr ADRIAN THATCHER Head of Religious Studies and Philosophy. College of St Mark and St John.
  37. ROY LEVACK Senior Lecturer in Mechanical and Production Engineering. College of Further Education.
  38. DAVID STANBURY. M.A. Chairman, West Devon Area Education Advisory Committee. Social Democratic Party Education Spokesman.
  39. PREBENDARY NORMAN DAVEY Director of Education of the Diocese of Exeter.
  40. BELLE PECORINI and HAYYAM on the moor.
  41. TOMMY VOSPER HANGED Former pupil, Devonport High School for Boys.
  42. ADRIAN ROMILLY.B,Sc.M. Senior Lecturer, Department of Mathematics and Statistics.
  43. ALAN PHILLIPS Senior Lecturer; School of Architecture.
  44. STAFF
    OF PILGRIM PRIMARY SCHOOL. Left to right:- DAVE HORN Community Worker
    AVA SHANNON Pupil RUTH HARVEY Pupil JUDITH DAWSON Special needs
    co-ordinator SHJELA STEVENS Co-ordinator of infants department and
    school resources KIETH LOZE Deputy Head; Environmental Studies SOPHIE
    SHANNON Pupil JEAN HOLSEN Infant Assistant JOHN PUGH Former Headmaster
    MARJORIE WATSON Teacher, Science Development at infant level DAVID HILL
    Teacher with responsibilities for language development, computer
    studies and in-service organisation ROBIN HOLWILL Pupil P.C. RICHARD
    HOILE Community Policeman Mrs KNOTT Cook in Charge ANNE DEMERANVLLLE
    Former Chairperson School Governors.
  45. YVONNE BLUMENKHAL, NATASHA and ASHLEY.
  46. WENDY CLAY Community Development Worker, Devonport Plymouth Community Development Association. The DART Project. Devonport.
  47. GORDON WALLACE Former Deputy Head, Tavistock School.
  48. ROSALYN AND DAVID NEWNS with NICHOLAS and ALLISON.
  49. MALCOLM BALDWIN Former student, College of Further Education.
  50. HEAD
    TEACHERS OF PRIMARY AND JUNIOR SCHOOLS, PLYMOUTH AREA. Standing; left
    to right; MANFRED KEMNER St. George’s C.E. Primary A.S. School,
    Stonehouse Seated; left to right: J.O.WHITNALL Leigham County Infants
    School BRENDA JONES Victoria Road Infants School K. EDMONDS Goosewell
    Junior School A. MULLAN Plympton St. Maurice Junior School NORMAN WATTS
    Montpelier Junior School ANTHONY G.A.WATES Tavistock County Primary
    School R.A.PERRY Woodfield Primary School W.R.PRIDIE Compton C of E
    Primary School VALERIE HARMAN Chaddlewood Junior School.
  51. STAFF AND PUPILS OF NOTRE DAME COMPREHENSIVE SCHOOL.
    Left to right: JAMIE GRECO Former Pupil , St.Boniface School. Present
    Student,College of Further Education. COLIN WOODMAN. Teacher of
    History. LYDIA LIBBY. Pupil. EMMA BOLANGARO. Pupil. SIMON LOBB. Lydia’s
    male associate. KATHLEEN HARLAND. Former Teacher, History and English.
    SISTER MARIE NUGENT. Former Sister Superior of Notre Dame Convent.
    SISTER KATHLEEN BULLEY Headteacher. LAURI LIBBY. Former Head Girl.
    SARAH CONNOLLY. Former Deputy Head Girl. Present Display Team Leader
    for Woolworth. ESTHER TILLS. Pupil. INGRES LOUISA LIBBY. Former Pupil.
  52. B.A. in HUMANITIES; RELIGION AND PHILOSOPHY. GROUP.
    COLLEGE OF ST. MARK and St. JOHN. Left to right:- LUCY HANNAN Student.
    MARIA JOHNSON Student. ANDREW MICHAEL LUCAS ‘LUKE’. Student. SUSAN
    AVENT. Student. Dr JIM LITTLE. Senior Lecturer in Religious Studies and
    Philosophy. MARIE DOWNES. Student. ELIZABETH K. FREDERICK. Student.
    LORRI BEIN. U.S. exchange Student. MARJORIE KYLE PALLA. U.S. exchange
    Student. PETER KNOWLES South relawney Primary School ANTHONY LUSCOMBE
    Widewell Primary School KIETH RICHARDSON Mount Wise Primary School.
  53. KAREN CIAMBRIELLO with MERCEDES, BIANCA, JOE and the painter.
  54. ZELDA
    HILL WITH TEACHERS AND ADVISORS. Standing: left to right: KIETH SMITH.
    Director of Music, Plymouth College Preparatory School. JOHN FORSTER.
    Senior Area Music Tutor. DENISE BOWDEN. Viola Tutor with Devon County
    Council. IAN WESTON. Former Music Teacher, Devonport Secondary; Present
    Music Teacher, Mount Tamar Special School.St. Budeaux. Seated:- ZELDA
    HILL. Former Pupil, Devonport County Secondary School; Wells Cathedral
    School; Devonport High School for Girls; Dartington College. Present
    accepted Exhibition Scholar undergraduate Royal Academy of Music. Aged
    sixteen. H.W.WORRALL. Headmaster, Devonport County Secondary.
  55. ROBBOBPISSITUPJIMROLLUPSCRAPMETALHEAD WITH TINS OF GLUE.
  56. B.A.
    RECREATION AND COMMUNITY STUDIES GROUP; COLLEGE OF St. MARK and
    St.JOHN. Left to right: MANDY CURRY. Student. PAUL HOLROYD. Student.
    ANTHEA EVENS. Student. SANDRA GINN. Student. TAMSIN ALSTON. Student
    GARTH ALLEN. Head of Applied Social Sciences. ALAN ‘TAFF’ THOMAS.
    Student. FRANCES IMBERT TERRY. Student.
  57. M.E.CADDY. Headteacher; Eggbuckland School.
  58. DAVID GRIBBLE. Former teacher, Dartington School. Present Head, The Sands School, Totnes.
  59. JEFF STRATTON. Headteacher, Barne Barton Secondary School.
  60. ERNEST GODDARD. Headmaster, Southway School.
  61. W.I.HARRIS. O.B.E. Headmaster, Coombe Dean School.
  62. DORA
    RUSSELL; Campaigner for Peace, Womens’ Rights; Authoress and Traveller.
    Founder of Beacon Hill School with Bertrand Russell.
  63. MICHAEL DUANE WITH HIS GRANDCHILDREN. Former Headteacher; Risinghill School. “Pragmatic Anarchist”.
  64. COLIN
    WILSON AND MEMBERS OF HIS FAMILY. Writer. Standing; left to right:-
    DAMON, SALLY, RODERICK. Seated:- BARRY, ROWAN, ‘HATTIE’, JOY, and
    COLIN.
  65. IAN GALLACHER. Dip.Ed. Headmaster; Honicknowle County Secondary School. Now working as a free-lance writer.
  66. RON
    GODFREY. Former Headteacher; Prince Rock Secondary. Present Senior
    Master, General Management Committee, and Maths Teacher; Lipson School.
  67. ROGER DESBOROUGH. Headmaster ;Kings Tamerton School. (Soon to be called Tamar Side).
  68. JOHN LIGHT. Former Head, Ford School. Present Head of Hackney Free and Parochial Secondary School.
  69. BRIAN HALL. Former Teacher in Charge of Commercial Studies; Southway School.
  70. ANTHONY M.JOYCE. Headmaster; Plymouth College.
  71. JOHN ANDERSON. Principal of the College of St.Mark and St. John.
  72. ANTHONY LOOSMORE. Headmaster; Estover School.
  73. JACK
    JONES. Deputy Head; Plym View Primary School.Deputy Leader of the
    Labour Group, Plymouth City Council. Plymouth City Councillor, West
    Devon Education Committee; Governor Southway School, Tamerton Vale
    Primary, Langley Infant School and Langley Junior School.
  74. ROGER TILBURY. Former Joint-Headmaster; Dartington Hall School.
  75. RICHARD ALLMAN. Warden; Swarthmore Adult Education Centre.
  76. GRAHAM THOMAS. Former Co-ordinator for Personal and Social Education, Southway School. Present Senior Teacher, Estover School.
  77. R.T.CLEMENT. County Advisor for Art and Design.
  78. ANTHONY R. LB FLEMING. County Music Advisor for Devon. Free-lance Composer, Conductor and Pianist.
  79. CLIFF
    HARRIS. Head of Year; Southway School. Researching into Records of
    Achievement, Bath University; formerly, Teacher of Social Education.
  80. Professor B.C. WRAGG. Director of School of Education,
    Exeter University. Chairman, Educational Broadcasting Council for the
    UK, 1987-88.
  81. EDWARD FRY. Dip.Ed. (Remedial and Special Education).
    Headmaster; Hillside Secondary School for Pupils with Moderate Learning
    Difficulties. Former Member of the National Committee of the National
    Council for Special Education.
  82. C.D.MURPHY. M.Sc. Psychologist.
  83. BILL
    DUFTON. Former Head of Environmental Science, Sothway School; and
    School Governor. Former Officer, Devon National Union of Teachers.
  84. MARK COUCHMAN. Head of Computer Studies; Widey High.
  85. Dr LUDMILLA RICK WOOD. Senior Lecturer at the Department of Psychology, Plymouth Polytechnic.
  86. Dr PHILIP STOKES. Senior Lecturer at the Department of Visual Communication; Trent Polytechnic.
  87. DAVID KING. Former Deputy Head; Montpelier Junior School, and Warden of Plymouth Teachers’ Centre.
  88. JOHN COLLINS. County Advisor for Secondary Mathematics.
  89. CYRIL MEEK. County Advisor for Physical Education.
  90. PETER LOVE. Principal Educational Psychologist. Senior Advisor (Special Education).
  91. JOHN MEAD. M.A. Former Headteacher; Laira Green Secondary School. Present Advisory Teacher for History, for Devon County.
  92. ANDREW
    BEBB. M.Th. Former Head of the Department of Religion and Philosophy;
    College of St. Mark and St. John. Present Head of Divinity at the
    Liverpool Institute of Higher Education.
  93. WALTER ALLEN. Teacher of English, The Ridgeway School, Plympton. Musician.
  94. MICHAEL E. HYLAND, Ph.D. Psychologist.
  95. E.C. JAMES. Educational Psychologist.
  96. LIZ WITH HER SON PAUL.
  97. DONNA AND ANDREA EDWARDS. Former Pupils, Montpelier Primary School.
  98. B.T.HALL. BSc. Headmaster; Hele’s School.
  99. JOHN POPPLESTONE. Former Headmaster; Ernesettle Secondary School.
  100. NICHOLAS
    MILES KIRKE, with Badger the Dog ALEXIS JOHN KIRKE. Pupil Plymouth
    College NICHOLAS JAROFLAV KIRKE Pupil Plymouth College.
  101. PETER BARTON, WIFE AND CHILDREN.
  102. ROY STICKLAND. Former Headmaster; Charles C of B Secondary School.
  103. HUGH JORY. Former Teacher.
  104. G.
    LARBALESTIER. Senior Lecturer in Genetics, Plymouth Polytechnic. JILL
    LARBALESTIER. Practice Nurse. MICHAEL LARBALESTIER. Student. ANDREW
    LARBALESTIER. Former Pupil, Devonport High School for Boys.
  105. LEE CHRISTOPHER JOSEPH ARKINS. Pupil Eggbuckland School.
    KELLY LOUISE ANNE ARKINS. Former Pupil, Austin Farm Primary. Present
    Pupil, Eggbuckland School.
  106. TRIPTYCH. THE MASSACRE OF THE INNOCENTS. Right-hand panel depicts St. Vocation. Left-hand panel depicts St. Myopia.
  107. Dr
    REUVEN FEUERSTEIN. Psychologist. Formulator of theories and remedial
    techniques – collectively called Instrumental Enrichment, (IE).
  108. IVOR D.ELLIOTT WITH A GROUP OF CHILDREN AT ILFRACOMBE SCHOOL WORKING WITH ‘PHILOSOPHY FOR CHILDREN’.
  109. WEST
    DEVON AREA EDUCATION ADVISORY COMMITTEE. Left to right: COUNCILLOR
    M.G.HUGHES. Former Plymouth Councilor on the Education Committee and
    Community Education Committee; present Chairman of East Plymouth
    Community Education Team Management Committee. COUNCILLOR REG CURRY.
    Former Leader of the Devon County Council Labour Group; Principal
    Spokesman on Education for the Devon County Council Labour Party Group.
    Now City Alderman. Dr VERNON WILLIAMS. B.A.(Ed.) B.Sc.; Ph.D.; F.R.G.S.
    Deputy Principal, College of St. Mark and St. John. Former Chairman of
    the West Devon Area Advisory Committee. COUNCILLOR STEPHEN HOLE. Devon
    County Councilor. Member of Education Committee and associated
    Committees. COUNCILLOR CONNIE PASCOE. Vice Chairman Youth and Community
    Education Sub-Committee, Devon County Council. City Council
    Representative on Western Area Advisory Committee. Conservative
    Spokesman for Education Matters. COUNCILLOR DAVID KNOTT. Labour Devon
    County Councilor, and Plymouth Labour Member of Devon Education
    Committee. COUNCILLOR JOHN ARNAUD. Former Devon County Councilor and
    Member of Plymouth Advisory Education Committee. (This painting is
    related to The sampling officials of the drapers’ guild, known as THE
    SYNDICS; painted by Rembrandt in 1661-62. The painting depicts the
    syndics who held office from Good Friday to Good Friday. The function
    of the syndics was to view cloth hung for inspection. These five cloth
    wardens, (staalmeesters; sample-masters), regulated the quality of the
    cloth sold in the city, and the book in front of the chairman is
    probably the sample book against which the cloth to be inspected was
    checked. It is known that Rembrandt had drawn upon compositional
    elements of Leonardo’s Last Supper for his painting, which now hangs in
    the Rijksmuseum, Amsterdam.)
  110. MEMBERS OF THE PLYMOUTH ARTS CENTRE COMMITTEE AND STAFF
    Left to right: PETER RICHES. Head of Creative Studies Faculty;
    Eggbuckland School. MICHAEL ROSE. Former Film Co-ordinator. COLIN DAMP.
    Former Publicity Officer. PATRICIA AVERY. Visitor. DONALD KING. Former
    Hon. Treasurer. Head of Business Studies; Plymouth Polytechnic. ANNE
    GILL. Volunteer. JILL WARD. Former Secretary; Plymouth Arts Centre
    Committee. ALISON TORAFTER. Volunteer. JANE MELVIN. Former Book-Keeper.
    DOUGLAS COLTON. Founder Member, Plymouth Arts Centre, liaising between
    the Unions and the Arts. LORRAINE PEARCE. Volunteer. SUE HOR WOOD.
    Volunteer. Foreground:- BERNARD SAMUELS. Director: Plymouth Arts
    Centre.
  111. CARITAS ROMANA. The painter with Janine Pecorini. The
    strange legend which Renaissance Humanists called Caritas Romana, tells
    the story of a Roman General, who though honourable, was a political
    inconvenience. He was imprisoned for a false crime, and left to die of
    starvation. The goalers were unable to understand his survival until
    they came upon him being breast-fed by his visiting daughter. Moved by
    this example of filial virtue they released the General. Post
    Krafft-Ebing and Freud Western psychology however casts quite a
    different aura on the image of a young person breast feeding an older
    person. Incestuous desire to gerontophilia; infantile oral sexuality to
    sado-masochism, are common interpretations of what was once a Classical
    high-minded and edifying drama. This painting has also in mind the
    striking illustration found in a remarkable alchemical book of emblems
    by Michael Maier (a seventeenth century court physician to Emperor
    Rudolph II), called Atalanta Fugiens. Emblem II :“Nutrix eius Terra
    est”, - Its Nurse is the Earth - depicts a globe-woman suckling a
    child. By her side Romulus is nursed by a wolf, and Jupiter by a goat.
    The Epigram closes with the observation:- If an insignificant animal
    nursed such great heroes, Shall he not be great, who has the
    Terrestrial Globe as a nurse. These two formulas refer to the idea that
    knowledge/milk, can be drawn out/educare, by people of all ages.
  112. STAFF AND REPRESENTATIVES OF THE RUDOLPH STEINER
    SCHOOLS; PLYMOUTH/TOTNES. Left to right:- CHRISTOPHER COOPER. Modern
    Language Lecturer, Rudolph Steiner School. NORA THOMAS. Co-Founder,
    Plymouth Rudolph Steiner Kindergarten. State trained teacher. Former
    Headteacher; Stoke Dameral Infants. JEAN HATHERLEY. Hon-Secretary and
    FounderMember of Plymouth Rudolph Steiner Kindergarten. MARGOT COOPER.
    Eurythmist and painter. STEVEN LINTELL. Aged three and a half. JOHN
    BENIONS. Fifty years a Steiner Teacher. One of the Founder Members of
    Wynstones, Gloucester. ELIZABETH GOOD. Aged four yeas.
  113. ANTONIAMELVYN. Former Plymouth Welfare Information Project Co-ordinator.
  114. D.V.G.WILLIAMS. Former Teacher, Design and Technology. Metalwork and Techdrawing.
  115. ROY VICARY. Chairman, Plymouth and District Branch of Conservation Society.
  116. FORMER
    SUPPORTERS OF MILITANT/SOCIALIST IDEAS: PLYMOUTH. Left to right:- DEAN
    RYLAND. RACHEL HARRIS. Now in North America promoting Socialist ideas.
    WILLIAM ANTHONY HARVEY. KEN. CAROLINE LEYSHAM. EVE BE VAN. SIMON
    LANGDON. DANNY MORRIS. LINDSY. SUE INCH Foreground:- LIZ MORRIS with
    ZUSKA.
  117. CON MURPHY. Former Headteacher; Crownhill Secondary
    School; 1975-1983. Co-ordinator, the Ten Schools Professional
    Programme; 1983-1987.
  118. KIETH and LYNDA WILLIAMS with JUSTIN.
  119. CHRIS
    KELLY. Former pupil; Devonport High School for Boys. Present student,
    B.A. Film, Video and Photographic Arts, Polytechnic, Central London.
  120. DAVID S. COUSENS. Teacher of Craft, Design and Technology. Estover School.
  121. BARBARA GEDDES. Headteacher; Lipson School.
  122. ROBIN LORAN. B.Sc. M.Phil. Senior Lecturer in Mathematics; Plymouth Polytechnic.
  123. JOHN KALER. Senior Lecturer, Humanities, Plymouth Polytechnic.
  124. THE FIGHT.
  125. MANAGING
    DIRECTORS - PLYMOUTH. Left to right:- EDDIE BELK. Former Manager;
    Midland Bank. Former Chairman; Young Enterprise. DAVID JOHNSTON. Former
    Managing Director; Devonport Dockyard. PETER SELDEN. Managing Director;
    Interlube Systems Ltd. LORNA SEWELL. Managing Director. Louis F. Paul
    Ltd.Wholesale Newspaper Distributors. NORMAN PROCTOR. Former Managing
    Director of a Tecalemit Group Company. Governor, College of Further
    Education. Management Consultant. PETER NELSON WOOD. Former Director,
    Plymouth Chamber of Commerce and Industry; 1980-87. Former Secretary to
    the Area Board: Young Enterprise. 1980- 87. Present Member of Plymouth
    City Council. Governor; College of Further Education. Governor; Kings
    Tamerton School (to become Tamar Side School). ANTHONY JOHNSON. Public
    Relations Manager; British Telecom, Plymouth.
  126. LIZ TARR. Headteacher; Thornbury County Primary School.
  127. PAUL DAVID ASHTON, HEIDI JANE ASHTON. Holy Cross R.C. School.
  128. BRENDA McNICHOLLS. Former Headteacher; Crownhill Secondary School.
  129. KEN STOYLE. Headteacher; Penlee School.
  130. TERRY JONES. County Advisor for Drama and Dance.
  131. DAVID BALL. Social Worker. Left to right: LYNNE COLLIHOLE. JACKY BANNISTER. DAVID BALL. LISA FROST. JOHN DAVIS.
  132. STRAIGHT-JACKETED
    GIRLS FORMER PUPILS, PUBLIC HIGH FOR GIRLS. Left to right:SAMANTHA
    BOULTER. SANDRA CHURCHWARD. HELEN POINTON. JOANNE STIDWELL. ALISON
    NORTHCOTT.
  133. RICK. Ex-troublemaker.
  134. Dr STEPHEN HUGGETT. Senior Lecturer in Mathematics; Plymouth Polytechnic.
  135. GOVERNORS
    OF SOUTHWAY SCHOOL. Left to right: COUNCILLOR W.E.EVANS. I.S.M.
    Chairman. Former Chairman of Devon County Council. R.BILLINGS. B.Com.
    Governor. M.J.SHEPPARD. Former Parent-governor. J. ANDERSON.
    Vice-Chairman. Senior Lecturer; College of St.Mark and St. John. JUDY
    BARNACLE. Former Governor. COLIN WHITBY. Governor. PRICILLA GRIGGS.
    Former Governor. G.A.STEVENSON. Former Governor. M.DOBIE. Former
    Teacher-Governor; Head of Home Economics. J. TRELOAR. Former Governor.
    IVOR TEMPLE-SMITH. Former Governor and President of the National
    Association of Head Teachers; Council Member for Devon and Cornwall.
    JACK JONES. Governor. Deputy Leader of the Labour Group, Plymouth City
    Council; Deputy Head Plym View Primary School. Plymouth City
    Councillor, West Devon Education Committee; Governor ; Tamerton Vale
    Primary, Langley Infant School and Langley Junior School. MARY
    STRATTON. Former Parent-Governor. Ancillary worker at another school.
    Married to a Headteacher. C.H.OSTERMEYER. Former Governor. Kneeling:-
    JOHN CHIVERS. Senior Caretaker. The kneeling figure holds a compass
    whilst directing his gaze towards a crumpled drawing of Sir Isaac
    Newton by William Blake. The coloured monotype, in the Tate Gallery -
    for which this drawing is a reversed sketch - indicates that Newton is
    sitting at the bottom of the sea. For Blake water was the symbol of
    Newton’s materialistic philosophy. In Tiriel, a poem illustrated with
    drawings but not published, Blake had already denounced the current
    view of childhood - deriving in great measure from Locke, that early
    forerunner of behaviorism and brain-washing - as a passive state to be
    ‘formed’ by ‘instruction’. The poem describes with scathing indignation
    the consequences of ‘forming’ a child according to the laws of
    mechanistic rationalism, imposed all from outside and regardless of the
    mysterious formative laws of life itself. Tiriel, the blind parental
    tyrant, is himself the product of such an education, and dies cursing
    those who, by compelling him into conformity, had denied him life.
    ‘Infancy’, Rousseau wrote, ‘has a manner of perceiving, thinking and
    feeling peculiar to itself.’ Premature instruction is ‘without regard
    to the peculiar genius of each. For, besides the constitution common to
    its species, each child at its birth possesses a peculiar temperament,
    which determines its genius and character, and which it is improper
    either to pervert or restrain, the business of education being only to
    model and bring it to perfection.’ So also thought Blake. Childhood,
    for Blake, is the purest essence of the spirit of life; the thing
    itself. The instructions of education can add nothing to Being.
    ‘Everything that lives is holy’, not by virtue of any added qualities,
    but in its essence: ‘I have no name, ‘I am but two days old.’ What
    shall I call thee? ‘I happy am, ‘Joy is my name.’ Blake in these
    seemingly naive lines is describing the nature of life as he conceived
    it. Joy - delight - and all life seeks joy as its natural state. For
    him, the mechanistic view of the universe - Bacon, Newton and Locke -
    was the enemy of life; life which is immeasurable, not to be captured
    or contained within the quantitative ‘laws of nature’. Blake recognized
    Newton’s genius, and therefore attacked his error, which was the
    triumph of materialism. ‘He who sees the Infinite in all things sees
    God. He who sees the Ratio only sees himself only’. In Blake’s view,
    Newton is thus the Self-obsessed rational man.
  136. STAFF AT THE PLYMOUTH CITY MUSEUM AND ART GALLERY. Top
    of Stairs:- IRENE RYAN. Attendant. Seated on stairs:- The painter.
    Standing at base of stairs; left to right:- GEORGE WOODFINE. Museum
    Charge-Hand. COLIN HEAD. Former Museum Attendant. EVE STROUD.
    Volunteer. JOHN EVANS. Former Museum Foreman. Dr ROBERT KNIGHT. Curator
    Park Pharmacy Trust Dr JAN KNIGHT. Secretary Park Pharmacy Trust Back
    row:- MARTIN EDWARD BAKER Former Attendant. PATSY JONES. Former
    Attendant. JOHN VENN CONDUCT. Attendant. TERRY GORMAN. Attendant. JEAN
    GRAHAM. Former Administration Officer. CYNTHIA GASKELL BROWN. Keeper of
    Archeology and Local History. IAN O’RIORDAN. Former Assistant Keeper of
    Art. JOYCE SEARLE. B.A. Head of History; Devonport High School for
    Girls. Middle row:- ERIC DUNN. Cabinet Maker and Restorer. WYN SCUTT
    Assistant Keeper of Archeology and Local History. DEBBIE COLEMAN.
    Former Keeper of Conservation. JAMES BARBER. Senior Keeper. Front row:-
    RACHEL COUTER. Pupil; Devonport High School for Girls. MAUREEN ATTRILL.
    Art Department Keeper. DAVID CURRY. Keeper of Natural History.
    COUNCILLOR PRUDENCE HOCKEN. Chairman of the Museum Sub-Committee.
    MURIAL GLANFIELD. Domestic Cleaner and Attendant.
  137. THE DEPOSITION - THE BURIAL OF EDUCATION. This study,
    structured loosely on The Burial of Count Orgaz by El Greco, relates in
    atmosphere and design to KINDERTOTENLIEDER (Songs on the Deaths of
    Children) a cycle of five orchestral songs (1901-4), by Gustav Mahler.
    The poems were written by Friedrich Ruckert after the death of his two
    children. The fifth poem: - ‘In this grim weather’ - transformed by
    Mahler, is of exquisite beauty. The central pillar of figures in the
    Deposition, relate to the remarkable transition from bitter irony to
    unsentimental acceptance so movingly expressed by Mahler. The painting
    also relates to Robert Schumman’s Liederkreis Op.39, setting to music a
    poem by Eichendorff; Mondnacht:- “Es war als hatt der Himmel”. The
    painting relates finally, to Richard Strauss’s Vier Letzte Lieder; in
    particular, the Hermann Hesse poem “Beim Schlafengehen” These pieces of
    music may be heard within the vicinity of this picture. A book of notes
    and studies - not on view - detail a large number of cross-references
    relating to this work. The metaphor of the soul of the dead child
    rising to ‘heaven’ is of great significance to this project on
    education. This painting may be seen as the heart in the body of this
    collection.
  138. THE PAINTER WITH MEGAN ‘Expulsion from the garden of Eden theme’.
  139. THE PAINTER WITH DAVINA. ‘Expulsion from the Garden of Eden theme’.
  140. Dr LYN BLACKSHAW. Former Headmaster of Dartington School with his wife BETH and children.
  141. SUSAN
    SKINNER WITH A MUSIC GROUP. Left to right:- SUSAN SKINNER. Head of
    Music; The Ridgeway School. TRACI COLEMAN Former Pupil ;The Ridgeway
    School MICHELLE GROVE. Pupil; The Ridgeway School. KEVIN WILES. Former
    Pupil; The Ridgeway School. Present working musician and songwriter.
    WALTER ALLEN. Teacher of English; The Ridgeway school.
  142. GROUP OF DEAF AND DISADVANTAGED. Left to right:- back
    row. SARAH TATE, LES SAXON. Teacher of the Deaf and Disadvantaged, Mime
    and Drama. Next row:- HELEN MITCHELL, GAVIN KELLY, SHANE STADDON, ANDI
    HIGGINSON. Teacher of the Deaf and Disadvantaged, Mime and Drama.
  143. DAVID BROWN. Former Student, B.Sc. Biology. Plymouth Polytechnic.
  144. BOB HOOPER, B.A., A.T.D. Head of Art and Design, Tavistock School.
  145. KEVIN GASSON. Mentally disadvantaged.
  146. Dr BRIAN POLLARD His wife JANE, their two children JAMES and PATRICK.
  147. THE PAINTER WITH TWO OF HIS SONS WOLFE AND RUEBEN. In the Studio Street Window.
  148. JOAN DEBENHAM. Deputy Head of Devonport High School for Girls.
  149. RON
    MOORE (Former Headmaster of Mill Ford School) WITH REPRESENTATIVES FOR
    THE MENTALLY HANDICAPPED; PLYMOUTH. (This study is selected from three
    hundred paintings on the theme of Mental Handicap; Section Three of the
    Relationship Series.)
  150. DORA RUSSELL. (Smaller Study).

Project 18: The Painter With Women

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"Reflection does not concern itself with objects themselves with a view to deriving concepts from them directly, but it is the state of mind in which we first set ourselves to discover the subjective conditions under which we are able to arrive at concepts." Kant.

"In every relationship there are a minimum of six people... you; the person talking to you; the person you think you are; the person you think they are; the person they think they are and the person they think you are." Voltaire.

Lenkiewicz agreed to show three introductory sketch shows between 1990-1992 at two consecutive galleries managed by Francis Mallet on The Barbican. The fuller and articulated collection was presented at the International Convention Centre in Birmingham in 1994. The project received a great deal of attention, little of it intelligent. The three smaller exhibitions introduced some ideas paralleling the theme of the 'mirror' with that of the 'companion'. Lenkiewicz notes:

"Philosophers have been fascinated by (the formula of the reflection) for centuries. After Descartes we move away from straight forward considerations of objects towards the 'experience' in which objects are given. Self-reflection marks the human beings' rise to the rank of a subject . . . Narcissus is the first artist/man transfixed by a reflection. This project suggested that the 'other' is always oneself. Narcissus simply did not know that the watery reflection was his own; he wasted away in a reverie imagining that the object of his desire was outside himself."

The Exhibition took as its starting point the metaphor of 'The Folly of Wise Men'. The first of the three formulas the story of Aristotle and Phyllis, has nothing to do with the historical Aristotle. It originated as a piece of Medieval libel, a misogynistic formula for Passion riding Reason. The second of the formulas used the theme of 'The Temptation of St. Antony'. The life history of St. Antony, the Abbot of the Desert so often waylaid by devils and diabolical visions, frequently warns against the 'power of women'. He is an example of incorruptibility, resisting the 'great dust cloud of argument' that the enemy raises in his mind.

These images deal with wisdom and folly. Lenkiewicz uses the formulae as metaphors for the absurdity of regarding relationships beyond their aesthetic value. He writes:

"These formulae are so loaded and cross-referential that the visitor also must resist temptation. The work can be misunderstood. 'Patterns' of obsessive behaviour are what interest me - the form not the content."

Lenkiewicz's contention is that our attraction to people, objects, ideas, and belief systems are rooted in a common physiological impulse stemming from an entire aesthetic matrix.

"The assumption that we are empathic/concerned about the welfare of another person independently of our own needs, is like St. Antony's visions, hallucinatory."

The concept of the 'Double' is helpful here. Mirrors are abysses. As Lenkiewicz has written in one of his note books:

"To paint oneself is to paint the portrait of a man who is going to die. Relationships are mirrors. The painter looks into the mirror to paint himself; the lover looks into his lover to love himself. She sits on my lap, a reflection of my aesthetic addictions; a reflection in a reflection. The painter reflects upon the reflection. The woman reflects upon the painter reflected. I am thinking of your partner, Priest, or your spouse, Art Historian, and you, the one holding this catalogue with good humour or with irritation. I am thinking of 'that' person, you know the one. They could all be on my lap in these paintings. I am no longer young, less fit than I was and I still mean what I say. It is not me that annoys or threatens. It is the knowledge in the heads of my companions (my companions in arms), my doubles. And if your smile of recognition, your smile of humane resignation is the smile I hope it is; then you are my double too."


Related Content:

Birmingham NEC Exhibition 1994

Project 19: Landscape

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

"Everything takes form, even infinity." Bachelard.

"A lake is the earth's eye; looking into which the beholder measures the depth of his own nature." Thoreau.

In 1995 Lenkiewicz returned to an adolescent preoccupation - Landscape. In early youth he would stare out of the window from the bed he slept in, mesmerised as so many young people are, by the huge swathes of clouds mounted in the sky like a vast cathedral vault. It was difficult at that time to grasp that the sky ceiling was the largest dome on the planet, but one could certainly understand why clouds were called 'the thrones of gods'. A small exhibition of his at St. Martin's School of Art comprised of 20 drawings of steam, recorded from the trains at Paddington Station. Only in recent years has Lenkiewicz returned to working in isolation in woods or by a lake, where he planned a large project titled 'Landscape: The Painter as St. Jerome'. This project was intended as an enquiry into the relationship between natural forces and a single person. Forty of these paintings were shown at The Barbican Museum and Library Annexe. He wrote:

"In youth every window, every door opening framed the world outside. There were two kinds of space, the intimate space where I stood and the exterior space that one could believe expanded consciousness. The larger the space observed the more timeless, meditative, even exalted one could feel. Space has been termed a 'Psychological transcendent'. The larger the context in which we stand, the greater our solitude. Our eye eliminates boundaries, nothing contradicts; distance shuts off moral codes."

In student days when Lenkiewicz visited The National Gallery, which was frequently, he was struck by the images of St. Jerome, and in particular a small panel by Patinier. From the early 17th Century images of St. Jerome had developed into theatrically lit excuses for recording sinewed, taut and wasted elderly men - almost an illustration for medical students studying anatomy, of cadaverous musculature. Before this phase however, St. Jerome would be hard to find, as he sat lost in a vast, stony and desolate landscape traversing rivers, forests and mountain peaks. The clear purpose of such imagery was existential; man lost, missing, in a terrifying infinity. Man insignificant. Images like these are the stuff of tragedy; late Michelangelo, late Goya, late Rothko. Lenkiewicz wrote:

"All human enterprise seems to evaporate into the vapours that we inhale and exhale by seeing. Seeing is eating, our visual mouth can swallow universes, exhale the starry night. When we are moved we are filled. To be touched by things is to be made smaller, to be diminished. In one aesthetic mood we ride clouds and leapfrog oaks, in another we sleep beneath a leaf and nestle with insects. Space is a state of mind, agoraphobic and claustrophobic. We are strangely haunted by events that are innocent of themselves, we do not cry "Show off" to nature. We are silenced into meditative irony, diminished and expanded, an elastic perception of minutiae one moment and infinity the next. "

In future developments of this project Lenkiewicz intends to expand the themes of Earth, Air, Fire and Water.

Landscape Project: project list

This is the list on the official brochure for the Landscape Project exhibited at The Annexe on the Barbican:

  1. Moon over estuary.
  2. Estuary — evening.
  3. Estuary — Autumn.
  4. Warren Woods Reflection.
  5. Entrance to the Courseway.
  6. Estuary.
  7. St John’s wort with trees.
  8. Clouds over estuary.
  9. Clouds over estuary.
  10. Storm over estuary.
  11. Moon over Lower Compton.
  12. Moon over estuary.
  13. Painter by the Lake — 3.00 am.
  14. Branch over Lake.
  15. Painter by the Lake — evening.
  16. The Sun.
  17. Trees by the Lake.
  18. Clouds over estuary.
  19. Shaugh Prior Woods.
  20. Estuary — early morning.
  21. Estuary at midnight.
  22. Lake — early morning.
  23. Estuary — early morning.
  24. Sun setting on Warren Woods — 9.3Opm.
  25. Painter at the hut — Shaugh Prior.
  26. Painter by the Lake —. early morning.
  27. Lake — early evening.
  28. Storm over Lake.
  29. Painter in the wind — 2.00am.
  30. Clouds over estuary.
  31. Warren Woods.
  32. Painter in the wind — 12 noon.
  33. Outside Painter’s Studio — winter, Barbican.
  34. The Garden at Lower Compton.
  35. Karen on the Barbican.
  36. The White Lady - Shaugh Prior.
  37. Branch across lake.
  38. Evening Moon.

Project 20: Addictive Behaviour

The following brief explanation was contained in the booklet produced to accompany a Retrospective of Lenkiewicz's work in 1997.

In 1996 Lenkiewicz embarked on the largest of all his projects to date. The theme is Addictive Behaviour. This project is an attempt to define and clarify the basic tenets that have run through the 19 previous projects. It is intended that Project 20 should consolidate clearly and simply the common issues. The Addiction project will be divided into eight sections: Section one will deal with conventionally socially recognised addictive scenarios, alcohol, drugs, gambling and eating disorders. Section two will represent the largest single addictive scenario experienced by the human race, cross culturally and at all ages - falling in love. This section will be the hub of the wheel of addictions. Section three will deal with theological persuasions. There are over 800 versions of Jesus culture in England alone, a considerable proportion of them in the South West. The fourth Section will deal with social and political convictions "I've voted Tory/Labour all my life" etc. Section five will look at the concept of the family, " I Love my little Billy but he'd better not play with dirty Johnny down the road." Children as property etc. Section six will look at the vast and cross-referential eccentricities of addictions and obsessive behaviours, from self-mutilation to collecting hosiery. Attitudes towards cars, houses, gardens, and other 'collecting' behaviours. Section seven will deal with creativity in relation to addiction. "I'm a writer/ poet/ painter/ actor/ dancer" etc. Finally, Lenkiewicz will conclude with section eight on Bibliomania. This project it is hoped, will involve 800 sitters, from the widest possible range of life experience. Each of the sitters has been asked to write a minimum of 1000 words on their circumstances and on their opinion as to what addiction is. By means of this project Lenkiewicz hopes to get closer to the physiological essentials that may cause 'fanatical belief system' behaviour and to explain the impulse that many of us have to subjugate private thought for mass thought, private responsibility for mass responsibility. He does not think there is a more appropriate line of enquiry than to consider the reasons why individuals and groups of people experience such a high failure rate in getting on with each other.

Lydia Sylvette David

Lydia Sylvette David‘Lydia Corbett’ is a picture that R.O.L painted during his ‘Addictive
Behaviour’ project. Lydia put her name forward when R.O.L asked for
famous subjects with addictions. Lydia’s addiction was her religion.

Lydia Sylvette David began her artistic life not as a painter, but as a
model for Pablo Picasso. When she was seventeen years old, she was
living in the south of France with her English-born mother who was an
artist, her brother, and her boyfriend, Toby Jellinek, a maker of
avant-garde metal chairs. Picasso had set up a studio nearby and
noticed Jellinek’s unusual pieces. He asked him to deliver a couple of
the chairs to his studio, and with him went Sylvette David. Shortly
after, Picasso presented a picture of her, drawn from memory, and
convinced David to model for him.

A shy girl, David was tall and had striking looks. She wore her hair in
a long, blond ponytail, a style like that which Brigitte Bardot would
later adopt. It was her hair and face that captivated Picasso, but
unlike many of his other models, their relationship was purely
platonic. In the months she sat for him in 1954, Picasso produced over
forty pieces based on her likeness (‘The Girl with the Ponytail’ series
of paintings and sculptures). Photos of Picasso and his model also
appeared in an issue of the widely read magazine Paris-Match.

David would relate that she began drawing to pass the time while she
sat for Picasso, often posed in a rocking chair. She later married and
moved to England with her husband, and not wanting to capitalize on her
fame as a painter’s muse, signed her work with her married name, Lydia
Corbett. Eventually, she added a second signature to her paintings and
watercolors, that of Sylvette David. As her reputation as an artist
grew, she exhibited her work in England and France , including several
London exhibitions.

Photos of Lenkiewicz's painting of Lydia, shots of R.O.L painting
Lydia, and a photo of a recent meeting with Lydia where she signed the
piece, and a few of Picasso’s painting of her can be viewed here.

Project 21: Paintings Painted Blind - On The Theme Of Tobit

Blind Tobit: Paintings Painted Blind was exhibited in 2000 at the The Mission, the New Street Gallery, and then found a home at The Annexe.

Undertaken as a small experimental theme inspired by the Biblical character of Tobit and Lenkiewicz's research on blindness as a metaphor, it was later designated as Project 21. The paintings were done at a specially prepared studio in which the artist was able to paint blindfolded. The paint tins, brushes, canvases, etc., were laid out in precise locations, and the canvases were painted by 'feel' and 40 years of cunning painterly instinct. Robert claimed never to have seen the finished results until they were unveiled before the public for the first time.

Paintings Painted Blind: project notes and list

A Note on Painting Blind:

“I have grown to believe that a really intelligent man makes an indifferent painter, for painting requires a certain blindness — a partial refusal to be aware of all the options.” Mrs Talmann, in THE DRAUGHTSMAN’S CONTRACT

Peter Greenaway.

It is not doubted that the artist is prey to a proliferation of choices from the invisible, but is that enough to make him a blind man? The artist makes his first mark — just the point, the touch of the mark; the form, image, the thing is not yet drawn — it is invisible in those seconds. That dab, that touch, the image is not yet visible. The artist sees some bit, some section, but it is not on the paper: -

“What is it to draw?” asks Van Gogh. “How do we do it? It is the act of clearing a path for oneself through an invisible iron wall.”

The artist draws from memory — the image in the brain — fleeting, fragmentary — not from nature.

As the artist makes marks he begins to go blind.

“An artist,” says Baudelaire, “accustomed to rely on his memory and imagination will find himself at the mercy of a riot of detail clamouring for justice with the fury of the mob in love with equality. The more our artist turns an impartial eye on detail, the greater the state of anarchy.”

Memory can be sighted — perception can be blind.

“I write without seeing. I came. I wanted to kiss your hand...This is the first time I have ever written in the dark, not knowing whether I am indeed forming letters. Wherever there will be nothing, read that I love you.” Diderot. Letter to Sophie Volland, June 10th, 1759.

It is as if seeing were forbidden in order to draw. The mark starts from itself by leaving itself. Working blind is not as sightless as it seems — it is not a conjuring trick. The skill of two-dimensional mark-making in order to simulate the three dimensional world is an ancient one.
Walking does it; breathing in and out makes a billion patterned vapours invisible in the air. For most of us seeing is like the way we breathe, we inhale and exhale the visual event; but it goes deep into the lungs.

This skill is valued less and less nowadays, and probably rightly so. There is a sightless quality to any investigation. Inquiry has to makeshift and design its own road; building the road to an uncertain destination. Blindness is inherent in creative activity — so much more is left out than put in — so much refusal to see is involved in seeing.

R.O. Lenkiewicz
The Library at Lower Compton
June 2000

Project 21: Blind Tobit: Paintings Painted Blind

 

  1. CORPSE ON A ROCK
  2. TOBIT SLEEPING
  3. BLIND TOBIT CRYING
  4. BLIND TOBIT SHOUTING AT HIS WIFE
  5. BLIND TOBIT WITH A BIRD
  6. BLIND TOBIT CRYING WITH A BIRD
  7. BLIND TOBIT MASTURBATING IN THE WIND
  8. BLIND TOBIT FEELING HIS SON’S EYES
  9. BLIND TOBIT LOOKING AT THE SUN
  10. BLIND TOBIT LOOKING AT THE SUN
  11. BLIND TOBIT AT PRAYER
  12. BLIND TOBIT WAITING
  13. BLIND TOBIT FALLING
  14. BLIND TOBITRUNNING
  15. BLIND TOBIT EMBRACES HIS SON
  16. THE ANGEL SMILING AT BLIND TOBIT
  17. BLIND TOBIT MEETS THE ANGEL
  18. BLIND TOBIT AND ANGEL
  19. BLIND TOBIT TOUCHING THE ANGEL’S WING
  20. THE ANGEL BOWS
  21. TOBIAH PUTS GALL INTO HIS FATHER’S EYES
  22. TOBIT SEES A FLOCK OF BIRDS
  23. TOBIT GIVES UP HIS SPIRIT
  24. Self-portrait blindfolded in private studio (sighted painting).

Project 22: Still Lives II

This is currently a placeholder for information on Project 22.

It is understood that it was to be titled "Still Lives II". It is unclear whether any paintings were ever painted specifically for this Project.

Please edit this article to add any information that you have on this Project.

Project 23: Time

It is understood that this Project was to be titled "Time". It is unclear how many paintings were painted specifically for this Project.

Man Swallowing TimeOne known example is Man Swallowing Time, which has written on the reverse - "Project 23, painting no. ?12".

There is believed to be at least one other painting marked for this Project.

 

Please edit this article to add any information that you have on this Project.

Project 24: The Harrowing of Hell

The Harrowing of Hell was never formally initiated as a Project. There were, however, various preparatory ideas and possibly some paintings.

Lenkiewicz began talking about his ideas for this project a few years before his death. It was apparently going to be a small project, one of a few that Lenkiewcz intended to work on once Project 20 was completed.

The paintings were going to be chiefly grisailles.

It is believed that the first painting intended for this project may have been produced as early as 1993, It was a large tryptich featuring Lenkiewicz sitting cross-legged on the floor, painted in grisaille with swirling masses of white cloth above him which spread onto the left and right panels.

There were a small number of paintings found in a private studio after Lenkiewicz's death which looked like they could have been part of this theme.

It is possible that some of the preparatory thought and work for The Harrowing of Hell might have informed the Blind Tobit Project.

Non-Project Work

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Style and Technique

This is a placeholder for information about Lenkiewicz's painting style and technique.

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Use of Colour

This is a placeholder for information on Lenkiewicz's use of colour.

Quote from Nakem Shoa in 2006:

"For me Lenkiewic's greatest contribution to figurative painting is his deep and penetrating research into colour: not in a pigment sense, but in the way he translates the retinal experience onto canvas. His unmatched ability to break down tone and colour into a huge range of shades and hues allowed him to push his colour to a great richness of hue and yet still stay in the boundaries of the way the eyes see.

There is no other figurative painter who works directly in front of the model that has reached his brilliant use of colour."

 

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Use of Light and Shade

This is a placeholder for information on Lenkiewicz's use of light and shade in his paintings.

 

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Use of Texture

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Canvas

This is currently a placeholder for information on the types of canvas that Lenkiewicz used and how they were prepared.

Types of canvas

Dependent upon the state of Lenkiewicz's finances at the time, but most commonly a standard canvas?

Priming

The canvasses were primed with diluted black masonry paint?

Stretching

Stretched and stapled to wooden frames?

 

Please edit this article to provide additional information. 

Frames

Lenkiewicz generally had mouldings made up to his own design by a local joiner. These were produced in abundant lengths which were then mitred and assembled at the studio by Billy (surname?).

Various profiles were used over the years, generally getting wider and wider over time. Lenkiewicz would draw the desired profile on paper, the joiner would then recreate that shape in steel for use in his tooling machinery.

They were usually made from tulip wood and had a satin black finish.

Lenkiewicz is said to have liked the way the light caught the grooves, and liked the way the heavy blackness cut the picture off from its environment.

Please edit this article to add any information that you have.

Palette

Paint was mostly oil, Windsor & Newton (artist quality when funds allowed).

Robert Lenkiewicz was very particular about the order in which the paints were arranged on the palette. This was, from left to right, as follows:

  • White (usually Titanium)
  • Naples Yellow
  • Yellow Ochre
  • Raw Sienna
  • Terre Verte
  • Burnt Sienna (or Indian Red or Venetian Red)
  • Rose Madder Quinacridone
  • Alizarin Crimson
  • Ultramarine Blue
  • Dioxazine Purple
  • Raw Umber
  • Black

So, this standard palette was added to depending on the individual requirements of each painting. He would use many other colours making use of whatever was to hand.

Most frequently used: Cadmium yellows, cadmium reds, pthalo green, viridian, cobalt blue, cerulean, pthalo blue, burnt umber. The paints tended to be student quality eg. Rowney Georgian and Windsor & Newton Winton.

Palettes were usually pieces of hardboard painted black to correspond with the canvasses which were primed black. These were used at most two or three times for consecutive sittings and then discarded.
Of course this wasn’t always the case. At times canvasses were primed white or tinted brown as is discernible from earlier unfinished works. I knew Robert for almost 30 years and during that time his palette did not vary a great deal. However what did vary was the way in which he used those colours.

Coding System

This is currently a placeholder for information about the coloured symbols that can often be found on the reverse of Lenkiewicz paintings.

Colour codingThis was a coding system used by Lenkiewicz to indicate certain things about a work.

The most commonly used symbol is a triangle, in a number of diffferent colours and possibly with an accompanying marking such as underlining.

 

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Influences

This is a placeholder for information about the things that influenced Lenkiewicz's painting.

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The concept of aesthetic fascism

Robert Lenkiewicz formulated the idea of aesthetic fascism to encapsulate his ideas about what happens when we form an attraction so strong towards another person that we tend to treat them as property.

It grew out of his observation of the behaviour of the street alcoholics and addicts who often appear in his paintings, people who “would cut your throat for another drink”, as he put it. Lenkiewicz noticed the deep similarity between this “addictive scenario” and what he called “the falling in love experience”. In evidence, he offered the traumatic experience of jealousy, which he regarded as being identical to the kind of withdrawal symptoms felt by addicts deprived of their drug of choice.

He noticed that the obsessive fascination with the beloved person could often lead to acts of ruthlessness and violence. “I often feel,” he said, “that in the most intense romantic scenarios… there is an undertone of ruthless psychopathic expectation, a curious heartlessness. If one had genuine concern for one’s partner then the first thing one would do is leave them.” He was sceptical about claims that in love one ‘cared’ about the other person in a selfless sense, quoting the German philosopher Nietzsche’s pithy expression: “How nicely does doggish lust beg a piece of spirit when a piece of flesh is denied it.”

He used the term ‘aesthetic’ to distinguish his idea from psychological or moral theories of behaviour. He believed we were drawn to people because of an innate physical propensity to become intoxicated or entranced “by sensations linking to desire, attraction and jealousy”. Lenkiewicz was unconvinced that such attractions even had much to do with any objective qualities possessed by the other person. “A portcullis has come down at the first glance between yourself and the other and one’s relationship is with that portcullis… one’s own aesthetic vulnerability. Some people are more or less addicted to that aesthetic vulnerability, but believe themselves to be addicted to the other person.” He regarded this as a physiological mechanism; a system of pleasure/pain inbuilt in the human body. He was fascinated by the fact that the visceral, gut feelings reported by jilted lovers, withdrawing addicts or fanatics whose beliefs were threatened, were almost invariably described in exactly the same terms.

In this context, Lenkiewicz was employing the common definition of ‘fascism’ as the tendency to deny fully human status to certain kinds of people and to exalt specific others. He felt that “the aesthetic fascism involved in saying ‘I fancy that person; I’m attracted to that person’ is quite often made of pretty unattractive stuff.” This proclivity to focus exclusively on a particular individual struck him as the dark mirror image of the fascistic impulse to persecute the stranger or outsider. Lenkiewicz was therefore very sympathetic with attempts to locate the origins of Fascism (capital F for the political phenomenon) in the physiology of the individual rather than in materialist or economic causes - 'The Mass Psychology of Fascism' by Wilhelm Reich was an important text for him.

Lenkiewicz argued that the same aesthetic mechanism was at work in our devotion to philosophical, ethical or ideological convictions. For him it was not a question of right or wrong, what he called “the moral squint”, or even of compelling evidence of truth, but of the relative strength of our attraction to one idea or another. He scarcely accepted therefore that people’s convictions could be changed by rational argument, observing that we seldom have good reasons for holding the beliefs we do.

His magnificent private library provided ample evidence of the extraordinary capacity humans have for self-delusion in thrall to fanatical belief systems. The sections on alchemy or the 16th & 17th century witch burning craze showed how the most acute intelligences of the period could hold the most insane beliefs, and be prepared to kill (or die) for them. All too often, certainty precedes atrocity. If that seemed historically remote, he could point to incidents like the disastrous FBI assault on the Branch Davidian sect in Waco, Texas; “one fanatical belief system wiping out another”.

The tenor of Lenkiewicz’ ideas—many people thought them cold-hearted or cynical—seemed inconsistent with his amiability and generosity. Surely there was some sort of moral principle in play? He would have none of that. For him it was just a matter of being “attracted to a certain aesthetic package” that inlcuded humane treatment of less advantaged people. He was sympathetic to talk of human rights or the dignity of life but regarded such ideas as “beautiful metaphors, poetry”.

Lenkieiwcz believed that a re-evaluation of human behaviour in aesthetic and physiological terms would inevitably aid us in “enjoying life without making a nuisance of ourselves.” Our attraction towards an idea or system of belief doesn’t make it right and nor do our attractions for other people oblige them to respond to our feelings or grant us rights over them. “Once one establishes that it is an aesthetic experience one is undergoing and not something else, then a number of behaviour patterns which lead to obsessive or fanatical behaviour could evaporate.”

Witchcraft and the Occult

This is currently a placeholder for information about Lenkiewicz's interest in mysticism, Kabbala, magic ritual, witchcraft and the occult.

Please edit this article to add any information you think would be of interest and is appropriate.

Ursula Kemp

Lenkiewicz bought the remains of Ursula Kemp - hanged in 1582 for being a witch - for a reported sum of either £5,000 or £8,000 from a Cornish museum in the late 1990s. He put the woman's skeleton in a lined coffin on the first floor of his library in Lambhay Hill for visitors to see. Large nails had been placed on the skeleton at the points where metal stakes were driven into the body of the 'witch' to stop her spirit from rising.

Ursula Kemp, a midwife in her forties, was tried and executed in Chelmsford, Essex, after being accused of witchcraft by her eight-year-old son. Her remains were unearthed by accident in 1921 and then taken to Boscastle Museum of Witchcraft, where they were later bought by Lenkiewicz.

Although she was tried at Chelmsford, Ursula Kemp actually came from St Osyth, a village on the coast a few miles away.

The skeleton is now understood to be part of Lenkiewicz's estate, which includes the embalmed body of Diogenes, who was discovered in a drawer in the Lenkiewicz's studio.

In an article in the Plymouth Evening Herald, Dr Philip Stokes was quoted as saying: "The skeleton was lying inside the coffin, which was lined with blue material. The skeleton was laid out in the coffin with nails laid beside it at the appropriate points. It was at the far end of the library on the first floor, where the indexer would work. There was nothing special about it, it was just dried out old bones. I was not surprised it was there because Robert has had major projects on death and he was an authority on witches. His library of witchcraft materials was unique. He got a number of skulls from various sources over the years."

Exhibitions

This is currently a placeholder for information on the various exhibitions that have been held featuring the work of Robert Lenkiewicz.

Please edit this page to add any general information, or add a 'child page' to give more detailed information on a specific exhibition.

1980 Retrospective: Blackfriar's Gallery

This is the exhibition list from Robert Lenkiewicz's small retrospective in 1980 held at Blackfriar's Gallery. It is interesting for the claims the artist makes for the scale of the projects already completed; claims which seem to be at variance with the actual exhibition lists posted elsewhere on this site:

RETROSPECTIVE
PAINTINGS: R. 0. LENIKIEWICZ SELECTED from TWELVE PROJECTS on the RELATIONSHIP SERIES also: Work between the ages of 14-23.

BLACKFRIARS GALLERY
58, SOUTHSIDE STREET, BARBICAN. PLYMOUTH
8TH - 27TH September

This collection is a small selection of works from a large number of paintings on a series of projects. The series consist of 16 sections on relationships. All the themes are inter-related. They involve an aesthetic theory of a subjective nature which has pre-occupied the painter for some years. He has written a large number of notes on this aspect. Regrettably they cannot be exhibited here.

The exhibitions presented in this city so far have been:

  • VAGRANCY.
  • DEATH AND THE MAIDEN.
  • MENTAL HANDICAP.
  • PAINTINGS DESIGNED TO MAKE MONEY.
  • LOVE AND ROMANCE.
  • JEALOUSY.
  • LOVE AND MEDIOCRITY.
  • ORGASM
  • SELF-PORTRAIT.
  • OLD-AGE.
  • GOSSIP ON THE BARBICAN.
  • SUICIDE.

(These last two themes are on display now at the painters studio around the corner.)

Selection from early work
1. Views from Mill Lane bridge: 14-15 years.
2. Studies of chickens. 14 years.
3. Still-life. 14-15 years.
4. Self-portraits. 14-15 years.
5. Self-portrait. 15-16 years.
6. Self-portrait with Punch magazine: 17 years old.
7. Plants in candle-light. 14-15 years.
8. Ivorine in white on white bed. 16 years.
9. Letterbox at night. 14-15 years.
10. Old Mrs Webber. 14-15 years.

Selection from 150 paintings on the theme: DEATH AND THE MAIDEN.
11. Death presenting Peace to the Maiden. £200
12. The Putrefaction of Diogenes. NFS
13. One of the Three Magi presenting his entrails to the child. £300.

Selection from 120 paintings on the theme: ORGASM
14. Woman forcing Pleasure. NFS
15. Man and Woman coupling. £110

A small selection of Orgasm studies are in the rack close by. PLEASE be careful with the studies.

Selection from 110 paintings on the theme: SELF-PORTRAIT
16. Self-portrait with Mephistopheles. NFS
17. Self-portrait with Eliza-in white. NFS
18. Self-portrait with Ruti. £500
19. Self-portrait with Eliza. NFS

Selection from 200 paintings on the theme: JEALOUSY
20. Woman walking away. NFS
21. Woman walking away. NFS
22. Jealous lover with flower. £150
23. Man holding woman’s dress watching her walk away. £350

A small selection of Jealousy studies are in the rack near by. PLEASE handle them with care.
24. Self-portrait with Amelie NFS
25. Study for Orgasm theme. NFS
26. Study for Love & Romance them.. NFS
27. Man watching himself with Mary. £160
28. Rembrandt, me and Hendrijke Stoppels. £ 95

Selection from 500 paintings on the theme: MENTAL HANDICAP
29. Small-growth person and girl with Cerebral Palsy. NFS
30. George Fallick £200
31. Mrs Dempster and child. NFS

A small selection of Mental Handicap studies are in the rack nearby. PLEASE these pieces with care.
32. Portrait of the painter’s dead mother. NFS

Selection from 100 paintings on the theme: OLD AGE
33. Old Ken. NFS
34. “Diogenes;” the painter’s assistant. NFS
35. Old gentleman of nearby Community Centre.
36. Old ladies of nearby Community Centre.

These two studies are puns on the (Regenten & Regentessen) ‘Alma House’ paintings by Frans Hals painted in 1664, when he was 82 years old - now in the Municipal Museum at Haarlem.

A small selection of Old Age studies are in a rack nearby. PLEASE handle with care.
37. Self-portrait dead. This piece is related to a number of ‘Pieta’ formulae. A large series of notes in the painter’s possession detail the associations.
38. Self-portrait with two Teddy-boys. £600
39. Schlemile. £500
40. Fragment from exact scale pun on THE NIGHT WATCH by Rembrandt. Instead of Captain Banning Coque and Willem van Reutenburgh - The figures from left to right are: Hans de Rijke; Chief Physiotherapist, Trengwealh Centre, Viv Sloaman; Ron Moore, headmaster at Millford School; Dr David Owen shortly before he became Foreign Secretary; Kim Ashly, director of a skills centre, and “Cockney Jim”, local nuisance. The painting was the centre-piece for the Mental Handicap exhibition, and has now been cut to a third of its original size.
41. Woman in blue with wool.
(This piece was commenced at the age of 18 yearn, and worked on periodically for six years. It is the only piece in the exhibition that the painter is tolerably diposed towards.)
42. Self-portrait. NFS
43. Lelya with Pesalino’s Saints. NFS [One of 100 paintings on the theme Love & Romance.]
44. Self-portrait. NFS
45. Self-portrait with lover. NFS
46. Man and Woman - pencil Study. £ 60
47. Self-portrait with Mary.
48. Old Lady of 106 years. £140
49. Old man-young woman with reflections NFS
50. Frank. £100
51. ‘Whistling Taffy’. £100
52. Albert Ernest Edward Fisher: known as ‘The Bishop’. NFS
53. Ruti and Laila. NFS
54. Please don’t leave. (From Jealousy theme: see upstairs) NFS
55. Self-portrait-three stages/(after Titian) £250
56. Self-portrait. NFS
57. Self-portrait. NFS
58. Monca with Jan. NFS
59. Eliza in flowered dress. £500
60. Eliza in pink dress. NFS

Note: The next exhibition in the series will be: THE PAINTER WITH MARY: A study of Obsessional Behavior.

At The Edge

Exhibition Notes

at the edge
Works by R.O.Lenkiewicz
1941-2002

30th September – 18th November 2007
Hartlepool Art Gallery

29th November – 27th January 2008
Novas Gallery, London

INTRODUCTION

The ideas that underline this exhibition … at the edge … stretch back to the late 1960's and to the themed exhibitions that Robert Lenkiewicz began to organise in Plymouth in 1973.

We are seeking to show work that we hope will demonstrate Lenkiewicz's skill and humanity but will also -when seen together- create within you an aesthetic response that will have staying power. This is a themed show, in the Lenkiewicz ‘mold’ but is not of course an original Lenkiewicz theme. We hope this exhibition will stretch the imagination of those attend in a way that Lenkiewicz himself would have hoped to do.

This is a new project; we can’t reconstruct one of the original collections (which he called projects) so we are generating the first post-Lenkiewicz project showing work from several of the original projects but all touching on one of his 'meta-themes', that of social enquiry. We think that this is a legitimate ‘stretch’ from his mode of presenting his work because he himself moved work between related themes, putting the same piece in different projects if he felt like it. We could explore any of the many aspects within his work but we have chosen this orientation, because we feel it resonates with his objectives.

We want to “provoke thought” (a favourite Lenkiewicz expression and undoubtedly one of his objectives) and have sought to select pieces that collectively and individually will achieve this.

Why ‘at the edge’? We wanted to illuminate Lenkiewicz’ over-arching interest in people who are in extremis, or at critical moments in life, or suffering acute degrees of isolation for one reason or another. At such times human beings may feel very alive but may also be near to death or very excluded from the world that surrounds them. A paradox.

Lenkiewicz didn’t see the projects as tools of social change but in a sense they were. As a figurative painter of social themes, an accessible even obsessive chronicler in a time of change, Lenkiewicz in far away Plymouth has a lot to show us about the tectonic shifts that have occurred in our social fabric. Not oblivious to the tide of conceptual work that has engulfed the art world since he left London, but not swayed by it either, he used traditional painterly skills to open the eyes of the onlooker.

BACKGROUND

Robert Lenkiewicz was born in north London in 1941. His parents fled to England from Germany just before the war. They met and married in London. As with many other German Jews who came as refugees to London, few members of their extended family survived the war.

They set up a small hotel in Cricklewood. The three Lenkiewicz boys grew up there, surrounded by elderly Jewish residents of the hotel, some of whom were themselves refugees from the holocaust. Lenkiewicz’s early memories were of the often elderly and distressed, sometimes demented people who made their home at the hotel. Thus he experienced at first hand and at a young and impressionable age the impact that dispossession and violent prejudice could have on people. Did his compassion and patience with the ‘excluded’ start here? Maybe.

From his own account, he had a difficult relationship with his mother who doted on him but was also very controlling. As soon as he could, he lived most of his life privately, either in his room or out in the streets. He began to paint at an early age -encouraged by his mother- and, when his precocity was recognized, he was sent to the Christopher Wren School aged 13 or 14. From there he went to St. Martins in London and then to The Royal Academy School.

From the outset, Lenkiewicz “painted a thing to look like a thing”. He proceeded along a pathway of figurative painting, looking sideways, as he says, at “all the other stuff that was going on” but somehow not attracted to it for himself … no matter how interested he was in it. Really he was an autodidact with regard to painting, despite the art school training. Similarly, although he was attracted to knowledge and profoundly respected scholarship he didn’t benefit much from being taught directly. His teachers, he says, were the paintings in The National Gallery & the books in his library. Plymouth University awarded him an Honorary Doctorate in 2000.

Parallel with his painting life, and from an early age, Lenkiewicz begun to undertake private study & research and to collect the books that he needed to satisfy his incessant curiosity and his obsessive bibliophilia. The two deep loves, painting and the creation of the library that together so profoundly formed his life, were deeply rooted within him by the time he was 17. He was of course by that time also very preoccupied with women.

Lenkiewicz had left home by the time he was 18 (after a final row with his mother) and was living in a series of chaotic lodgings and studios around Hampstead. He was by now living pretty much at the edge himself: often penniless, painting gigantic canvasses on odd canvasses, getting slung out of various rooms by landlords and mixing with difficult people. Life was hard but very stimulating and he was supported mostly by his mother and by girlfriends.

Then, in 1965, quite abruptly, he left London with his young wife and their baby daughter and went to the West Country where he eventually settled in Plymouth. A new stage in his life was about to begin.

In Plymouth, Lenkiewicz lived a life that, by all accounts, remained impoverished and chaotic. He was still intensively involved with people who the world would describe as ‘down and outs’. He had no means to support himself & his dependants. Knowing the value of antiquarian books, he took some from the City Library’s Cottonian Collection and sold them in order to raise money. He was arrested in 1970 for stealing books and imprisoned briefly. This experience may well have been some sort of a trigger for him; he would have been confronted with the need to change.

By then a large collection of paintings was accumulating in his small Barbican studio and his multi-layered ideas about the people he was painting suddenly crystallised into the notion of having a huge exhibition.

Lenkiewicz would frequently say that he had “no interest in issues of high art” and he would completely decry any altruistic impulses. His motives in setting up this first major exhibition were complex. He certainly wanted to draw attention to these people (who he called Vagrants) and to issues that confronted them … but he would not have been unaware of the possibilities for attracting attention to the work itself, and to the possibility of selling it. He described the Vagrancy Exhibition as a sociological survey rather than an exhibition of paintings and wanted the works to be seen ‘en masse’ rather than as individual pieces. He dismissed the idea of ‘art’, preferring to cloak himself in the role of researcher.

The Vagrancy exhibition, held in Plymouth in 1973, attracted no critical attention but did have a significant impact in Plymouth. It also made him realize that he had found a way of creating a lot of interest and provoking thought, albeit only locally. He had discovered that he could run a large attractive exhibition that ordinary people would visit and he saw that commentators & critics from the ‘high art world’ would not. He realized he should control the whole presentation process himself, show the work in his own premises and go his own way.

The idea of making work for specific projects took shape; the projects became very much about “presenting information” and also, crucially, he saw the exhibition as an entity i.e. the individual pieces were subordinate to the whole. This began to impact on the way he painted and on the things he painted and his work became increasingly driven by the ideas contained within the research areas. Similarly “the projects”, as he was now calling them, began to impact on his book collecting. This recursive relationship took root and people who knew him and discussed his ideas with him will have heard him expounding on this many times.  This way of being, as painter/researcher, was to shape the rest of his life.

The Work

Lenkiewicz was a master draughtsman and, as a painter, was also profoundly involved with the people he painted. You need only to look at ‘Kevin Gasson’ (below) to see Lenkiewicz as painter and humanist.

The work that you see above was part of the ‘Mental Handicap’ project that included more than a hundred studies that Lenkiewicz made between 1974 & 1976 and exhibited in a major exhibition in 1976. Never forget when looking at each piece that it is a part of a whole. He wanted projects to be seen in their entirety and for the visitor to feel provoked by the mass of pieces that collectively created the impact he wanted.

As a draughtsman, Lenkiewicz’s particular mastery of portraiture is evident from the paintings and drawings that you see here. He often asks us to concentrate on the head, sometimes even right in on the gaze but he provides us with enough scaffolding in the way he shapes the body and sets the context so that we can be aware of the focus of the piece in its entirety. His assured touch with the human body, evident particularly in the exquisitely sensitive drawings, astonish the eye and always make us aware of the subtleties of the form he has created.

When considering his remarkable technical abilities –he describes himself as “the best bad painter I know”- it is tempting to dismiss the work as facile but the distinctive Lenkiewicz style that connects painter to sitter to viewer in a sweep of emotional intensity and a flurry of painterly strokes belies this judgment.

The large paintings are truly extraordinary. Very few painters have the ability to handle large groups quite as convincingly as Robert Lenkiewicz and it’s not an easy thing to do. These paintings can masquerade as narrative pieces or even as morality tales but this is to misread them. They are often focal points for a project and as such comprise part of the whole but they are always foci for the painter himself … to relish the pleasure of creating a large feast of paint.

His use of colour is remarkable; it never distracts us from form but enhances our understanding. Sometimes we are drawn in by it, experiencing the close proximity of the sitter. Sometimes a muting of tones provides what feels like space to reflect.  In this exhibition you can see his palette changing through the decades and you can see his handling of paint making us aware of the humanity of the person who is being portrayed.

The work in ‘at the edge’ crosses six Lenkiewicz projects, three decades, a variety of media and a medley of styles. We hope, nonetheless, that we have successfully made a selection of pieces that will move you, illuminate ideas and provoke thought in a way that parallels the painter’s practice.

Works featured in at the edge:

  • The Death Bed
  • Diogenes & Belle at prayer
  • Head of John Kynance: Death Bed
  • Reuben jacking up
  • Dead Mother
  • Vagrancy study
  • Vagrancy study: preparatory study for Christmas at the bus station
  • Two ladies in Old People's Home
  • Anita & Julie Rabey with their mother
  • Seated man. Glasses and purple jacket
  • Death and the maiden
  • Monica on the bed
  • Diogenes and the Bishop(naked)
  • Bishop startled
  • John Kynance: Death bed: study
  • Harmonica Jim & Diogenes. Back studies
  • Lewis John Munford
  • Man presenting his entrails
  • Mr Fisher paying as little attention as is possible under the circumstances to death
  • Mr Fisher with a bottle of Strongbow
  • Mr Fisher having a conversation with death
  • Man in a patterned
  • Kevin Gasson
  • Bearded man
  • Man with grey hair and glasses
  • Study of Cyril - Cornish Tramp
  • Study of child
  • Diogenes on Barbican
  • Study of 'Jesus'
  • Man in a hat
  • Man in a white shirt on a chair
  • Les just out of prison (in bowler hat)
  • The Bishop, Diogenes, Les Ryder asleep in Jacob's Ladder
  • Barbican boys.

Thanks to…

  • The Lenkiewicz Foundation, The Novas group, Hartlepool City Museum,
  • the Executor of the Lenkiewicz Estate and all those who have lent work.

Annie Hill-Smith, July 2007

Birmingham NEC 1994

This consisted of 2 parts - 77 paintings forming a RETROSPECTIVE SECTION (all taken from previous exhibitions) and 105 paintings forming THE PAINTER WITH WOMEN - Observations on the Theme of the Double.

EARLY WORKS.
1. The bridge at Mill Lane, studies.
2. Self-portrait, sixteen years.
3. Interior.
4. Study of Irene.

Project 1. VAGRANCY.
5. Mr Albert Edward Earnest Fisher (‘The Bishop’).
6. Plymouth mourning over its unfortunates.
7. ‘Diogenes’ and Belle kneeling behind two chairs.
8. The burial of Mr John Kymance.
9. Mr John Kymance one week before death.
10. ‘Cockney Jim’ and company at the bus station Christmas Day dinner.

Project 2. MENTAL HANDICAP.
11. George - study.

Project 3. DEATH AND THE MAIDEN
12. Death presenting peace to the maiden.
13. Diogenese “Double”.

Project 8. JEALOUSY.
14. Woman with jealous lover.
15. Her previous boyfriend disguised as a curtain watching her with the new one.
16. Man and woman screaming at memories in the dark.
17. Man holding woman’s dress, watching her walk away.
18. Man watching woman walk away.
19. Lover with memories.

Project 10. SELF-PORTRAIT.
20. Self-portrait.
21. Self-portrait (owner declined to lend).
22. Self-portrait with Eliza.
23. Self-portrait with self-portrait at ninety.
24. The painter with two sons.

Project 11. OLD AGE.
25. Old men of the Almshome.
26. Old women of the Almshome.

Project 12. SUICIDE.
27. Man in a knot by the straight back of a woman.
28. Man separating from her.
29. Man killing himself.
30. Man cutting himself.
31. Man killing himself with forgetting her.
32. Leyla waiting - Amsterdam.
33. Monca.
34. Man in a boat.

Project 13. STILL LIVES.
35. Chairs.
36. John Pollex with plate.

Project 14. THE PAINTER WITH MARY.
37. Study on the train from London after Rome.
38. The Painter with Mary in “Piermasters” restaurant accompanied by the Painter with Mary.
39. The Painter with Mary in newspaper Magi-Fools hats.
40. The Painter with Mary hold tightly as they make love with their own selves - aesthetic note.
41. Man watching his empty hand during the caress - aesthetic note.
42. The claw moves in the stomach as she leaves - aesthetic note.
43. The “line of thought” manufacturers fear - aesthetic note.
44. Red, blue and yellow lover meeting - aesthetic note.
45. Self-portrait with Mary with newspaper in her hair.
46. Lovers.
47. The resurrection of Mary - aesthetic note.

Project 15. DEATH.
48. The Painter’s mother.
49. Myriam with paper mask.
50. The Painter’s death bed with children and women.
51. Yana with paper mask.
52. Mr Earl senior, of Earl of Plymouth Funeral Service, employees and family.
53. The anatomy lesson of Dr Hunt.
54. Dr Sheila A Cassidy: medical director.
55. The father eats the son.
56. Lovers decaying.
57. Lovers calling to each other.

Project 16. SEXUAL BEHAVIOUR.
58. The Painter taking the pulse of his son, Reuben.
59. Dr Hummel with client.
60. The Painter with goat.
61. Moira with Wolfe.
62. Mr Harry’s club.
63. Child lying down.
64. Marie and Kimber / gender exchange.
65. The Rape / the mocking of Christ by the five senses.
66. Two headed necrophiliac.

MISCELLANEOUS ITEM
67. Design for stained glass window (originally 71ft span). Part of the mural design on the theme of The Last Judgement of the Barbican.
Project 17. OBSERVATIONS ON LOCAL EDUCATION.
68. The Deposition - the Burial of Education.
69. Staff at the Plymouth City Museum and Art Gallery.
70. Antonia Melvyn, former Plymouth Welfare Information Project Co-ordinator.
71. Syd sniffing glue.
72. Tryptytch. The Massacre of the Innocents.
73. M E Caddy, Headteacher.
74. Dr P A H Seymour, Principal Lecturer in Astronomy and Director of the William Day planetarium.
75. The Fight / Barbican boys.
76. Dora Russell, campaigner for peace, women’s rights, author and traveller.
77. Wolfe painting.

THE PAINTER WITH WOMEN - Observations on the Theme of the Double.
78. The painter with Karen. St Antony theme.
79. The painter with Anna. St Antony theme.
80. Karen on the bed. Daemon series.
81. The painter with Ester. Aristotle and Phyllis theme.
82. The painter with Anna. St Antony theme.
83. The painter with Greenie. St Antony theme. (Work in progress).
84. Esther seated. St Antony theme.
85. The painter with Esther. St Antony theme.
86. Esther seated. Deamon series.
87. Esther seated. Deamon series.
88. Esther on floor. Daemon series.
89. Anna on floor. Daemon series.
90. Anna seated. Daemon series.
91. The painter with Patti. St Antony theme.
92. Self-portrait with balnket. St Antony theme.
93. The painter with Lindsay. St Antony theme. £15000
94. Roxana seated. Daemon series.
95. The painter with Lisa. St Antony theme.
96. The painter with Lindsay. St Antony theme.
97. The painter with Louise. St Antony theme.
98. Louise standing. Daemon series.
99. The painter with Janine. Daemon series.
100. The painter with Janine. Daemon series.
101. The painter with Bianca. St Antony theme. £5500
102. The painter with Yana. St Antony theme. £19500
103. The painter with Karen. St Antony theme. (Work in progress).
104. The painter with Patti. St Antony theme. (Work in progress).
105. The painter with Benedikte. St Antony theme.
106. The apinter with Patti. Daemon series. £10500
107. The painter with karen. Aristotle and Phyllis theme.
108. The painter with Reuben and Monca. St Antony theme.
109. Roxana on the bed. Daemon series. £8500
110. Self-portrait in white, listening. St Antony theme. £25000
111. The painter with Esther. Aristotle and Phyllis theme. £17000
112. Anna on the bed. Daemon series. £6500
113. Anna on the carpet. Daemon series. £6500
114. Lisa on the floor. Deaemon series. £6500
115. Self-portrait with cloven hoof. St Antony theme. £11000
116. The painter with Roxana. St Antony theme. £11000
117. St Antony embracing demon. £7500
118. Lisa standing. St Antony theme. £7000
119. St Antony with pillow. £8500
120. The painter with Lisa. Aristotle and Phyllis theme. £24000
121. The painter with Patti. Aristotle and Phyllis theme. £16000
122. Triple self-portrait. St Antony theme. £9500
123. The painter with Anna. St Antony theme. £25000
124. The painter with Esther. Daemon series. £12500
125. The painter with Esther. Aristotle and Phyllis theme. £14000
126. Megan and Isaac on the bed. Daemon series. £19500
127. The painter with Roxana. Daemon series. £17500
128. The painter with Esther. Aristotle and Phyllis theme. £25000
129. Karen on the floor. Daemon series. £16000
130. The painter with Lisa. Samson and Delilah. £13000
131. The painter with Megan. Daemon series. £15500
132. The painter with Anna. St Antony theme. £13000
133. Anna seated. St Antony theme. £6500
134. Anna seated. St Antony theme. £9500
135. Patti on floor. Daemon series. £14500
136. The painter with Lorna. St Antony theme. £6500
137. The painter with Lorna. St Antony theme. £12500
138. The painter with Esther. Daemon series. £11000
139. Lisa standing. Daemon series. £12500
140. The painter with Anna. Aristotle and Phyllis theme. £12500
141. The painter with Joanna. St Antony theme. £12500
142. The painter with Joanna. Aristotle and Phyllis theme. £16000
143. The painter with Karen. Aristotle and Phyllis theme. (Work in progress).
144. The painter with Suzanna. St Antony theme. £9000
145. THe painter with Esther. St Antony theme. (Work in progress).
146. The painter with Karen on the bed. Daemon series. (Work in progress). £25000
147. The painter with Ann. St Antony theme. £8000
148. Roxana on floor. Daemon series. £9500
149. The painter with Esther. St Antony theme. £14500
150. The temptation of St Antony. (Work in progress). £P.O.A
151. The painter with Karen. Aristotle and Phyllis theme.
152. Angela seated. Daemon series.
153. The painter with Anna. St Antony theme. (Work in progress).
154. St Antony with Demons. Grissaille. (Work in progress).
155. Patti on floor. Daemon series. (Work in progress). £7500
156. The painter with Janine. St Antony theme. (Unfinished). £13500
157. The painter with Greenie. St Antony theme. £5500
158. The painter with Greenie. St Antony theme. £12500
159. Karen standing. Samson and Delilah.
160. The painter with Roxana. Daemon series.
161. The painter with Patti. Daemon series. (Work in progress). £14000
162. The painter with Jennifer. St Antony theme. (Work in progress).
163. Self-portrait in hospital. Grisaille. St Antony theme. £6500
164. Rear view of a woman. Daemon series. £6500
165. Esther seated. Daemon series.
166. Anna with fire. Daemon series. £6000
167. Karen and Thais. St Antony theme. £15000
168. The painter with Ria. St Antony theme. £6500
169. Roxana seated. Daemon series.
170. Lisa on floor. Daemon series.
171. The painter with Lucy. St Antony theme.
172. Self-portrait, St Antony listening. (Work in progress).
173. The painter with Anna. St Antony theme.
174. St Antony’s Desert.
175. St Antony with stigmata.
176. Lisa painting. St Antony theme.
177. Lisa painting. St Antony theme.
178. The painter with Esther. St Antony theme.
179. The painter with Lizzie. St Antony theme. £12000
180. The Dance. St Antony theme. (Work in progress).
181. The painter with Elaine. St Antony theme.
182. Esther laying down. Daemon series.

Murals

Barbican mural This is currently a placeholder for infomration on the various murals that were painted by Lenkiewicz.

Please edit this article to add any background information. If you have details on specific murals, then please add that as a 'child page' to this article. In the meantime, this is a list of the currently known murals:

Existing:

  1. The Elizabethan Mural, The Parade  -  1971
  2. The Last Judgement, Southside Street   -  1985
  3. Prete's Cafe, Southside Street (The Last Supper)  -  1970's
  4. Bella Napoli,41-42 Southside Street (Oliver Twist)   -  1969
  5. Plymouth Age Concern, Hoegate Street (Einstein)   -  1982
  6. The Round Room, Port Eliot (The Riddle Mural)   early 1970's - late 1990's
  7. Plymouth Guildhall ('A Tribute To Plymouth's Architects And Architecture')   -  1977

Lost:

  1. The New Hoe Summer Theatre, (History Of The Harlequinade)  -  1970
  2. The Mayflower Cinema, St.Budeaux (Pilgrim Fathers)   -  1970
  3. Hampstead Pub (Napoleon)   -  1966
  4. Purple Onion Boutique, Tavistock (Psychedelic)   -  1968
  5. Devonport, Cornwall Street (Dr.David Owen & Residents)   -  1988
  6. The Yankee Burger,20 Frankfurt Gate (Western)   -  1977
  7. The Shakespeare Pub, Devonport (Shakespearean)  
  8. Union Street Shop, next to Odeon Cinema (?)
  9. London School  (The Classroom)   -  early 1960's

Bella Napoli Restaurant

Fragments of a mural remain at the Bella Napoli restaurant 41 - 42 Southside St., The Barbican. Painted in 1969 this varnished, oil on paper mural on the theme of Oliver Twist would have measured approx. 2.2m x 4.0m (including the door to the kitchen placed in the middle).  Two sections remain, the largest features Nancy, the other, Oliver Twist. The missing section was concerned with three street urchins.   Shortly before his death Robert expressed a wish to restore the mural.  Some film footage was taken by regional TV circa 1997.

Devonport Mural

Devonport MuralThe mural entitled  'The Ascention Into Heaven' was painted on the gable end of a house at the junction of Cornwall Street and Cannon Street. Unveiled in August 1988 by the Lord Mayor of Plymouth, Gordon Draper. It featured 100 local residents, headed by their MP, David Owen, ascending into heaven. The mural was created primarily as a colourful decorative feature that would help to raise the spirits of a local community with significant social problems. Lenkiewicz agreed to paint the mural for free after being approached by the local Tenant's Association.

The mural together with surrounding buildings has now been destroyed to make way for substantial redevelopment of the area.

Mayflower Cinema

During the afternoon of Saturday May 2nd 1970, Dame Joan Vickers MP officially renamed the State cinema at St. Budeaux as The Mayflower.   The idea for the change of name came from the cinema's manager, Mr. Prynne Richards, and the ceremony took place on the day that the 'Mayfower Year' celebrations were launched.  The cinema was stated to seat 935.  On display at the opening was a 50' x 15' mural in oils by 28 year old artist Robert Lenkiewicz. It depicted in great detail the final landing of the pilgrim fathers at Plymouth Rock.   On Saturday March 3rd 1973 the Mayflower closed.

From 'Plymouth's Cinemas' by Brian Mosely.                                            

 

 

New Hoe Summer Theatre

The prefabricated structure of The New Hoe Summer Theatre replaced the marqee known as The Hoe Theatre which had been in place since the 1950's. The new building held it's first production on June 8th 1962 and it's last on February 14th 1982.  Demolition started on May 18th and took about six weeks. During this process one of Robert Lenkiewicz's murals was found. It had been wallpapered over, but builders managed to save part of it.  Originally painted in 1970, it appears to have been unfinished in 1976 when Robert made these comments to the local press -   "It is a history of the harleqinade from about 1580 to about 1860, a survey of the Italian Comedia del Arte.  As usual, I selected models who live locally to represent various characters in the Harleqinade.  It will take about two days work to finish and I am quite willing to complete it as soon as I have the time."

The mural highlighted the controversy surrounding Lenkiewicz and his work at that time. To quote Mr. Brian Rabin from a meeting of the Plymouth Junior Chamber Of Commerce in 1976  -  " It appals me that our civic leaders can frequent the Hoe Theatre without throwing up their hands in horror.  The mural on the wall of the foyer shows people putting out their tongues and using Churchillian gestures.  We should try to get it whitewashed and restored to order.  It's our theatre and this is just an obscene gesture to the people of Plymouth.  And when will it be finished?  We should invite vandals to come and scrawl on it."

In 1978 the mural measuring either 40 or 60ft x 10ft, which the artist had spent four months painting was obliterated when the council decided to have the wall repapered. At the time Lenkiewicz congratulated the city entertainments officer for his 'remarkable good taste' in removing the mural. Lenkiewicz had painted the mual free of charge after being approached by the Hoe Theatre's management  who lacked available funds.

Local TV news footage during March 1982 shows the artist helping to reclaim the mural. Lenkiewicz produced an illustrated booklet when he painted the mural, detailing the history of the Comedia del Arte - the backbone of the english theatre. If sucessful in his attempt to save all or part of the mural, he hoped to produce the booklet again to raise funds for charity.

Plymouth Guildhall

Guildhall MuralCommissioned in 1977 this oil on canvas painting measures approx. 2.5m x 5.0m.  The painting features ROL and a group of vagrants placed as isolated and dispossessed in a scene of civic celebration.  Titled ' A Tribute to Plymouth's Architects and Architecture' it shows prominent landmarks such as Smeatons Tower / the Civic Centre / the statue of Sir Francis Drake and the statue of virgin and child found at the Guildhall entrance.  The persons featured are - (left) -  Isambard Kingdon Brunel / John Foulston / Sir Patrick Abercrombie / J.Paton Watson  - (right) -  R.O. Lenkiewicz / Wee Jock / Diogenes / Dave Helingoe / Eugene / Bill / Cockney Jim /The Bishop / Myriam and an anonymous sleeping/weeping child.

The Riddle Mural, Port Eliot

The Riddle Mural is in the Round Room of Port Eliot House in St Germans, Cornwall.

The mural was painted by Lenkiewicz over a period of 30 years and is some 40 feet in diameter. The work is unfinshed.

The mural is in two halves. One half depicts death, destruction, insanity, unrequited love, and the apocalyptic end of the world, whilst the other reflects love and affection, friendships, harmony, proportion and consensus. Within the overall picture are concealed various references to family skeletons, art history and cabalistic mysteries making for what Lenkiewicz called this work, ‘The Riddle Mural’.

Yankee Burger Restaurant

The Yankee Burger restaurant, 20 Frankfurt Gate was the location of two murals painted on opposite walls by Lenkiewicz in 1976. Each measured approx. 1.2m x 2.5m and continued the wild west theme of the restaurant.

Local press reports during October 1976 stated;

The murals, now almost completed, have however, turned several stomachs while waiting in eager anticipation of a succulent burger. Mr Lenkiewicz has introduced some of his gentlemen of the road to the gun play of the Old West by dressing them up as cowboys and adding a few dead bodies for authentic good measure. "People get a bit upset about the decapitated head and the corpse," said american owner John Desiderio. "The head is from the body of a North Califorian bandit. When they captured him they cut off his head and stuffed it in a glass jar of alcohol and had it exhibited in a museum in San Francisco, but it was destroyed at the time of the first earthquake." Then there is a corpse clutching a pair of Aces and a pair of eights. "The fingers are holding what is known as a 'dead man's hand' - and that's the cards Wild Bill Hickock was holding when he was shot in the back of the head. People say how can you have that in a restaurant, but they don't know the story. It isn't really that gory." There is another customer who has other ideas on the subject however. He always sits with his back to the mural.

Studios

This page is currently a placeholder for information about the various studios that Lenkiewicz used over the years.

It would be good to compile a defeinitive list of all the known locations. Not just those in Plymouth.

Please edit this article to add any information that you might have.

 

Plymouth Locations:

  • Main Barbican Studio
  • The Annexe
  • Compton House
  • The Mission
  • ?

London Locations:

  • Hampstead
  • ?

Other Locations:

  • ?

Popular Sitters

This is currently a placeholder.

This section of the site is intended to provide information on some of Lenkiewicz's more famous and popular models and sitters.

Diogenes

This is a placeholder page for information on Edward McKenzie ("Diogenes").

Please edit this article to add any information.

 


Diogenes Lenkiewicz christened him Diogenes after the philosopher who lived in a barrel, because he found him living in a concrete barrel, a circular container, in the crook of a tree looking down onto Chelson Meadow rubbish tip.

Les Ryder

Les Ryder spent most of his adult life living on the streets. He was an instantly recognizable figure, with a distinctive gait and a characteristic way of holding his head tilted to one side. He was known by the nickname 'Cider Ryder',

Cider Ryder: Pram Factory

Ryder features in a number of Lenkiewicz paintings, including several from Project 1.

When Lenkiewicz received an honorary doctorate from theUniversity of Plymouth he invited Ryder as a guest of honour. Ryder was also the guest of honour on the opening evening of the Lenkiewicz Retrospective at the City Art Gallery in 1997, arriving in a limousine.

Ryder spent the last 15 years of his life at Kings House Care Centre in Plymouth. He died on 1 June 2004 at the age of 75. 

Quotes from Les Ryder:

  • “Derbyshire born, Derbyshire bred. Strong in the arm, weak in the head.
  • “Always keep the creases in your trousers. Don’t shit ’em or that’ll have the creases out!”

The Bishop

Bishop in Stoke Damerel churchyard

Albert Fisher was known as"The Bishop" because of his name... Fisher.  An Archbishop of Canterbury had been called Fisher and Albert was fond of telling people that he was related to that elevated prelate!  This, of course, was not the case but, it didn't matter and his fellow dossers called him Bishop nonetheless.  Albert slept under a tree in Stoke Damerel graveyard on occasion and an experience that he recounted from one sojurn in the graveyard [a conversation with a fox] is shown here. His usual accommodation was at the Salvation Army Hostel in King Street which of course no longer exists.

The Bishop's most impressive 'vision' occured when, 'the sun had been shining through the tree, that every single leaf had turned into a man with a top hat, that each man with a top had had a pint of beer in his hand and that each and every one of them had wished him "Good Morning!"

Please edit this article to add any information.

 

 

 

 

 

 

The Singer

This is a placeholder page for information on Christopher Byrne ("The Singer").

Please edit this article to add any information.

The Singer and The Bishop

 

 

 

 

 

Lenkiewicz: The Book Collector

Bibliotheca Lenkiewicziana

Or, A Short Account of the Library of Robert Oskar Lenkiewicz (1941 – 2002).

For many people, Robert Lenkiewicz will be remembered for his paintings and the highly publicised ‘antics’ he performed, yet what many will not realise is that the paintings and antics were done to draw attention to specific ideas and themes rather than as attention seeking stunts. Lenkiewicz identified his painting projects as ‘sociological enquiry reports’ and each of these, on (amongst other subjects) death, vagrancy, sexual behaviour, and education, formed an interlocking pattern of enquiry upon the themes of desire and belief that Lenkiewicz described as having a physiological basis. There were 21 projects in all in the ‘Relationship Series,’ with the twentieth, that upon Addictive Behaviour, left unfinished at the time of Lenkiewicz’s death.

Underpinning each of the projects was a period of solid, academic research based upon books that Lenkiewicz acquired for his library. The library was the intellectual companion of the paintings, and any appreciation of Lenkiewicz’s art legacy must also take account of the library, though the latter remains a largely unknown quantity to most. Lenkiewicz began collecting books as a child, having a shelf in his bedroom holding his books on painting, horses and philosophy. Over the years his bibliomania was responsible for the massive expansion of the collection. If Lenkiewicz was to be believed, he owned anywhere between 250,000 to 700,000 books, all stored in various buildings around Plymouth, citing a house at Stoke and a warehouse at a mystery location, though the reality of this was very different, and by the time of his death the collection numbered no more than 25,000 books.

The following description will detail the layout of the library as it was before Lenkiewicz died in 2002, when it had reached its final and most complete form, before the process of disposal began in the wake of Lenkiewicz’s death.

The bulk of Lenkiewicz’s library was housed at his Studio on The Parade and came to occupy seven rooms there. Entering the Studio via The Parade, the visitor came upon an imposing door by the foot of the stairs in which was a small window, through this some view of the library beyond might be had. In fact the library occupied three rooms on the ground floor: the Art Biography Room, which visitors could see a part of opposite the door, the Art History Room, and the Occult Philosophy Room (frequently called the Metaphysics Room by Lenkiewicz), which both led off the central room, one to the north the other to the south.

The Art Biography Room, as its name suggests, contained biographies on painters and catalogues of their works, arranged in alphabetical order around the room. Art history and biography was a subject Lenkiewicz was especially knowledgeable about, and the holdings there were especially strong. There were probably about 3,000 books present. This room doubled as something of an office, and a table to one side of the room was piled high with his correspondence and notes. Before the upstairs of St. Saviour’s Library was completed, the room was also a kind of ‘reception room’ where Lenkiewicz received visitors and talked with them. The Art History Room to the North contained modern books on art history, and British and world history in general. The art history books were arranged thematically, the history books chronologically. In all about 1,500 – 2,000 volumes.

The Occult Philosophy Room contained the bulk of the antiquarian volumes in the library and was an especially strong collection. The room was split into three sections: dealing with the neo-platonic revival of the Renaissance and of occult philosophy and practice in general, including works by Lull, Paracelsus, Agrippa, Ficino, Bruno, Kircher, Boehme, Fludd and Dee; works dealing with alchemy and alchemical practise and symbolism, many of which were in manuscript; and Jewish Kabbalah and mystical thought, again including original manuscript material from the early modern period. Allied subjects of Freemasonry, twentieth-century occultism (including Aleister Crowley), and antiquarianism were also represented. In all probably 3,000 books. The books were complemented here by a range of artefacts, from Ethiopian magical charms to nineteenth century sigils.

Ascending the first set of stairs, the visitor was presented with sight of the Death Room, which contain the sections of Lenkiewicz’s library dealing with Death, on the north and west walls, and Fascism, on the south.

The death section of the library comprised approximately 800 volumes, dealing with old age and gerontology, palliative care of the dying, sociological and literary studies, melancholy and suicide, memorials, archaeological studies of funerary remains, together with various tracts - from the popular to the serious, on theories of the afterlife. There were a few antiquarian volumes in this section, however the bulk of the death section was made up of twentieth-century publications, some of them purchased from the libraries of notable practitioners in medicine, such as Dr. Maurice Natanson. The Fascism section mostly concentrated on Nazism, and the books focussed on the Second World War of 1939 - 1945, from the Nazi war apparatus to the personalities involved. The rise of neo-fascism was also chronicled here, together with slavery.

The Death Room also contained a glass topped display table containing the manuscript Mary Notebook, and the original notebook relating to the Old Age project. A glazed cabinet against the east wall contained a collection of Lenkiewicz’s manuscript Diary Notes volumes, which dated from the mid-1970s, along with a collection of his relationship notebooks, mostly from the late 1980s/early 1990s. As with the downstairs rooms, the Death Room also contained artefacts connected with the room’s theme, and a collection of skulls and other body parts, and Nazi memorabilia were kept here, together with the mummy of Diogenes, which was secreted within a compartment in the glazed cabinet.Library

Next to The Death Room, though entered separately, was what became known, from summer 2001 onwards, as The Witchcraft Room.

Lenkiewicz’s incomparable collection of antiquarian books relating to witchcraft and demonology was the finest such collection in private hands, certainly in Europe, if not the world. The books were ranged on the north and east walls, the north wall housing modern historiographic studies of witchcraft, the east the antiquarian volumes. The modern section contained recent scholarly expositions of the subject, together with more new age interpretations and sensationalist accounts, the antiquarian material covered the full experience of early modern witchcraft interpretations, and contained the writings of Scot, Ady, James I, Glanvill, Cooper, Webster, Molitor, Bovet, and Hutchinson, amongst others. There were at least a dozen editions of the Malleus Maleficarum, the notorious ‘Hammer of Witches,’ including the first edition in folio. There was also a section dealing with related preternatural phenomena such as vampires, ghosts and werewolves. In all the collection amounted to some 900 volumes. Opposite these, on the south and west walls, were the psychology books, about 800 in total, which covered the growth and range of the discipline, and where the likes of Freud and Jung were well represented.

A set of double doors lead through then into The Erotica Room, so named after the comprehensive collection of material relating to that theme, though very little was what might be described as pornographic. The erotic material mostly related to various twentieth century sociological and psychological studies into sex and sexuality, and the collection covered all types and experiences of sexual behaviour and desire. The collection sat alongside the section amassed concerning religion, which here mostly concerned various editions of the Bible, though tracts produced by various denominations were represented, most notably the Methodists. Finally, works on educational theory and practice were housed here, comprising standard reference works along with the works of Gurdjiev and the like. The room contained probably 2000 volumes.

The final set of stairs led up into the Studio proper, though a final room on the top floor contained Lenkiewicz’s Literature Room, containing modern works of literature and biographies of authors, all arranged alphabetically Amongst Lenkiewicz’s favourite authors, Oscar Wilde was well represented. The room also contained various library catalogues, including the British Library Catalogue, and various book sale catalogues and books about books. The room contained about 2000 volumes.

The St. Saviour’s Library on Lambhay Hill, over against the Citadel, contained, from summer 2001 onwards, Lenkiewicz’s philosophy library on two floors. The ground floor comprised the modern philosophy section – those books published after 1901, arranged by branches of philosophy, and the upper floor contained antiquarian philosophy books, arranged, for the most part, chronologically, from the pre-Socratics through until the end of the nineteenth century; these books were kept together with a miscellany of other antiquarian books, mostly relating to scientific and topographical fields of enquiry. In all St. Saviours contained about 6,000 books. The St. Saviour’s Library became the showcase collection, and it was here that visitors, especially those connected with funding opportunities, were brought first, owing to the aesthetic impact the library had (The Duke Humfrey Library at the Bodleian in Oxford was an obvious inspiration). The building also housed a range of artefacts, including material from ancient Egypt, Nazi concentration camps, medical material, and, most famously perhaps, the skeleton alleged to be that of Ursula Kemp, hanged in 1582 at St. Osyth in Essex and purchased by Lenkiewicz in 1999 from Cecil Williamson, the founder of the Museum of Witchcraft at Boscastle.

Reproduced with the kind permission of Jason Semmens © Jason Semmens, 2004
.

Library Highlights

Lenkiewicz in library The following are just some of the highlights of Robert Lenkiewicz's astonishing collection of antiquarian books. The collection was dissipated after his death in 2002 in order to pay debts under the auspices of the executor to his Estate.

POSTERIOR ANALYTICA. Apollinaris of Cremona - 1430. Large folio manuscript on paper, in near contemporary vellum binding. There is a very attractive first leaf showing a miniature of Apollinaris at this desk writing this commentary on Aristotle's great work. The leaf is colourfully decorated with fifteenth century theological motifs.

There are some thirty or forty large folio translations and commentaries on the works of Aristotle (some incunables). There is also the extremely rare set (only fifty were ever printed) of eight folio volumes of Aristotle's works translated into English by Thomas Taylor. This set, handsomely bound, may have been his personal copy as they are signed by him.

OPERA/PLATA. Editio Princeps, in Greek.
1518. The Aldine two volume folio.

OPERA/PLATO. Translated by Marsilio Ficino.
1556. Basle. Henri Petri. Fine blind-stamped binding. There are at least ten variations in large folio of Ficino's translations of Plato in this collection as well as many of his own philosophical works.

OPERA/PLATO. Edited by Henry Estienne - 1578. Geneva. The first complete edition in Greek and Latin of Plato's works. These are bound in two very handsome large folio vellum bindings with the original Venetian ties in perfect order.

Amongst the many pre-1820 Platos in this collection attention should be drawn to Sydenham's Plato and Thomas Taylor's five-volumed English translation of Plato.

THE CONSOLATIONS OF PHILOSOPHY. Boetius - 1521. The first illustrated edition, fine red and black title page with famous woodcut of 'philosophy' in the form of a beautiful woman visiting the sleeping Boetius in his dreams.

COMPENDIUM THEOLOGICAE VERITATIS.Albertus Magnus - 1478. Ulm. Zainer. Fine incunable rubricated in red.

There are several other works by Albertus Magnus in the collection.

COMMENTARIES ON ARISTOTLE'S 'DE ANIMA'. Thomas Aquinas - 1496. Venice. Richly annotated throughout text. This copy has an exceptionally elegant title page and a lovely woodcut of Aquinas lecturing to his students in his library.

A COMMENTARY ON THE LETTERS OF ST PAUL. Thomas Aquinas - 1510. Venice. Handsome copy ruled in red, blind-stamped binding, folio. There is a very large collection on Thomas Aquinas in this library, many of them early folios.

THEOLOGICAL WORKS. Duns Scotus - 15th-18th centuries. 15 folios in contemporary vellum, fine collection.

CITY OF GOD/THE TRINITY. St. Augustine - 1489. Basle. Amerbach. Attractively rubricated throughout, this large folio contains a full-page woodcut of St Augustine in his study, with the City of God and a howling Satan nearby.

It should be pointed out that there is a large collection of great variety of the works of the Church Fathers from 15th-17th centuries. Many of these are rubricated, annotated and finely bound.

LEVIATHAN. Thomas Hobbes - 1651. The first and rarest of the three versions of the first edition. In a very fine contemporary Cottage binding.

Also the first Latin edition and many other examples of his work.

COLLECTED WORKS. John Locke - 1714. Three handsome folios, first edition and many other examples of Locke's works in French and English.

MALLEUS MALEFICARUM: Kramer and Sprenger - 1486, First Edition, Folio. This copy printed by Peter Drach is particularly striking for its heavy annotations throughout in a near contemporary hand, commencing with a poem to Satan and some descriptions of poisoning witches. It is conjectured that a more than enthusiastic judge used this copy. There are at least 9 or 10 other copies of the Malleus in this collection dating from 15th - 17th centuries.

FORMICARIUS: Johannes Nider - 1484. Second Edition. Folio. Striking contemporary binding; richly rubricated in red throughout the text. Unusually, this copy closes with a thirty-leaved manuscript in red ink on the rescuing of the soul from Satan and the techniques of exorcism with many references to the Church Fathers.

PRECEPTORIUM:Johannes Nider - 1507. The binding is decorated with panel features originally cut in the mid-fifteenth century.

DE LAMIIS: Ulrich Molitor - 1489. This is the most important and only illustrated incunable book on witchcraft, characterised by unusual woodcuts. Interestingly this nineteenth century binding features the same panel decoration as the previous book.

Fine examples of witchcraft tracts and commentaries are represented by Bodin, Weyer, Del Rio, Bovet, Piperno, Le Loyer, Anania, Godelman, and De Lancre. Two very fine copies (first and second editions) of Guazzo's COMPENDIUM MALEFICARUM. These books contain the most famous of all woodcut series concerning the folklore of witchcraft.

English witchcraft is also very well represented both by manuscript and printed material (manuscript witchcraft is extremely rare).

The first, second and third editions of Reginald Scot's DISCOVERIE OF WITCHCRAFT; King James I's DEMONOLOGIA, in a separate edition as well as his collected works. Other important English witchcraft items are by Webster, Potts, Glanville, Cotta, Boulton, Beaumont, Defoe, Casaubon. The most striking item in this part of the collection is a manuscript, possibly in the hand of Sir Edward Fairfax, 1623, claiming the daemoniacal possession of his two daughters. This is a disturbing example of folklore paranoia at its worst. This exceedingly rare work was followed in the early nineteenth century by the work of a scholar called Ebenezer Sibley. He included 92 watercolours of the visions of the two young girls. This manuscript is also in the collection and is autographed.

POLYGRAPHIA. Trithemius Von Spanheim - 1517. Original contemporary blind-stamped binding with gold decoration. Of particular interest are the hand coloured full-page plates showing Trithemius presenting this rare book (padlocked) to the Emperor of Saxony.

STEGANOGRAPHIA. Trithemius Von Spanheim - Several copies of this notorious work, viewed as the origin of the more complex secrecies of the Western magical tradition. A unique set of 17th/18th century manuscripts in four volumes of this work from a rare Masonic library. Two of Trithemius' most famous pupils, Paracelsus and Agrippa Von Nettersheim are generously represented in this collection. There is a particularly fine copy of Agrippa's OCCULTA PHILOSOPHIA (1533.Cologne) with blind stamped vellum binding and clasps. This book of which there are many versions including manuscripts in this collection is seen as the basis for Occult belief systems right up to the nineteenth century. There are also the first editions of his works from Italy, Germany, France and England. Agrippa's popularity was so great that a spurious Fourth Book of Occult Philosophy was published in Jacobean England. There are two copies in this collection. There are also nine volumes of annotated manuscripts from the 17th/18th century relating to Agrippa's ideas.

OPERA. Pico Della Mirandola - 1517.Paris. Fine bindings. Two copies.

DE VERBO MERIFICO. Johannes Reuchlin - 1490's. Very rare.

DE ARTE CABBALISTICA. Johannes Reuchlin - 1517. These two books would be considered very significant editions to any library specialising in Neo-Platonism and Jewish mysticism.

There is a large collection of Books of Secrets; an unusual and eccentric body of literature popular in the 16th/17th centuries combining medical, alchemical and mystical ideas.

There are also fine examples of the works of Giambatista Della Porta from many different countries. Perhaps the rarest of these is the German edition, 1680, of the NATURAL MAGIC with a large number of dramatic plates in two volumes.

There is a large collection of works by John Dee, the famous Elizabethan mathematician and scientist/mystic, who formulated one of the first great libraries in Europe. Two significant examples are the TRUE AND FAITHFUL RELATIONS/DEE'S ACTS WITH SPIRITS transcribed by Meric Casaubon, 1659, and EUCLID'S GEOMETRY with Dee's famous Mathematical Preface that was to so influence contemporary thinking and navigational theory.

There are many works by Jacob Boehme, the German "shoe maker/mystic". Most remarkable of these is a four-volume folio set of Boehme's works translated by William Law in the eighteenth century. It is very unusual for this work to survive intact as the many fine etchings are characterised by an unusual 'flap and fold' system of great ingenuity.

UTRIESQUE COSMI...Robert Fludd - 1619. This and all other examples of his work are well represented in handsome folios published by the German Rosicurucian company Johannes De Bry in the seventeenth century. Fludd's scientific and mystical system, beautiful and eccentric as it is, is heightened by the remarkable full-page etchings of his cosmological ideas.

ARS MAGNA...Athanasius Kircher - This and all other examples of his seventeenth century publications are well represented. Kircher was perhaps the last great Renaissance polymath and his books are extraordinary for their encyclopaedic range and dramatic illustrations.

DE SUBTILITATE...Girolamo Cardano - c. 1550. This is a particularly fine copy of this philosopher's work amongst several others in the collection.

CABALA RESPONSIVA. Manuscript - c.1750. A most unusual folio manuscript containing hundreds of diagrams and texts on numerical and mystical ideas, bound in vellum.

There are a large number of GRIMOIRES in manuscript, which purports to contain the techniques for raising spirits to help the practising magician. The most unusual of these, CLAVICULAE DE SOLOMONIS (Key of Solomon), is one of the earliest examples in the country of this type of manuscript.

PRETIOSA MARGARITA. Lacinius - 1546. Aldine Press. An early and rare item with famous woodcut plates.

QUINTA ESSENTIA. Thurneisser - 1574. This item contains remarkable full-page woodcuts.

ARCANA CHYMICA. Libavius - Four handsome versions of this folio work.

ATALANTA FUGIENS. Michael Maier - This sixteenth century work contains some of the most famous mystical diagrams in the history of alchemy.

ROSARIUM PHILOSOPHORUM/DE ALCHYMIA - 1550. Frankfurt. Unusual illustrations with the title page hand-coloured in a contemporary hand.

ROSARIUM PHILOSOPHORUM - 1612. Manuscript version in black vellum, blind-stamped, containing diagrams and watercolours.

There are a large number of other alchemical manuscripts from the late sixteenth century onwards. There are also fifteen manuscripts in the hand of the last two practising alchemists in England, as well as some extremely scarce manuscripts from alchemists working for the Nazi regime.

AMPHITHEATRUM SAPIENTIAE ETERNAE. Heinrich Khunrath - 1608. The very rare Magdeburg edition, which is justly referred to as one of the seminal alchemical works. The plates with which it is illustrated are remarkable both for their subject matter and for their execution. This is a superb copy in contemporary vellum.

BIBLIOTECHA MEDICA. Jean Jacques Manget - 1703. Two volumes. Red morocco Chancery folios. These huge books are especially significant as they are Manget's Dedication copy to Frederick the King of Prussia. The bindings are gold-stamped with the king's royal insignia.

BIBLIOTECHA MEDICA CURIOSA. Jean Jacques Manget - 1702. Two volumes, folio, contemporary calf, gilt spine. This is the first edition of the most complete collection of alchemical texts ever published, containing over 140 treatises. For the historian of chemistry this is a most important and indispensable work.

WORKS OF MOSES CORDEVERO. Joseph Gikatilla - This is a fifteenth century manuscript, attractively bound in red morocco, written on wax paper.

CLAVIS. Guilliame Postel - 1643. Fine nineteenth century green morocco binding. Very rare.

SEPHER RAZIEL - 1701. Amsterdam. One of the rarest of all cabbalistic works.

CABBALISTIC TEXTS. Johannes Pistorius - 1587. Basle. The very scarce large folio of all the major renaissance texts linking Jewish mysticism and Christianity. Contemporary vellum binding.

ZOHAR. A complete system of cabbalistic theology - 1558. Large folio.

KABBALA DENUDATA. Knorr Von Rosenroth - 1677. Frankfurt.

Reproduced with the kind permission of Fisher Mackenzie © Fisher Mackenzie, 2004.

Bookbinding: Memories

Many people will have experienced Robert's fascination with books. I was one of them. I think I could admit to actually falling prey to Robert's bibiomania so I will write here for you a memory between father and daughter concerning that of the books.

When I was younger, I lived in Brighton. I travelled a great deal but settled in Sussex for many years during my early twenties. I remember one day enrolling onto a bookbinding course at what was then Brighton polytechnic. I did this mainly for fun but was surprised to find out during the course that my tutor was one of the top bookbinders in Britain. Her name was Faith Shannon. She was a great bookbinder and I enjoyed watching her and learning from her. My part time course started to become more serious and I began learning more skills. We used to sew our own books with cords and tapes, create curved spines and marble and sand the foredges of the paper. Before I knew it after about a year, I was paring leather and preparing to bind my first leather book.

I had just got married in Devon, Yelverton to be precise. Robert had 'given me away'. on my wedding day.

Bookbinding is an ancient craft. You rarely see it or hear of it much anymore. It is a specialised area of art and craftmanship particularly in this age of technology.

My new husband and I lived in Horndon and we were in desperate need of money. We ended up moving to Cornwall to a lovley part of a manor house. The rent was so cheap and the setting idyllic. I managed to get an apprenticeship in Cornwall, Launceston at a bookshop where I was taught to bind leather books and use gold leaf on lables. During this time, Robert became quite ill and I visited him and told him about my bookbinding.

That was it. I have never seen such a quick recovery. Robert set me the challenge of binding a small book for him.

This progressed on to other books, mainly occult books and before I knew it, I was binding and restoring some of the most beautiful books I had ever seen. We would order the endpapers from London. They had to be acid free. Robert was very particular on the endpapers. He had a fascination with a kind of transparent paper that looked like tracing paper or tissue paper  but it was actually very tough and didn't tear easily. He was also fascinated with crimson leather lables embossed with gold leaf. I had a studio in our flat at the manor and I used to keep all my bookbinding materials there. I wish I had kept them over the years. I had boxes of printers type of all various sizes, bags of offcut leather, papers, string, needles. I look back and can't believe that I learnt so much about bookbinding. I have forgotten much of it now.

Robert would give me books to bind. Crazily I never kept a catalogue of the ones I bound but my husband remembered some of them. Robert sometimes asked me to initial them. I will try and add to the list as I go along. I do remember that I rebound the DEE and Stegonographia as well as books by Agrippa. Robert usually wanted the books finished within two weeks so I worked hard and when they were finished, take the books down to the Barbican, meet him at Jo Prietes and then he would enjoy collecting his newly bound books. It was fun but it did become exhausting for me. At the end of two years, I began to want to move on. I remember asking Robert how many books had I actually bound for him. His answer was...'Over 500!'

 

Alice Lenkiewicz

 

Lenkiewicz: The Philanthropist

This is a placeholder for information about the many ways in which Lenkiewicz helped others (by donating time, money and his reputation).

Lenkiewicz did not always gain universal approval for his attempts to help others.

Dossers Annual Christmas Dinner

Christmas DinnerFor many years Robert Lenkiewicz was instrumental in organising a Dossers Annual Christmas Dinner for the homeless in Plymouth (usually held in Bretonside).

 

This page is currently a placeholder for information on this event. If you have infomration, please add it by editing this item.

Jacob's Ladder

One of the warehouses Lenkiewicz commandeered throughout Plymouth to house down-and-outs and to occasionally host exhibitions.

It was named 'Jacob's Ladder' because entrance was originally gained via a ladder.

Lenkiewicz: The Writer

Robert's writings can be divided into those printed and those in manuscript.

For the earlier projects Robert produced printed booklets to accompany the exhibitions, providing commentary on the philosophical themes they contained (Project list: www.robertlenkiewicz.org/themed-projects); the 'middle period' projects of the late 70s were accompanied by pamphlets giving lists of the paintings and some choice quotes from other authors. The very latest projects also merited longer booklets. Robert also published the Notes on the Barbican Mural to accompany the unveiling in 1972 of the 3,000 sq foot Barbican Mural.

Robert also occasionally wrote short articles for the local rag. I have copies of several of these though doubt there's a complete bibliography available at present.

The manuscript writings are considerably more extensive than those published and for the most part reside at the St Saviours Church archive. Robert kept a journal that he entitled Diary Notes throughout the latter two-thirds or so of his life, commencing in 1966 and running (often with lacunae) until about 2000. These exist as annual volumes, often hand-bound.

Everyone is aware of the Project Notebooks, and these were produced at the same time as the relevant project, testing out ideas and sketches for the project in question. The Notebooks were viewed by Robert as part of the project, though their contents are nowhere near so well-known. Some paintings merited Notebooks of their own, such as the Deathbed painting. To date only The Mary Notebook has been published.  The contents of the elephant folio titled, Mary: Aesthetic Notes, which resided in Robert's library, were re-united with various fragments which existed as separate pictures and published in a single volume known as The Mary Notebook. In addition, the texts of some of the early books were published in pamphlet form (such as Death and the Maiden).

There are also a quantity of loose, single sheet aesthetic notes on various themes personal to Robert. "Aesthetic note" is Lenkiewicz's term for illustrations, generally watercolours, which usually include notes by himself or quotes by philosophers and writers exploring some topic of interest to the artist. Some of these have been auctioned subsequent to his death. The bound Aesthetic Notebooks chronicled various of Robert's relationships: many were done solely by him, many were done by his companions in arms, though these often contained additional notes and illustrations by Robert. They were intended to become part of the library, a resource for scholars interested in the nature of human relationships. There are supposed to be several hundred of these in existence, though relatively few resided in the library at the time of Robert's death. 

There are various letters and notes by Robert, though he was not much of a letter writer. I'm not sure how many there may be of these. Robert was not in the habit of annotating his books but I know that some books of especial interest have marginalia, usually written on a scrap of paper marking a specific page. These notes should also be included.

Relationship Journals

These were personal journals that Lenkiewicz encouraged many of his significant others to write during the course of their relationship with the artist. Some of these are richly illustrated (both by Lenkiewicz himself and the sitters) and run to several volumes.

When Lenkiewicz’s partners agreed to create these journals, which apparently contain the most intimate private reflections of their authors, it was on the understanding that the notes would pass into Lenkiewicz’s possession, to be bound as books and kept in his library as an archive of material about obsessive behaviour or “the falling in love experience”.

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The Mary Notebook

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Personal Memoirs

My memories of Robert are many and varied.  I felt a great respect for him whilst he was alive and since his passing I have felt the lose of a great friend.  Robert always found time for me.  Often I would be surprised by  the amount of time he would put aside for our conversations.  He would tell me stories of the various writers of the manuscripts in his collections or the leading theologians that I found compelling to listen too.  I would ask Robert many questions and he was always ready to answer.  Robert allowed me to take photos in his studio and took me to see St Saviours when he had placed some of his library there.  One of my foundest memories was whilst in the Barbican studio.  Patti had just come in to remind Robert that he had a meeting booked in 20 minutes.  Robert had just shown me a rare work from Ethopia and then started to tell me about a book I might be interested in. His ability to create a drama and act out the part of a person was great for me.  As his stature was made larger by the fact he had climbed up several rungs of a ladder in his library.  Whilst at the same time reading from a small book called nine and a half mystics.  After his dramatic enactment of one of the mystics in the book we both laughted and then Robert took me around to Joes for a cup of tea and some sandwhiches.

Lucian Freud, Robert Lenkiewicz

Lucian Freud, Robert Lenkiewicz
Article by Nahem Shoa

Lucian Freud and Robert Lenkiewicz are, in my opinion, two of the world’s greatest figurative artists who both chose to go in a direction completely opposite to the 20th century trends of abstraction and conceptual art.

Since the beginnings of Western Art, artists who painted the world just as they saw it, without flattery placed themselves unintentionally into the role of rebel or outsider. These artists went against the values of the Art Establishment that only adhered to the concept of the Classical Ideal and strove to make nature more perfect than it is. They preferred to idealise and paint only what was considered beautiful, detesting the artists who portrayed life as they saw it warts and all. The ability to dig deeper revealing the beauty in ugliness was dismissed as vulgar. So it comes as no surprise that many of the famous realist artists throughout history, who in their own time struggled for recognition are the artists today that are the most respected. Without Titian, Caravaggio, Rembrandt, Hals, Vermeer, Velazquez, Goya, Constable, Courbet, Manet, Monet, etc, the history of painting would not amount to much. Let’s not forget that Freud only became world famous in his late 60’s and Lenkiewicz still has not received the fame that is due to him. Luckily for us history is usually very kind to these individual artists.

It would be impossible for any Jewish artist born before or around the time of the Second World War to make work that wasn’t profoundly affected deeply by that human nightmare, consciously or unconsciously. Freud and Lenkiewicz were affected directly with family killed in concentration camps, where over half the Jewish population were annihilated. I think it is no coincidence that both of these Artists were obsessed by the figure, and of making art that pulsated with life. Freud will go to incredible lengths to get a painting to work spending often hundreds of hours to finish a picture, restating each figure again and again in his canvas, in an attempt to make the paint become real flesh, life itself. Lenkiewicz painted hundreds of figures, sometimes in one canvas. Each year he painted up to five hundred people, almost wanting to over fill the studio with the living as a reaction to all those that died. He stated that all his projects have been an attempt to understand Fascism and how the individual can free himself from the limitation set by society.

Lenkiewicz was the only 20th century figurative painter able from a very young age to paint huge group figure canvases convincingly, very much in the French Romantic tradition of the early 19th century. The greatest pioneers in this discipline artists like David, Delacroix, Courbet and Gericault were great heroes of Lenkiewicz. Their grand scale paintings were referred to as ‘Grand Machines’. Lenkiewicz too had that 19th century ability to fit each figure into his large canvases with incredible lyricism, creating a perfect harmony between the figures and the background, which only a great draughtsman and colourist can do. His 3000 square foot mural of 1973 wouldn’t look out of place in the Lourve. Freud’s group figure canvases have always been just a few figures, no more than five. They sit together often in a stilted way, figures that are not conceived together as a whole. Although painted together at the same time, there is little emotional connection between them. It is partly Freud’s process of working each part of the body separately that leaves the final picture looking disjointed and only working brilliantly in a few parts.

If Picasso is the painter who reinvented the figure, then Freud will go down in history as the artist who reinvented flesh. Freud has found a completely new language of mark making. His eye penetrates so deeply into the model, like a surgeon’s scalpel enabling him to bring each limb to a monumental conclusion, that gives his best single figure paintings their greatness. He usually starts with the eye then, works each part to a finish, crawling over each wrinkle, wart, burst blood vessel and mapping out the body through its flaws. They are like each individuals personal diary expressed in flesh. It is this brutal matter of factness that shocks many viewers.

Lenkiewicz on the other hand has also painted difficult subject matter, vagrancy, mental handicap, death, sex and suicide and has approached this work with impartial objectivity. He gained a deep psychological insight into the world each sitter inhabits. A combination of conversations, and a vast amount of reading produced painting of a deeply thought provoking nature. Lenkiewicz painted people the rest of us would be terrified and repulsed by, stinking tramps, pimps, prostitutes, junkies, thieves and Murderers and yet still managed to look at humanity in a caring way, similar to that of Rembrandt. Both Lenkiewicz and Freud’s life’s work is about understanding the human condition.

For me Lenkiewicz’s greatest contribution to figurative painting, is his deep and penetrating research into colour, not in a pigment sense but in the way he translated the retinal experience onto canvas. His unmatched ability to break down tone and colour to a huge range of shades and hues allowed him to push his colour to a richness of hue and yet still stay in the boundaries of the way the eye sees. There is no figurative painter who works directly in front of the model that has reached his brilliant use of colour. Of course the more deeply one looks the more you see and a highly trained artist like Lenkiewicz probably saw 4 or 5 times more colour changes than the average artist. Cezanne’s quote about Monet would rightly apply to Lenkiewicz “ Monet is only an eye, but what an eye”

Compared to Lenkiewicz’s 300 to 400 hundred paintings a year Freud paints only 5 or 6 a year. Each of Freud’s images is an attempt at a masterpiece, although many images fall far from this standard. Lenkievicz claimed his pictures should not be seen singularly but only as a complete body of work under one of his themed projects. Both Artists have produced many bad paintings; Lenkiewicz has done many more, due to his output and need to make money, but in my mind has also produced more masterpieces as well.

We have been lucky to have two great painters, who have both contributed to the language of art. Their artistic legacy confirms that observational painting is still alive and full of new possibilities. Both of them will be seen as major role models for future generations of artists.

{Ed. our thanks to Nahem Shoa for allowing us to publish his article. Copyright and all rights remain the property of Nahem Shoa.}

My time with Robert Lenkiewicz by David Gamble.

In 1997 when I was nineteen Robert Lenkiewicz started teaching me. At the time I lived in Dousland, ten miles from Plymouth and about a mile and a half away from Yelverton. I had no transport so my grandmother would drive me to the Barbican Studio and wait patiently for me outside. On one occaision when I had finished the lesson and got back into the car my gran said, "Does  your Mr Lenkiewicz have long grey hair and a beard".  "Yes".  I said , "He came out picking his nose!" she said.

During  our conversations Robert told me of a painting he did when he was about sixteen which was three hundred and sixty four feet long, which sadly along with other paintings was burnt by an evil woman whose daughter had a prediliction for Robert which was unrequited so the woman and her daughter burnt all his paintings. He remarked in a meloncholic way, "Some really good stuff was lost then". I bet there was.

He advised me not to be a painter if I wanted to make money because it is a lifestyle which doesn't pay well. I asked him about the prints of his paintings and he made it very clear that he hated them, "They're merely pale imitations of decent paintings" was one comment he made on them. I complained that I did not have enough space in my room to do large scale paintings, he told me that space is irrelevant and that he had done his three hundred and sixty four foot painting in a tiny room by unrolling lengths of a huge roll of canvas, painting on them then rolling them up and unwinding more of this huge canvas. He said there was lots of unused space in every room above head height and it was just a question of overcoming gravity with maybe a cargo net or hammocks. He advised me to get rid of anything I haven't used in a year which is something I still do. He told me the only things I needed to be a painter was a room, a cooker, a bed, a place to keep my paintings and a place to keep my books.

His son Wolfe used to do big copies of well known paintings on heavy canvas and sit with them taped down on the ground like a form of silent busking. He made so much money doing this that he even managed to pay someone to sit with the paintings all day and look after them. Robert told me his murals on the barbican are slowly peeling away because moisture seeps through brick work and strips the paint off from the inside out, so walls must be treated to make them water proof before any painting is done on them. Anyone who I have known who has been to prison, including Robert, has advised me to never do anything that would have me end up there. He said it was full of bullies and it was where he had his nose broken. He was sentenced to three months for taking books from Plymouth Musuem.

At this time I was attending Plymouth College Of  Further Education in the Goscen Centre. A mural painter called Heath was commissioned to paint a wall in the college. I mentioned Robert to him and he screwed his face up and snarled that Robert was just a self promoter, that he was not very good at painting and that he "couldn't get it up anymore". I stuck up for Robert saying he was a brilliant artist, a good man and and that he had a very bad heart condition. Heath was having none of it and carried on putting him down. Heath also painted a mural in 'Zavvi', previously Virgin Megastore in Plymouth, he is nothing compared to Robert and really should know better.

Robert told me an amusing story of when he used to be visited by a religious group (may be Jahovas witnesses but I can't be sure) who would try to ge him to join their group. This was in the late nineties and they believed the world would end at the end of 1999. They would always disturb him while he was painting or entertaining a lady friend. On one occaision they came in with an attractive young lady and saying the usual, "Oh Mr Lanevich you have to let us save your soul". " Ok then, I'll join your group" he said. "Oh Mr Lanevich that's wonderful". "But you believe the world will end in 1999 right?" "Yes Mr Lanevich absolutely". "Ok I'll join on the condition that I can meet her (pointing to the young lady) on January 2nd 2000 for sex". They were stunned and the young lady smiled and blushed, he said the never bothered him again.

One time I met him in the bedroom area of The Barbican Studio which had a beautiful old spanish bed in it. During our conversation a little light like a fairy started dancing around the room going from painting to painting and shining in my eyes. There was a little girl standing at the entrance with a mischievous grin and a little mirror which she was using to reflect the light and have it jump around the place. Robert said "Alright Little Mouse, I'll be with you in a moment". She scampered off somewhere. To me it was a very magical moment.

I had moved to Plymouth just before January 2000. In August 2001 I showed him my still life with a gas mask (a fairly decent picture of which can be seen on my blog www.dgambleart.blogspot.com and soon to be on a website). We were in the bedroom area again and he was very impressed with the painting, he looked at it from numerous angles and even put it on the old Spanish bed. Without thinking I leant on one of the bed nobs and there was a loud cracking sound, I stepped back quickly and Robert uttered a little sigh and shook his head a bit. He got back to the painting and praised it highly which was an honour for me. I also noticed he had a Wallace and Gromit alarm clock, the kind that says "Come on Gromit time for walkies!". He saw that I noticed it and gave me a little grin. I realised he knew a bit about psychology because I noticed he mirrored my body language as we spoke.

One day I was perusing the places down on the barbican and found a Gallery run by the Garland family. I spoke to Seth Garland for a while, he seemed nice until I mentioned Robret. His tone became pompous and smug, he said "Oh no, I don't rate Lenkiewicz at all". He took the flyer I had with Robert's Barbican fishermen on it and started an ill informed tirade of petty critisism, about how the faces were twisted and unnatural. I stuck up for Robert again and left the Gallery feeling genuinely dissappointed, before he started his verbal onslaught I thought I had found a kindred spirit, a new friend even, an art lover. He is another artist who really should know better. I think that some artists like Seth and Heath were jealous of Robert's ability and may be even his popularity with women and deep down they knew he was much better than them at painting.

In late 2001 I was going to move to Bristol. Before I left Robert asked me to be a disciple in his dipictions of The Last Supper and The Crucifixion. Robert took me to a flat on The Barbican which was just up the street from Castle Dyke Lane. He said, "Now remember, this place does not exist". "Ok". I said. We entered the flat and every available bit of space was taken up by paintings on easels, dozens of them with just a very thin path leading to the bedroom and to the kitchen. His broad 6'2 frame breezed through this tiny path without a second thought, I however was teetering along just inches away from the paintings aware that any clumsy nudge might send these paintings to the floor like very expensive dominoes. Robert glanced back at me he noticed my careful progress and chuckled. The path was really thin and I am hardly a svelte twinkle-toed chap myself at 6'6 and fifteen stone. There was a beautiful woman in the kitchen area making some tea. Robert had a diary in the bedroom and made an appointment for me. He didn't use people's names but assigned symbols for them, mine was a dice because my surname is Gamble.

I was never late for a single sitting. The Last Supper and The Crucifixion were in a huge building on Castle Dyke lane, it was an amazing place. It was huge and all the interior walls were white while the huge doors were black. There were lots of paintings and big blank canvasses waiting to be painted on. It had huge chamber-like rooms except where The Crucifixion was in which there was very little space in the room along side the painting.  In the last Supper I am the second figure on the right, a background figure with long hair (see pic 374 of Dr Phillip Stokes' book of photos of Robert's life). In the Crucifixion I am the first figure on the left looking down into a candle I am holding (see pic 376, Dr Phillip Stokes). The twenty pounds an hour wage was a bonus. During one of the sittings he said "I painted Billy Connolly today". "Did you really, he seems like a nice man". I said "Yes he's a very nice man" he said. I did not see the footage until a few years afterwards because I do not own a television. The footage can be seen in the last episode of Billy Connolly's World Tour Of England, Ireland And Wales. I came in for the last sitting and Robert told me the paintings of me were resolved that he was sorry I came in for nothing and offered me the twenty pounds. I refused saying I had not earnt it, he insisted that I took it but I refused again. Then smiling, he did something imperceptable to me and suddenly he had a huge roll of twenty pound notes in his hand, he peeled one off slowly and said "Take it". So I did.

The first sitting for The Last Supper was forty five minutes and in that time he had laid out the tones for my entire head with all the features established and an indication of where my shoulder was. The second sitting was about thirty five minutes and he seemed to make the image more accurate and it seemed to almost click together more, it seemed more like the other figures. The third, and to my recollection the final sitting took about the same time and the image seemed much more sharp than the initial tones of the first sitting although they did not change much throughout. He established the tonality of most of the areas with the first marks made. He still paid me the whole twenty pounds an hour wage for each sitting. I did not care about the money, to me it was an honour to be painted by him and to observe him in action. 

He told me that he had not worked to get his doctorate and that it was not something he had ever planned, I said I knew and it had just happened naturally, he agreed. I never told him that I thought that being a doctor of paint was very cool. I often wandered where he got his clothes, he seemed to always be wearing one of a few black velvet tops with a red scarf. These garments never seemed to fade to grey so he might have dyed them, I thought they looked great. He wore black comfy jogging trousers and black Cat boots, even in the summer it seemed.

He invited me along to The Beggars Banquet at Bretonside Bus Station on Christmas afternoon where every year Robert and some friends would provide vagrants and down and outs with a sumptuous christmas feast.  Before it he remarked that some of the vagrants had dogs as part of a sympathy act for the public and he considered the dogs to be tortured by them by lack of food and care. Sadly it turned out to be the last Christmas one but I was so impressed that they provided a veritable feast for those who where in need. This sort of thing should happen everywhere every Christmas.

In 2002 I was living in Bristol and working on a bunch of paintings. I phoned Yana to try to get an appointment with Robert so I could go back to Plymouth and show them to him. Yana said he was really very ill and I should wait for another time. I was sitting in a waiting room in the Bristol Royal Infirmary with my girlfriend at the time who had fallen and broken her coccyx and fractured her sacrum. My old friend Tristan Nichols, a respected journalist for The Western Morning News, phoned me and I took the call outside. He told me the sad news that Robert had died. There is a strange feeling that follows such news, a visceral physical sensation like being blasted in the chest by a shotgun, then a numbness sets in. The wounds heal over time but the scars remain.

Months later I was talking to a friend of mine known as Big Al'. I mentioned Robert and he had a story for me. Al's mother was very ill, bedridden in hospital. For some reason Robert was there and started to talk to her. Someone came up to interupt them and talk to Robert. Robert did not even look at him he just put his hand up to the guy's face as if to say WAIT!. Al's mum was forever touched by the fact that Robert had given her his complete attention that he was very sensitive to her condition and showed a genuine sympathy for her.

Bristol is well known for it's music scene and the biggest band to come out of it are Massive Attack. I kept seeing on of the front men, Grant (Daddy G) Marshall around my area of Gloucester Road. One day I saw him going into the supermarket around the corner from my house and I decided to give him a copy of Keith Nichols' book on Robert which has lovely pictures but I can find fault with some of the information. When I gave Grant the book he was a little bit stunned and told me he had seen an exhibition of Robert's about ten years previously in a cave, he thought it might have been penzance, but he could not remember Robert's name. Grant likes Robert's paintings and I ended up giving him the excellent book of photos by Dr Phillip Stokes, the brilliant Paintings And Projects book, which I consider to be the best most informative account of Robert's work and life, and I gave him the Robert A. Fenner and co. auction catalogue of 2004. These books were well recieved by Grant and he still has them in his book shelf.

I also saw the actor Paul McGann around and had the same feeling that I should talk to him about Robert. I saw him early one morning and gave him a copy of Keith Nicholls' book. We sat in a cafe and he told me he knows Robert's daughter Rebecca, a successful playwright in London. Paul told me of his interest in Russian poets and how once Robert sent him a selection of poetry. I was completely skint at the time and Paul was having cake and tea, to this day I regret not being able to afford to have had cake and tea with 'Marwood', vis-a-vis the Penrith  tea shop scene in Withnail and I.

I started a couple of life drawing classes, one in Queen's Road Art School. I offered a copy of the Paintings And Projects book to my tutor who looked through it but did not accept the gift because she was not very interested by the paintings, although she did think he was very talented. I was quite surprised at this but ended up giving that copy to the comedian Russell Brand who was interested in the work but it was the first he had heard of Robert.

After looking at hundreds of Robert's paintings, sometimes in different stages of completion, I know he is one of the most important artists of modern times and he is my favourite artist. I didn't think much of it when he was alive but I sometimes can not believe I knew him and that for so long he was just a stone's throw away from where I lived. I enjoyed just going down to the Barbican studio and looking around at the dozens of paintings that were there, whether Robert was there or not it was incredible to just be amoungst his work. He could paint anything he looked at and was equally good at illustrations, although his obvious favorite subject was painting people which he excelled at.    

In my opinion Robert was a modern day Rembrandt, he was always keen to see other people's art. He would always try to help someone if they had a problem and gave excellent advice, he touched the lives of so many people and tried to make their lives a little better if he could. He is a great artist and should be recognised as such, he is truly the people's painter.

 

 

 

Sitting for RL

I'm the boy in red in this painting:

http://www.robertlenkiewicz.org/image/view/649/_original

I have two memories of the sessions. Firstly I was very relieved that he had not included my pimples. Secondly I remember his inviting me to his funeral - whenever that was to be - in order to piss into his open grave. I told him that I had trouble getting going when stood at a urinal next to another man, and predicted that the same difficulty would be inevitable in front of a large group of mourners. Nevertheless he stressed the invitation.

The Art of Robert Lenkiewicz

The following is reproduced with the kind permission of the author, Henryk Ptasiewicz, St Louis, MO, USA:

Robert Lenkiewicz should be the most famous artist in Britain, but few people have heard of him. Sadly he died last year at age sixty. He was prolific and he was also financially successful, in a way. His library was worth an estimated three million pounds, but his studio wasn't heated. He had twelve children to different ladies. He was driven and his subjects were people, sex and death.

I've had the good fortune to meet him on several occasions, starting in 1985, and he was virtually the last person I spoke to when I came to America. He made Plymouth, England his home, and his studio is in the Barbican area. As you came around the corner of quaint, but daunting back streets you were confronted by a huge mural, which always reminded me of Hieronimous Bosch, and then you noticed a glass fronted room, which was the display area, and a sign above it which simply said, "Robert Lenkiewicz, portrait painter". I spent a lot of time with my nose pressed against that window. Next to it was a weathered door, which led to several book rooms, and finally three huge rooms that were RL' s studios. In the cafe opposite on the wall is a parody of the last supper, with RL as Christ, and behind the studio was a mural that was "The Last temptation of St Anthony" where 96 naked figures lift their arms, and one lone youth defecates gold coins.

It's not the sort of subject that you could give to your aunt, but he didn't care, this is human nature, it is what we all do and are interested in. There was an episode where he embalmed a dead friend, and put his naked body in his studio window, to see if people became blase after a while and just treated it as an object.

He worked in projects. For his project on addiction he had over 800 people come and sit for him. On the project for education, 150 people sat for him and then wrote a one thousand word essay.

At age 16 he painted a three hundred foot long mural. He didn't go on about technique, or colours, he painted with whatever he could get hold of, he said that he needed two brushes, one to paint with and one to clean his teeth with. If David Hockney or Lucien Freud, his contemporaries, broke wind, it was great art, this man painted rings around them.

I wished that you could have met him, he was physically huge, but very soft spoken, and you hung onto every word he said. I could talk about him all day. If you ever go to Britain check out Plymouth. He is the epitome of someone who knew that he was an artist from day one and was forever following his own muse.

In a way Robert Lenkiewicz gave me permission to be an artist. Looking at his method, directly from life and life size, he showed me that ambition and commitment work. I know the struggles he had, to make ends meet he sometimes broke into empty buildings to steal the lead and copper pipes. One of his studios was a place where the derelicts could sleep. They put a piano in there and he talks about carrying out the bodies of people who died in the night. His parents took in as lodgers survivors from Auschwitz and Dachau, the hotel Shem-tov. These were people who were deeply disturbed and throughout his career the theme of helping people who were on the periphery of life became his life's work. A lot of his work was only suitable for an audience with a broad mind, but so is life. I have seen a lot of his work. The closest painter to his style was N.C.Wyeth, huge broad brush strokes that almost rip the canvas. In his studio were numerous unfinished canvases, at the same time at his major retrospective in 1993 I believe there was over one hundred paintings, most of them over six feet by four. Billy Connelly the comedian did a tour of Britain and had his portrait painted by Robert, and did a tour of his studio, but apparently it was a damp squib, a bit like the coming together of Madonna and Warren Beatty.

When Robert died, the Guardian newspaper did a little piece, and hid it. A television documentary that was only seen in the South West of England was also shown, but that was it. To me one of the most influential artists of the late Twentieth Century disappeared and the Art world seems relieved. He was loved by ordinary people, which is never a good thing if you want to be the next Damien Hirst. He was an avid reader and scholar, he could talk about anything in depth. He was a man alone.

The Painter with Sarah Jane King

The Painter with Sarah Jane KingWhen I look at this painting now, with it comes some very special memories.  Some great conversations, a great friend. Laughter and hilariously funny stories!  Moments of truth, moments when I had a friend who was truly real, who truly talked to me and saw me. Who laughed with me and at me!

I had known him for a couple of years prior to this when I joked about him painting me... he said yes....I couldn't believe it! (Especially as my girlfriend had wanted to be painted and he said no, in his words he told me it was because she didn't have what he was looking for... Thanks Robert, you made me feel special - she was so jealous!)

The first time I sat for this painting, Robert talking for the first ten minutes in some kind of weird "talking in tongues".  He had never done that before with me.  I told him to pack it in and talk to me like a normal human being or not at all.... so he did.  I felt he was testing me, to see if I would fall for something that was not real. To see if I was prepared to believe in the ridiculous at the cost of my own reality.  After I responded that way, he never acted like that again, he changed to the most real, funny, interesting, intellectual friend.

I miss you Robert and my most special memories were our incredible conversations, the one time you took me to a different place and all the times I asked you to buy this painting and you said, with a smile and a wonderful grin, cheeky glint in your eye "Sarah, you know what to do to HAVE the picture today - its yours" and I would give you that same look back and say "I guess not today then, next time though".  There never was a next time... but I would give anything to turn back time and bring back that conversation one more time, just to see your face and that cheeky look as you challenge me.  There was always a special understanding between us, you took care of me, you asked for nothing from me. You shared secrets with me, you were the ultimate gentleman.  You made me feel like a princess yet you took nothing from me...

But know this... I will not forget...

Behind this painting are wonderful, magical stories, not stories that most people expect.  But better....more magical....

I always wanted this painting, but now I could never dream of owning it... but I hope the person who eventually does gives me an opportunity to share those moments, those stories, the magic... so they know the true history of Robert Lenkeiwicz and I....

Sarah Jane King, January 2008

The Portrait Painter (in memory of Robert Lenkiewicz)

You sit across the table from me, fingering your empty glass. The Milk Bar is the place you like to come to in between sittings, an unselfconscious place with urns dispensing tea, cold milk or day-glo orange squash and a woman in pink overalls making the cheese or ham sandwiches. There are only two tables, each about two foot square, so that your knees press into mine and your red knuckles brush against my glass, which is still more than two thirds full and flecked with clots of milk about to turn. Basically, you say, you’d like to sleep with me. But it is probably illegal.

I don’t know why this statement fails to make me uncomfortable, but it doesn’t, just as the odd way you are dressed doesn’t make me fear the sort of glances I think I attract when I walk down the street with my mother in her too-tight suit. You are wearing an orange fishing smock, which reaches down to your knees, and jeans tucked into wellingtons. Your hair is long and thick and red (though long hair is still fashionable for men) and you have full red lips and milky teeth. Your voice is a cultured baritone. If we had been sitting in the Latin Quarter, drinking cloudy Pernod instead of milk (or better still, absinthe), I could not have felt more thrilled than I do here, in this Plymouth milk bar, with some old biddy at the other table peering at us through her Woodbine smoke and obviously not liking what she sees. I am fourteen years old, which, I compute, is only 1.25 years away from the age of consent, or near enough. Not that I have the slightest intention of sleeping with you, now or in the future. It is the thought of it – the dirty deed, and the fact that it fails to confound me.

And so we go back to your studio, where I pose in an attitude of contemplation, my arms arranged as though cradling an imaginary man (to be painted in later), a sad expression on my face because the man is dying. In the afternoons, I sit for you unchaperoned, although my aunt, with whom I am spending the holiday, insists on coming along for the evening sessions, bringing her knitting. I watch her watching you paint me through the corner of my eye, and when we break for milk or juice and biscuits, you ask her searching questions, such as why she still lives with her parents and chooses to work as a secretary. She is coy with you, and when we walk home through the summer twilight, which softens her edges, she tells me that she thinks you fancy her. A misunderstanding, of course, because you have already observed to me that she has a dried-up nature, like a rose nipped in the bud, and seems uninterested in life, or sex, which, you sigh, is only messy and disappointing. But that doesn’t stop you kissing my hand or stroking my hair from nape to waist and telling me to come back and see you again, when I am eighteen and cynical.

The sketch you gave me at parting, almost as an afterthought, still hangs on my living room wall. The frame I got for it is made of plastic with fake gilding that fools no one. But you admired fools, all marginal people you admired: tramps, sad-eyed clowns, people with red hair. You saw yourself as less of a painter, you said, than an observer, someone whose primary concern was social and philosophical investigation; and for that you really need to target nonconformists. You drew them from a highly formalised perspective, though, a conventional style that cuts right against the grain of current art trends. A standard academic painter was how you described yourself, a traditionalist preoccupied with two much-tested themes, Eros and Death. You painted fleshy, come-hither nudes and tramps about to croak, or already in the grip of Thanatos (“Diogenes Listening to Wagner”). Once, you painted your idealised dead self, your jaw bound up in a cloth, your corpse supported by a crowd of red haired women, lit by candles. But you always put yourself into your paintings, peeping like a Goya from the edges of the frame, or taking centre stage like Rembrandt, or glimpsed from behind like Vermeer. Your face even imposes on the sketch you gave to me. You gave me your eyes, your cheeks, the lie of your hair, the masterful strokes of your shading technique correcting my unformed features. However imperfect this is as representation, you were still, to my mind, the greatest painter working in Britain since Francis Bacon, and he himself was thin on the Eros content which crowns your work, giving it both its cheesiness (the cock of the barnyard content) and also its tragic edge. The seriousness of your investigations stripped the subjects bare, even down to the last thin layers of kitsch, which worries some people because of your lack of playful irony, your refusal to splice the figure from the ground, like cleaved cows in formaldehyde or piss holes in the snow. You did not separate out your work from your life, but entered into the allegory, rolling with the carnival of clowns or drowning in the ship of fools; and so you and your work must stand together, for better or for worse, without the comfort of distance or qualification. You looked the part of parody but didn’t play it. You didn’t want to play that too too clever game.

Long after I turned eighteen and was living in London, I would sift through the postcards in the National Gallery, looking for something suitable to send to you by way of renewing our acquaintance. I was torn between two favoured paintings, Caravaggio’s “Boy Bitten By Lizard” (an allegory of the sting of love) and Piero di Cosimo’s “Death of Procris”, treating Ovid’s tale of jealousy and regret. Sometimes, I felt as though I had climbed into that painting, walking onto the beach at dawn, where the shore and sky share a sorry blue, the sorrow of the hunter, Cephalus, reflected in the eye of his large dog, upon whom the fact of death has just dawned also, so that animal and man are united in this experience of truth. The man I was seeing at the time (also a figurative painter, who, like you, was running against the grain of abstract installations) had told me to look at di Cosimo’s work; and so in searching out this artist, I felt that I was looking you up too. According to Vasari, Piero di Cosimo was an eccentric character who ‘lived off eggs boiled twenty at a time along with his glue'. My painter friend called this mode of existence, ‘working to the edge’. It may be art, it may be affectation. Who is to say?

The coda to this memorial should have been how I called in on you decades after I sat for you that summer and talked about those thirty intervening years. But I never sent the postcard. I stood in front of your studio several times after moving back to the south west, reading the sign you had put in the window inviting strangers in to talk with you about sex and death. I felt awkward about doing this, however, even though I had acquired first hand experience of both of those subjects since you first talked about them to me in the Milk Bar, and I could relate now to what you had said about the sex being messy and disappointing, though not universally so. There were other less loaded subjects I could have chewed over with you, such as the art-dealer I’d met in London, who had shared a studio with you in the 1960s, not far from where I lived, in fact, in Belsize Lane. He told me you had taken it in turns to sleep behind the partition while the other worked or made out with some model. And then I had shared an agent with someone who had written a novel about your work. Even the father of my child was a friend of yours, who called in regularly as he passed through Plymouth to listen to you philosophise, and to whom you gifted several of your palettes, vibrant testimonials to your engagement with the medium, the spots of paint still palpable. But I never had the courage to ring and catch up with you, although I had not shied away from knocking on your door when I was fourteen years old. You had risen from your stool and opened up, towering over me in your orange smock and rubber boots like Turner’s Colossus – a case of once seen, never forgotten. And before I could ask you the same question, you asked if you could paint me.

But now I can only endorse what you said last Christmas, when you were interviewed for BBC Spotlight South West. You said it would be inconvenient if you died within the next few years because you still had a lot of things left to investigate. It is very inconvenient. I wish you had not died at only sixty years old. There were still things I wanted to ask you.

Reproduced here with the kind permission of the author, Anne Morgellyn. Copyright and all rights remain the property of Anne Morgellyn.

Miscellaneous

This is a temporary placeholding section for content items that currently have no logical place in the current book structure ...

Lenkiewicz on Television

Over the years Robert Lenkiewicz featured in a number of television programmes. Here are details of some of the shows aired on the local ITV channel:

  • Lenkiewicz - The Legacy - 13th September 2002 - 30 mins
  • The Art of the Matter - 24th February 2000 - 30 mins
  • Demon or Delight - 8th May 1996 - 60 mins
  • Lenkiewicz – The Painter Preserved 12th April 1995 - 30 mins

Carlton Television have previously been able to provide copies on VHS. However, they are currently upgrading their system, so are not able to do so at the moment.

Lenkiewicz was also the subject of one of the 'Turning Point' shows: "Turning Points is a series of short films in which celebreties from all walks of life tell the story of a significant incident or encounter, personal or professional, which brought about a major change in their lives." This recording is available to view online at www.flybynight.tv/video.htm.

In 1990 Lenkiewicz featured in the Ruby Wax show 'Hit and Run', produced by BBC - 20 mins.

Westcountry broadcast a series earlier this year called 'What Ever Happened To..?', which featured news stories from their archives followed by a quick 'update' on the story.

The show that was aired on 12/02/04 included archive footage of Lenkiewicz, Diogenes and The Bishop, along with recent interviews with people who knew Lenkiewicz (including Annie Hill-Smith).

Lenkiewicz's Students

This is currently a placeholder for a section that will contain information on Lenkiewicz's students (the students themselves, and the process involved).

If you have information or knowledge about this area of Lenkiewicz's life, please add it to this existing page.

If you are a former student of Lenkiewicz, you are welcome to create your own 'child' page to this article. However, do please keep the content of any article factual and informative.

Teaching Methods

Concept used by Lenkiewicz in his teaching included:

  • Tone of the tone
  • Colour of the colour
  • Shape of the shape
  • Seeing the whole

By following these excercises under Lenkiewicz's guidance, students acquired a basic grounding in techniques for accurate representation of tone, colour and shape together with a sensitivity to the way objects in the visual field interrelated.

When once asked if he had ever produced a written set of notes for his method of teaching the rudiments of figurative painting, Lenkiewicz stated that he liked to tailor the program for each individual student. The vital element was Lenkiewicz's astute judgment in criticizing other artist's work and the opportunity to correct bad habits in his pupils, based on a lifetime of artistic experience.

Lesson One

Lenkiewicz would often give new students the following exercise:

  1. Small piece of hardboard (A3) primed black.
  2. Group of small geometric object...rectangles, squares, spheres - Lightbulb box, toothpaste box, rubber ball will do.
  3. Prime half of the objects black and half of the objects white.
  4. Arrange objects and paint in black and white.
  5. Paint for as long as you can bear...every night for weeks, months.
  6. Easiest way is to keep repriming the same hardboard to start over again.
  7. Use a 'claude' mirror to check tones (Claude mirror is a piece of glass painted black on one side... I use an old picture frame and prime one side black). And also told students to 'squint' (half-close) your eyes when looking at the subject to be painted, which helped to you to see increased contrast in the subject.
  8. Once competent, prime one of the objects a colour and add back into the still life. Paint for as long as possible again (with only the one added colour while the rest of the objects are B&W).
  9. After time add a second colour and repeat and so on.

There are other versions to this exercise where hardboard is split into two etc...

Former students include:

  • Lucinda Arundell
  • Piran Bishop
  • Karen Ciambriello
  • Louise Courtnell
  • James Guy Eccleston
  • David Gamble
  • David Gray
  • Handrew Morgan
  • John Nash
  • Diane Nevitt
  • Nahem Shoa
  • Lisa Stokes
  • Joe Stoneman
  • Yana Trevail
  • Dan Wheatley

 

Alice Lenkiewicz

Many years ago when Robert used to create quick pencil sketches at his stiudio on the Barbican, I was fascinated by the way he drew 'eyes'. I remember asking him to show me how to draw 'an eye'.He showed me very quickly. I remember it being very dewey with soft pencil strokes to create form and shadows. Robert was interested in many artists but I remember one of his favourite painters was that of the French painter, Jean Auguste Dominique Ingres. He admired Ingres for his use of line and I remember him showing me a family portrait that Ingres had drawn with such fluidity and prescision out of graphite pencil.

The use of line in drawing was always very important for Robert. He was also fascinated by the way Ingres 'distorted' the bodies of his models. If you look at La Grande Odalisque you will notice the elongated neck, back and arms.

This sense of distortion fascinated Robert. It would be interesting to go through his works looking for influences of the art of Ingres.

My first memory of art lessons by Robert was at his studio where he set down the sphere, cube and cylinder for me to paint in black and white. They were all covered in white cloth to encourage me to paint the shadows and tones. Later, he encouraged me to paint self portraits. I started with pencil then black and white acrylic and worked up to using oil. Even so, I don't think this was my calling in terms of subject matter. My main interest at the time was that of landscape and still life. He often sent me off to paint, trees and flowers. I learnt alot from this and enjoyed it a great deal. As with the other students, Robert encouraged me to use 'tone of the tone', 'colour of the colour' and 'shape of the shape.' I found this rule useful. It encouraged me to be disciplined. 

The first art book Robert gave me for my birthday when I was quite young was by Chagall. Robert loved Chagall and I remember he wrote on the first page: "Look carefully at the pictures, Alice. They are a Secret World, like inside your head.'

Robert later encouraged me to paint from my imagination. He once let me use his house as a studio. I stayed there alone for a few weeks. It was lovely, very quiet and I remember the ivy glowing very green through the windows. I painted throughout the day, creating some very soft blue paintings. I still have two of them. One of them is on my wall as I write this. During this time, Robert was teaching me to blend colour in a very carerful way so that the gradations were subtle. Robert's teaching has never ceased to inspire me with my own creative work.

 

 

 

Piran Bishop

The following article is the entry for Piran Bishop that currently appears on Wikipedia. It is used here to give an example of how other similar articles on former Lenkiewicz students might be structured and presented.. It is reproduced under the terms of the GNU Free Documentation License. (See Wikipedia Copyrights for details).

Early career
Bishop is based in Exeter, and studied at Art Colleges in Exeter and Brighton. He was sketched by Robert Lenkiewicz as a child, and became a "casual student" of his from 1994 until Lenkiewicz's death in 2002. Bishop is the subject of several portraits by Lenkiewicz.

Before settling to a career as a portraitist, Bishop worked for Exeter City Council as a local archaeological and architectural illustrator; some of his sketches are still used by the City Council as educational and reference materials.

Portraits
Bishop usually works in oil on canvas. He has said that when painting women, he prefers to paint them nude.

Commercial commissions include a series of eight portraits of adult learners for Ufi/learndirect, painted between January and March 2001. Bishop described the series as his "biggest project to date".

Some of Bishop's private commissions can be seen on his website.

Exhibitions
Bishop has exhibited at the Mall Galleries in London and at several South-West galleries, including The Royal Albert Memorial Museum and Art Gallery, and the Coombe Farm Gallery.

External links

Limited Edition Prints

The following prints are among those that have been released.

If you can provide additional information about these (or other) prints, please edit this item. More background on the releasing of limited edition prints would also be welcome.

 

Title: Self Portrait Holding RoseSelf Portrait Holding Rose
Medium: Lithograph
Quantity: 500 (15 Remarques) signed by Robert Lenkiewicz
Paper Size: 22 x 22.5 inches
Image Size: 18.5 x 18.5 inches
Paper: Sequel Satin 300grm
Year: 1998

 

Title: The Painter with MoiThe Painter with Moi
Medium: Lithograph
Quantity: 450 copies signed by Robert Lenkiewicz
plus 100 unsigned copies
Paper Size:
Image Size: 11 x 22 inches
Paper:
Year:

 

Title: Patti Avery in orange dress (project 18 Daemon seriesPatti Avery in orange dress (project 18 Daemon series
Medium: 6 colour litho on textured stock
Quantity:10
Framed Size: 34 x 37 inches
Image Size: 10 x 24inches
Paper:
Year: Private print comissioned by a Birmingham gallery, published exclusively by the artist and released after his death

 

Title: The Painter with Anna - Rear viewThe Painter with Anna - Rear view
Medium: Silkscreen
Quantity: 475
Paper Size: 36 x 30 inches
Image Size: 30 x 23.5 inches
Paper: Velin Arches Blanc 400gsm
Year:

 

Title: Self Portrait with Self Portrait at NinetySelf portrait with self portrait at 90
Medium:
Quantity: 585 lithographs and 100 silkscreens
Paper Size: Framed size is 108 x 82.5cm
Image Size:
Paper:
Year:

 

Title: Paper Crowns - The Painter with MaryPaper Crowns - The Painter with Mary
Medium: Silkscreen
Quantity: 250
Paper Size:
Image Size: 19 x 25 inches
Paper:
Year:

 

Title: Karen with Bronze ShawlKaren with Bronze Shawl
Medium: Lithograph
Quantity: 500
Paper Size:
Image Size:
Paper:
Year: 1998

 

Title: Study of MaryStudy of Mary
Medium: Lithograph
Quantity: 350
Paper Size:
Image Size: 19 x 15 inches
Paper:
Year:

 

Title: Painter With Women - St Antony Theme (aka Women II)Painter With Women - St Antony Theme (aka Women II)
Medium:
Quantity: 475
Paper Size:
Image Size: 26 x 19 inches
Paper:
Year:

 

Title: Study of Karen (aka Karen Standing)Study of Karen (aka Karen Standing)
Medium: Lithograph
Quantity: 500 (embossed signature) (50 Artist's Proofs)
Paper Size:
Image Size: 10 x 29 inches
Paper: Ideal Premier Silk 400gsm
Year:

 

Title: Esther with Silver LocketEsther with Silver Locket
Medium: Lithograph
Quantity: 500 (embossed signature)
Paper Size:
Image Size: 23.5 x 13.5 inches
Paper:
Year: 2003

 

Title: Anna in the Green DressAnna in the Green Dress
Medium: Silkscreen
Quantity: 195
Paper Size:
Image Size: 59 x 59 cm
Paper:
Year:

 

Title: Painter and the Wind 3.50 a.mPainter and the Wind 3.50 a.m
Medium: Lithograph
Quantity: 500
Paper Size:
Image Size: 19 x 15 inches
Paper:
Year:

 

Title: Bella with the PainterBella with the Painter
Medium: Lithograph
Quantity: 550
Paper Size:
Image Size: 50 x 50 cm
Paper:
Year:

 

Title: DiogenesDiogenes
Medium: Lithograph
Quantity: 250
Paper Size:
Image Size: 50 x 45 cm
Paper:
Year:

 

Title: Painter with Esther - Aristotle/Phyllis Theme, Project 18 (aka Esther Standing)Esther Standing
Medium: Silkscreen
Quantity: 295
Paper Size:
Image Size: 737 x 603 mm
Paper:
Year:

 

Title: Warren WoodsWarren Woods
Medium: Silkscreen
Quantity: 375 (24 Artist's Proofs, 15 Remarques)
Paper Size: 20 x 47 inches
Image Size: 11 x 39 inches
Paper: Velin Arches Blanc 400gsm
Year:

 

Title: Self-portrait at easelSelf-portrait at easel
Medium: Lithograph
Quantity: 500 (15 Remarques) signed by Robert Lenkiewicz
Paper Size: 18.5 x 16.5 inches
Image Size: 15 x 12.5 inches
Paper: Sequel Satin 300grm
Year: 1998

 

Title: The Painter with LisaThe Painter With Lisa
Medium: Silkscreen
Quantity: 395
Paper Size:
Image Size: 812 x 749 mm
Paper:
Year:

 

Title: ChairsChairs
Medium: Silkscreen
Quantity: 195
Paper Size:
Image Size: 390 x 762 mm
Paper:
Year:

 

Title: The Dance (aka The Painter With Karen)The Dance
Medium: Silkscreen
Quantity: 495
Paper Size:
Image Size: 635 x 737 mm
Paper:
Year:

 

Title: Esther - Rear ViewEsther - Rear View
Medium: Stochastic screened lithograph
Quantity: 250
Paper Size:
Image Size: 40 x 53 cm
Paper: Ideal Premier Silk
Year:

 

Title: 2nd Study of Esther (Gas Fire)2nd Study of Esther (Gas Fire)
Medium: Silkscreen
Quantity: 275
Paper Size:
Image Size: 762 x 558 mm
Paper:
Year:

 

Title: Roxanne (Daemon series / project 18)Roxanne (Daemon series / project 18)
Medium: Silkscreen
Quantity: 375
Paper Size:
Image Size: 838 x 558 mm
Paper:
Year:

 

Title: Esther SeatedEsther Seated
Medium: Silkscreen
Quantity: 475
Paper Size:
Image Size: 24 x 24 inches
Paper: Velin Arches Blanc 400gsm
Year:

 

Title: Karen SeatedKaren seated
Medium: Lithograph
Quantity: 475
Paper Size:
Image Size: 49 x 36 cm
Paper:
Year:

 

Title: Silver LakeSilver Lake
Medium: Lithograph
Quantity: 475
Paper Size:
Image Size: 24 x 24 inches
Paper:
Year:

 

Title: Anna with Black ShawlAnna with Black Shawl
Medium: Lithograph
Quantity: 475
Paper Size:
Image Size:
Paper:
Year:

 

Title: Anna with Paper LanternsAnna with Paper Lanterns
Medium: Lithograph
Quantity: 500
Paper Size:
Image Size: 533 x 367 mm
Paper: Queen of Arts 400gsm
Year:

 

Title: Karen in BlueKaren in Blue
Medium: Lithograph
Quantity: 475 (plus 25 Artist's Proofs)
Paper Size:
Image Size: 345 x 89 mm
Paper: Ideal Premier Silk
Year: December 2000

 

Title: Study of LisaStudy of Lisa
Medium: Lithograph
Quantity: 750
Paper Size:
Image Size: 15.5 x 15.5 inches
Paper:
Year:

 

Title: Study of AnnaStudy of Anna
Medium: Lithograph
Quantity: 750
Paper Size:
Image Size: 15.5 x 15.5 inches
Paper:
Year:

 

Title: EstherEsther
Medium: Silkscreen
Quantity: 195
Paper Size:
Image Size: 762 x 597 mm
Paper:
Year:

 

Title: Anna SeatedAnna Seated
Medium: Lithograph
Quantity: 475
Paper Size:
Image Size: 525 x 395 mm
Paper:
Year:

 

Title: Self-PortraitSelf-Portrait
Medium: Lithograph
Quantity: 450
Paper Size: 19.5 x 32 inches
Image Size: 16 x 28 inches
Paper: Sequel Satin 500grm
Year: Published by Barbican Gallery in 1990

 

Title: Study of Fiorella in embroidered shawlStudy of Fiorella in embroidered shawl
Medium: Lithograph
Quantity: 450 (245 are signed by Robert Lenkiewicz and 205 are embossed signatures)
Paper Size: 50 x 53 cm
Image Size:
Paper:
Year: 2003

 

Title: Anna (Stained Glass Window)Anna (Stained Glass Window)
Medium: Silkscreen
Quantity: 375
Paper Size:
Image Size: 60 x 51 cm
Paper:
Year:

 

Title: Self portrait - project 10Self portrait - project 10
Medium: Lithograph
Quantity: 500 (15 Remarques) signed by Robert Lenkiewicz
Paper Size: 19.5 x 32 inches
Image Size: 16 x 28 inches
Paper: Sequel Satin 500grm
Year: 1998

 

Title: The Barbican FishermenThe Barbican Fishermen
Medium: Stochastic screened lithograph
Quantity: 250
Paper Size:
Image Size:
Paper:
Year: 2000

 

Title: SnowySnowy
Medium: Giclée print
Quantity: 50 signed and 300 unsigned
Paper Size:
Image Size: 10 x 10 inches
Paper:
Year: 2004

 

Title: FaradayFaraday
Medium: Giclée print
Quantity: 395 unsigned
Paper Size:
Image Size:
Paper:
Year: 2004

 

Title: Mill Lane StudiesMill Lane Studies
Medium: Lithograph
Quantity: 99
Paper Size:
Image Size: 18 x 12 inches
Paper:
Year: June 2006

 

Title: Study of EstherStudy of Esther
Medium: Lithograph
Quantity: 299
Paper Size:
Image Size: 22 x 22 inches
Paper:
Year: June 2006

 

Title: Study of AnnaStudy of Anna
Medium: Giclée print
Quantity: 295
Paper Size:
Image Size: 21.5 x 18.5 inches
Paper: Somerset Velvet 330gsm
Year:

 

Title: Anna in Blue Anna in Blue
Medium:
Quantity: 500, signed by Robert Lenkiewicz
Paper Size: 17.7 x 20.35 inches
Image Size: 15 x 15 inches
Paper:
Year:

Publications

Robert Lenkiewicz: Paintings & Projects.

  • Editor: Francis Mallett
  • Year of publication: 2006
  • Pages: 192
  • Publisher: White Lane Press
  • Language English
  • ISBN-10: 0953137090
  • ISBN-13: 978-0953137091
  • Product Dimensions: 31 x 29.2 x 2.8 cm

A Portrait of Robert Lenkiewicz: Photographs by Dr Philip Stokes.

  • Editor: Francis Mallett
  • Year of publication: 2005
  • Pages: 160
  • Publisher: White Lane Press
  • Language English
  • ISBN-10: 0953137066
  • ISBN-13: 978-0953137060
  • Product Dimensions: 32 x 31.2 x 2.4 cm

R. O. Lenkiewicz.

  • Editor: Francis Mallett
  • Year of publication: 1997
  • Pages: 129
  • Publisher: White Lane Press
  • Language English
  • ISBN-10: 0953137007
  • ISBN-13:
  • Product Dimensions: 29.7 x 29.7 cm

 

Robert Lenkiewicz: The Artist and the Man.

  • Author: Keith Nichols
  • Year of publication: 2005
  • Pages: 160
  • Publisher: Halsgrove
  • Language English
  • ISBN-10: 1841144576
  • ISBN-13: 978-1841144573
  • Product Dimensions: 27.2 x 26.9 x 2.8 cm

Robert Lenkiewicz: Self-Portraits.

  • Editors: M. A. Penwill and Francis Mallett
  • Year of publication: 2008
  • Pages: 95
  • Publisher: White Lane Press
  • Language English
  • ISBN-10:
  • ISBN-13: 978-0955266737
  • Product Dimensions: 26.7 x 26.7 cm

Lenkiewicz Articles

A number of articles have been published on Robert Lenkiewicz. This section of the site contains a few of them.

We have been granted permission to reproduce these. Please do not post any other articles unless you have the specific permission of the copyright holder to do so.

Body Of Work (Mick Brown feature article published in Telegraph Magazine)

The following is a slightly longer version of the article that was published in the Telegraph Magazine on Saturday 9 October 2004. This version includes a few things that were subsequently edited out of the final version.

It is reproduced here with the kind permission of the Telegraph Magazine. Copyright and all rights remain the property of Mick Brown.

Body Of Work

When Robert Lenkiewicz died in his bed in August 2002 at the age of 60 of heart failure, there was some discussion among his wide circle of friends and acquaintances as to whether he was really dead at all.

Lenkiewicz, after all, had already ‘died’ once before, twenty years earlier. Reasoning that while he could not know what it was like to be dead, but that he could at least know what it was like to be thought dead, he had arranged for an announcement of his passing to be placed in the local newspaper and then vanished for three days, hiding out in the house of a friend and observing the effect of his untimely demise on the world, while painting portrait of himself in a full-length mirror.

Only when it became necessary to fulfil the necessary legal obligations - where’s the body? - did Lenkiewicz reveal himself, appearing before a clamour of reporters in his Plymouth studio, and issuing a quick statement before excusing himself to go to the bathroom, quietly locking the door behind him as he went. It was some two hours before the assembled company were able to escape.

Death was one of Lenkiewicz’s abiding interests. Among the various artefacts which his estate was obliged to consider following his death were Lenkiewicz’s singular collection of skulls and coffins, the skeleton of a 16th century witch, and the embalmed body of Edward McKenzie, a Plymouth tramp whom Lenkiewicz discovered living in a concrete container overlooking a local rubbish tip, and named ‘Diogenes’, after the philosopher who lived in a barrel. For several years, the intractable Diogenes, a former flyweight boxer, was among Lenkiewicz’s closest companions, often standing sentinel at the door to the painter’s studio, demanding 10p from anybody bold enough to venture across the threshold.

When Diogenes died in a Plymouth hospital in 1982, Lenkiewicz, the attentive friend, was at his bedside. No sooner had the death rattle silenced than Lenkiewicz wrapped the corpse in a sheet, and carried it on his shoulder out into the night. It was embalmed by a fellow of the British Institute of Embalmers.

When the matter eventually came to the attention of the local health inspectorate, Lenkiewicz was obliged to produce the body. He arranged a showing in his studio. When the coffin was opened with due ceremony, Lenkiewicz himself jumped out, crying ‘Habeus corpus!’.

The matter was quietly forgotten.

Lenkiewicz was a man who designed his life, as one friend puts it, as ‘a bravura performance’. He was a big man, with an enormous barrel chest and ‘colossally strong’, the legacy of his years spent doing occasional work on building sites to support himself.

He affected a cavalier appearance - almost a parody of the artist at large; a turbulent mass of tangled, shoulder length hair, an unruly beard; he invariably dressed in a smock, his baggy trousers tucked into fisherman’s ‘ten league’ boots, an aroma of oil paint and turpentine trailing behind him like a plume. He spoke in a soft, beautifully modulated whisper, which had the effect of drawing people closer to him; women, in particular, found this bewitching. ‘Robert had huge charisma; he would totally command a room’, remembers one friend, adding an odd detail: whenever he sat, Lenkiewicz would habitually cover his genitals, with a scarf, a hat, a book; a curious tic, but telling, perhaps, of the libidinous strain that coursed through Lenkiewicz’s personality. He would claim to have had between two and three thousand relationships in his life-time - a high proportion of them, he would add ‘very agreeable’ - and to have fathered up to 19 children (estimates vary) by a variety of different women.

For the 30 years that Robert Lenkiewicz lived and painted in Plymouth, he enjoyed a peculiar love-hate relationship with the city. Initially an object of suspicion and reproval, his shows had been threatened with closure, his works with confiscation; he had even spent a short time in jail. But in later years he came to be embraced as something of a vieux terrible, a familiar figure to locals and to tourists on the Barbican, where his studio was located, an eccentric adornment in a city not noted for its artistic life. More than 800 people attended his memorial service at the Plymouth Guildhall, which had been organised by the City Council, where the actress Lesley Joseph read out lines from two poems written by Lenkiewicz, Thoughts on Death and My Gout.

As a painter Lenkiewicz was all but unrecognised nationally. He exhibited only once outside Plymouth, and the only review his work ever received in the pages of a national newspaper was a spoof - a facsimile of a notice in the Times, which was distributed to people arriving for an exhibition in his studio bluntly entitled ‘Paintings to Make Money’. The notice damned Lenkiewicz as ‘utterly void of talent and creative force’, and warned that ‘those who purchase from him for taste are shallow, those who purchase from him for investment fools.’ Lenkiewicz had written it himself.

In fact, to outward appearances at least, making money was something that he appeared to have no particular gift, or indeed interest, in doing. He was a prolific painter, executing literally thousands of works, but for most of his life showed no palpable enthusiasm for selling his work. Throughout his life, he had striven to give all who knew him the impression that he was a penniless, struggling artist. He spent nothing on food, habitually eating in any one a number of local cafes where painting the proprietor or a wall-mural had ensured free meals for life.

‘Occasionally, you’d encounter him with £1,000 in his hand, but it was never there for more than five minutes’, recalls one friend. ‘He was improvident in that way. If someone came up to him with a good story, Robert would always give them enough money to sort it out.’

Nobody was particularly surprised to discover on his death, that Lenkiewicz had left precisely £40 - found in a saucepan. There was some astonishment, however, when it was revealed that his estate had been valued at some £6.3m. As well as hundreds of his paintings, this included a collection of more than 25,000 books, He also left behind a mountain of debts.

Before his death Lenkiewicz had expressed a desire to see his paintings and books collected together as a permanent resource for Plymouth. But over the last two years, hundreds of his art-works and books have been sold off, to the point that there are real fears that soon nothing will be left to comprise the sort of collection which Lenkiewicz himself envisaged. Later this month (OCTOBER 25th) in Exeter, a further 450 paintings and an assortment of artefacts, including studio props, palettes, easels, and a number of skulls and mummified animals will be coming up for auction. The body of Diogenes will not be among them.

As a painter, Lenkiewicz was honest about his own short-comings: he described himself ‘the best bad painter I know’. His figurative style, recognisably influenced by the old masters he had venerated since childhood - Rembrandt, Leonardo, Brueghel - was conventional, and in art-market terms old-fashioned. At their best his paintings emanated a dark and brooding intensity, at worst they veer dangerously towards chocolate box kitsch. But they are better understood as illustrations for what Lenkiewicz called his ‘projects’ - investigations into the human condition in general, and into the condition of Robert Lenkiewicz in particular.

He completed 21 such projects in his lifetime, on such subjects as Vagrancy, Mental Handicap, Love and Romance, Jealousy, Orgasm and Addictive Behaviour, each comprised of paintings, sketches, notebooks and diaries. Taken together, they provide an encyclopaedia of his abiding obsessions, and constitute one of the most singular, and curious, bodies of work of any British artist of modern times.

Lenkiewicz’s parents were European Jewish émigrés who settled in London after the war, and ran a boarding house in North London - the Hotel Shemtov - inhabited by elderly refugees like themselves, many of them survivors of the concentration camps. It was an environment that introduced him to mental illness, suffering and death from an early age. Lenkiewicz would later liken it to ‘a lunatic asylum’. A solitary boy he escaped into painting, executing portraits of the hotel’s residents, and making anatomical drawings of pigeons which he would dissect after pinning them to a wardrobe door.

He studied at St Martin’s College of Art, then the Royal Academy, moving on to live in a variety of squats and derelict spaces, painting frantically, and occasionally teaching in schools to make ends meet. In an echo of life at the Hotel Shemtov, he began to gather around him the difficult and the disturbed - alcoholics and vagrants that he would paint in return for food and shelter.

When the local police eventually suggested that he might wish to relocate himself somewhere else, Lenkiewicz moved on, firstly to Cornwall, and then, in 1970, to Plymouth, where he would remain for the rest of his life.

He took a studio on the Barbican, where he patched together a living drawing tourist portraits at £3 a time, at the same time giving sanctuary to a new assortment of tramps and dossers in his studio - characters like Albert Fisher, better known as ‘The Bishop’, Cockney Jim and Les ‘Cider’ Ryder. Lenkiewicz painted them and listened to their stories; he took it upon himself to commandeer vacant warehouses and derelict properties where they could squat - at one point there were nine such premises in Plymouth - and arranged with local hospitals and charities to provide beds and mattresses. He funded an annual Christmas Day dinner at a Plymouth bus station (an institution which would continue until his death). He would also send them out, ‘like Fagin’, as one friend recalls, to ‘recover things’ - lead stripped from old buildings, church doors, or books for his own library. At the age of 25, Lenkiewicz himself was convicted of stealing books from The City Museum in Plymouth - he would claim, to pay for the dossers’ food.

As a young man, Lenkiewicz had been strongly influenced by the example of Albert Schweitzer, and had dreamed of being, as he once put it, ‘an artist saint’. But he always vehemently denied that there was any hint of altruism about his work with the tramps and derelicts of Plymouth. It may have had the effect of highlighting the plight of people living on the margins of society, even alleviating it, but his intentions, he maintained, were purely ‘aesthetic’, to build ‘a body of information’.

‘I don’t for one moment even want to hint at suggesting that I am concerned for the welfare of another human being; to me that would be blind, ignorant, insensitive and thuggish.’

Lenkiewicz, it would be fair to say, abhorred sentiment and distrusted human feeling. Over the years he would formulate a philosophy based on his twin obsessions of aesthetics and addiction, which he would call ‘aesthetic fascism’, and which would form the basis of all his work. Lenkiewicz believed that ‘there is only addictive behaviour’, and that everyone, at any time, is simply somewhere along the spectrum ‘of all possible intensities’. At its most apparent, this may be addiction to alcohol or drugs - Lenkiewicz abhorred both. The addiction to people or ideas, he believed, was more insidious, leading to extreme or fascistic behaviour. In the matter of love, the relationship one is having, he believed, is essentially with oneself - an addiction to one’s own ‘aesthetic vulnerability’ - rather than having anything to do with anyone else. What begins as attraction inevitably becomes an entanglement of expectation and possessiveness, the projection of one’s dreams onto others, then blame and recrimination for their failure to fulfil them - ‘thoughtlessness, brutishness and fascism’.

‘Romantic love’ - what he described as ‘the whole "two becoming one" schmaltz’ - was a hoax; the idea of self-less love merely self-deception.

‘This idea that love and romance are some kind of profound event...Robert almost made it his life’s work to prove the opposite’, remembers one former lover.

‘I can certainly recognise it and detect the sensations’, Lenkiewicz once said. ‘I can even sense the process of being moved by it; but it’s as though I’m watching it from the outside - its just a piece of machinery doing this. It brings about what I call "the visceral smile’’.’

Lenkiewicz was married three times, but he made it a point never to live with his wives, sundry partners, or his numerous off-spring. ‘To inflict oneself upon another human being for long periods of time’ as he put it, was ‘unkind. It’s called ‘ the beautiful lie’.

Fidelity, he believed, was ‘physiologically impossible’. He offered an ingenious rationale for this. If it was true that the body alters on a cellular level in almost every way every three to seven months, then you were physically a different person three times a year, and your partner the same, ‘So both of you already physically slept with three to four different people a year in the same bed.’ Ergo, it seemed, you might as well sleep with anybody and everybody. It was a principle to which Lenkiewicz applied himself with heroic endeavour and - incredibly, perhaps - considerable success. ‘Women love attention’, says one friend, ‘and Lenk could do attention in 30 seconds. And two hours later they were on their way having had a major experience.’

Lenkiewicz appeared to regard these relationships, as all else in his life, as ‘inquiries’, grist for a work-in-progress.

His most intense relationship, it seemed, was with himself, his emotional life ‘principally contained in using myself as guinea pig with the notes that I do in private studios - what I call ‘deep sea diving’.

The most remarkable of these grew out of his relationship with a girl known simply as ‘Mary’ - a relationship which Lenkiewicz seemed to have initiated, almost in the manner of a laboratory experiment, purely to test the parameters of his own obsession.

Mary was 17, and working in a local Co-op, and Lenkiewicz 36 when they first met. He would later note that it was the most intense example of ‘genuine aesthetic addiction’, or - as he would ironically add - ‘what is traditionally called "love at first sight".’ that he had ever experienced. The feeling, it seems, was anything but mutual. Lenkiewicz set out to woo her. On one occasion he hired a horse-drawn carriage and driver in livery, filled the carriage with a thousand daffodils and arrived at the art college where she was then studying. ‘She cringed. She got in and we drove on to Cap’n Jaspers sea-front take-away where I had arranged for a table and chairs to be produced with a flourish on our arrival. I don’t think she enjoyed it at all.’

The gesture, he explained, was probably inspired by the spaghetti-eating scene in The Lady and the Tramp - a film of which he was improbably fond.

It would be four years before the relationship was consummated. Lenkiewicz would record their every encounter in minute detail, meticulously noting each emotional shiver and physical tremor with an almost clinical detachment, and illustrating each page in hallucinatory vivid watercolours. The Mary Notebook, as it would become known, is a disturbingly compelling document - the passive, reluctant, bemused young girl, and Lenkiewicz himself, ‘like Satan trying to ground an angel’, as he would later put it. It takes on an even greater charge when one learns that Mary was completely unaware that she was being used merely as the subject for this ‘inquiry’, only finding this out shortly before The Notebook and a large number of paintings that Lenkiewicz had done of her were being assembled for an exhibition, The Painter With Mary: A Study of Obsessional Behaviour. (She eventually became his third wife, but the marriage failed and she left Plymouth in the mid-80s).

Lenkiewicz kept similar, if not so extensive diaries of many of his relationships, and insisted his partners did the same, encouraging to them to write, and paint, their impressions ‘right up to the point of orgasm’. By his own reckoning, he accumulated several hundred such accounts.

‘Robert was a very secretive man, but then he needed to be’, remembers Francis Mallet, a friend who runs a gallery and printing press in Plymouth, which has published limited editions of ‘The Mary Notebook’ and a monograph about Lenkiewicz’s life and work.

‘I think a lot of people felt in a position of particular privilege and intimacy with him. And if they’d have realised that a lot of other people felt exactly the same way, there’d have been havoc. He had his life very compartmentalized, and he had a very efficient appointment system. ‘

One of his lovers, the painter Karen Ciambriello, offered a pointed illustration of this; a painting of a tower, with a different woman at each window, at the bottom stands Lenkiewicz, clutching a handful of keys.

Lenkiewicz had an ambivalent attitude to fame and success. He enjoyed telling the story of how at one point in the late 70s he had been approached by an art-dealer who offered to build his career as a social portrait painter. He secured two commissions - one from Vere Harmsworth the chairman of Associated Newspapers, and a second from the holiday camp magnate, Billy Butlin. Lenkiewicz posed Harmsworth in a grandfather wing chair, taking pains not to let anyone see the work in progress. At length, a small reception was held to unveil the painting; the cloth was pulled back to reveal a picture of the press baron masturbating on a copy of the Daily Mail. Butlin was painted on a full size canvas, almost submerged under a torrent of litter, chip-wrappings and tat - Lenkiewicz’s view of the holiday camp experience. It was the end of his attempts to be a social portraitist.

He showed no interest or of courting the attention of the London arts media.

‘Robert didn’t want to be beholden to anybody else - a gallery or a dealer’, says Yana Travail, a friend for almost 30 years, who latterly managed Lenkiewicz’s studio. ‘He wanted to be totally free to follow his own path.’

Nor did he show any interest in selling his work beyond Plymouth, or courting the attention of the London arts media.

‘I think there was an element of Robert enjoying being a big fish in a small pool’, says the Earl of St. Germans, another close friend who became one of Lenkiewicz's principal patrons.

‘He was not ease with posh or social people. He’d want to blind them with his knowledge in a rather didactic way. It was nervousness. for some 30 years.

St. Germans first met Lenkiewicz in the early 70s, when the painter was at work on a 3,000 square ft mural on the outside wall of his studio in the Barbican, featuring a cast of local characters and on the theme, he would explain to passers-by, of the influence on Jewish thought on Elizabethan philosophy, 1580-1620. (The mural is still there, if much faded.)

St. Germans is the owner of Port Eliot, a stately home near Liskeard in Cornwall, and the ancestral seat of his family for the past 600 years. Impressed by Lenkiewicz’s work, St Germans invited him to execute a mural in the largest room in the house - ‘the Round Room’, which is 40ft in diameter and dates from the 18th century. Lenkiewicz agreed, in return for St.Germans paying for a new roof for his Barbican studio. ‘I ended up paying on the rent on it for years.’

It was a commission that was to last until the painter’s death. The Round Room is one of most remarkable of all his works. Lenkiewicz called it ‘the Riddle Picture’ - devising the painting as a series of clues. It is divided into two broad themes - the Deluge/Hell, and Paradise, executed as a riotous collage: mythical creatures and Arcadian gardens, Adam and Eve in the Garden of Eden, a falling Lucifer, life-size portraits of St. German’s family and friends; and a representation of the Last Supper, showing the historian A.L. Rowse (a friend of the St. Germans family) surrounded by eleven of Lenkiewicz’s friends and lovers. (The painter himself appears in the work, holding his own severed head).

Lenkiewicz executed compendious notes and drawings as preparation for the painting itself. Poring over them in the library at Port Eliot, one realises the extraordinary breadth of scholarship that he brought to his work. There are commentaries on mediaeval myth and alchemy, Cabalistic thought, the symbolism of Pierrot and Harlequin, pages of studies of Raphael’s technique for drawing folds in cloth, the writings of Meister Eckhart, disquisitions on dragons, griffins and the best way to catch a unicorn (According to Honorius of Autun, writing in the Speculum de Mysteriis ecclesiiae’ ‘...a virgin is put in a field; the animal then comes to her and is caught because it lies down in her lap.’ )

Hardly any of this extraordinary body of recondite knowledge and whimsy seems to have found its way into the painting itself, which is so replete with symbolism that Lenkiewicz admitted that by the end even he had completely lost sight of the answer to the riddle.

St Germans gave Lenkiewicz complete carte blanche for the subject matter. ‘My only stipulation was that it had to be decent’. It was only some years into the work that he realised that an arrow being fired from the bow of a mythical Knight Rider, was actually a huge penis, apparently aimed at the exquisitely painted head of one of St. German’s friends, the writer Candida Lycett Green. ‘I got him to change it.’

Over the course of some 30 years, Lenkiewicz would turn up at irregular intervals at Port Eliot, take occupancy of the Round Room for a week or so, painting for 18 or 20 hours a day - neither coming out, nor letting St Germans in - and then leave. He invariably had one of a number of women in tow. ‘Eventually I barred them’, remembers St Germans, ‘because it distracted him from the painting’. For years, St Germans was unable to use the room at all. In gentle exasperation, he wrote to Lenkiewicz asking when the work might be completed. Lenkiewicz replied, citing the case of Constantine Huygens who had commissioned Rembrandt at the age of 21 and received a mere half a dozen illustrations in return before ceasing his patronage. ‘How regrettable, he later pined, that he lacked the good sense to encourage distractions, dilly-dallying, anything to extend the agreement to a further 50 years and collect the Cyndips, the Jewish Bride or Prodigal Son instead.... How fickle the failure to see the ideal patron as one who accepts this relationship as the work of art.’

‘Lenk was a charlatan’, says St Germans. ‘But in the best possible sense of the word. He was just so convincing in the way he approached life, everybody felt better for knowing him.’

The Riddle Picture was never completed. Lenkiewicz had long suffered from ill-health - he underwent a heart by-pass operation in the 90s, and he died on the day before he was due to return to Harefield hospital for further treatment.

In his last years, he had succumbed to an addiction of his own - bibliomania. It had long been the case that every penny he made from his painting went towards books. But from the mid-90s Lenkiewicz calculatedly began to paint what one friend calls ‘girlie pictures’ - romanticised studies of voluptuous and scantily robed young women - to fund his obsession. His sales, and prices, rose exponentially. With the proceeds he acquired a deconsecrated church overlooking Plymouth Hoe and converted it into a library - ‘it looked like a set for a crank bibliomaniac dressed by Disney’, remembers the Earl of St Germans. There he accumulated thousands of volumes on theology and philosophy. His studio on the Barbican housed yet more - books on the holocaust, euthanasia and suicide in the ‘death room’ upstairs; with separate rooms devoted to erotica, and his large collection of books on the occult, witchcraft and alchemy.

In his will, Lenkiewicz left modest bequests to a number of his friends and 11 of his children (the mothers of three of them, who are minors, have made an application for financial provision from the estate). He left the entire collection of his books to a charity, the Lenkiewicz Foundation Trust, which had been set up before his death by a committee of friends with the intention of preserving a permanent collection of both books and paintings for the city of Plymouth. A subsidiary charity, the Lenkiewicz Foundation, was established at the same time, to manage the collections, mount exhibitions and promote research into the areas which had interested Lenkiewicz throughout his life.

His estate was initially valued at around £6.3m; of that his paintings were valued for probate at £2.5m; his library at £3.5m. Only later would it be realised that this was a huge over-valuation, and the true worth of his library was actually closer to £1m. Lenkiewicz’s thirst for books had often led to him to pay wildly over their true value.

Set against that were some 160 personal claims, including outstanding rent on his various properties, and money which had been paid in advance for portraits which were never completed, or even started. Lenkiewicz had a habit of accepting commissions and promptly forgetting about them. ‘It was a rolling programme’, says the Estate’s executor, Peter Walmsley. One book dealer has lodged a claim for an outstanding debt of £300,000.

Taken together, these claims amounted to £1.6m. A tax bill is still to be finalised. With additional administrative costs for lawyers, security on his properties and so on, the total debts on the Estate are likely to exceed £3m.

In an attempt to settle these debts, and consolidate a collection for posterity, the Estate have already held two sales of paintings and books.

A sale of 150 paintings at Sotheby’s last September raised some £542,000 net; a second sale, of some 500 books, in November a further £488,700, net. This sale included the most valuable of Lenkiewicz’s collection of philosophical and occult books; among them was a copy of Hobbes’ Leviathan, published in 1651, and a 15th century edition of the Malleus Maleficarum - the book which gave eccliastical blessing to the witch-hunts. The forthcoming sale in Exeter, is expected to raise another £500-700,000. But Walmsley admits that further sales will be necessary to clear the debts.

The gradual dissolution of Lenkiewicz’s estate has caused some anger in Plymouth, where it is feared that so much of his work will eventually need to be sold that little or nothing will be left for a permanent collection.

‘It’s very much touch and go’, says Annie Hill-Smith, the chairman of the Lenkiewicz Foundation Trust, who believes that it will be necessary to raise a further £2m to secure and house the kind of collection which was always envisaged.

The Trust have applied for Lottery and European Regional Development funding, but Hill-Smith admits the future is uncertain. ‘There is a real danger the whole collection will be dispersed. What we desperately need is someone who understands Robert’s enormous importance as a painter and a thinker.’ A special appeal is being launched to purchase from the Estate Lenkiewicz’s huge narrative painting of Plymouth life, The Temptation of St Antony. ‘It would a real tragedy if that was lost’, says Hill -Smith

Lenkiewicz’s final legacy may be the kind of discomfort and confusion that he so much enjoyed provoking throughout his life.

‘To be honest’ says Yana Trevail, ‘I don’t think, Robert gave two hoots what happened after he died. It was the same with his painting - I think on one level, he would have loved to be recognised; but he always believed you’re not doing it for criticism or applause; that the doing of the work was its own justification. All that Robert really wanted was to make his life interesting to himself.’

Photos from: ‘A Portrait of Robert Lenkiewicz: Photographs by Dr Philip Stokes’, to be published next year by White Lane Press. www.robertlenkiewiczpublications.co.uk

The sale of Lenkiewicz paintings and artefacts takes place on October 23rd at the Westpoint Exhibition Centre, Exeter.

Detaiols from Bearne’s of Exeter: 01392 207000.

Mick Brown feature published in The Telegraph (9/10/04): a review

The paperboy was nonplussed as I flung open the front door to snatch my copy of The Telegraph uncreased from his hands, though perhaps it was the sight of my Paisley jim-jams. But a 5,000 word article in a national Saturday magazine about our favourite ‘bad painter’ doesn’t come around every week. If the medium is the message, then Lenkiewicz has come a long way since all he could command was a gossipy page or two in Devon Today.

First, what the article isn’t: it’s not a review of the painter’s skill, but then I hardly expected that. However, Mick Brown is the genuine article when it comes to biography. A bit of research shows he has a book about Richard Branson under his belt and has interviewed Bob Dylan, the Dalai Lama and American writer Cormac McCarthy, at least two of whom are geniuses (one is a publicity hungry fat cat, and Branson is little better). But I’m astonished to learn that this is the same Mick Brown who wrote The Spiritual Tourist, a book I know and admire. It’s a peregrination through the outer realms of spiritual belief, hugely entertaining and written in a generous spirit of non-judgmental curiosity. Besides, anyone who knows what Van Morrison keeps in his fridge can’t be all bad.

The index page carries an excellent self-portrait from Project 10, and turning to the article proper one finds the first alluring photograph of Robert by Phillip Stokes of the artist at work with a model on his lap (madness that these images weren’t published every decade or so) opposite a detail of the lurid St Antony canvas. Starting to read, I wince slightly:

“When Lenkiewicz died of heart failure in his bed in August 2002… there was some discussion… as to whether he was really dead at all. Lenkiewicz after all, he (sic) had already ‘died’ once before…”

Oh no! Here we go again! But I remember my own challenge posted on this forum: how do you present Lenkiewicz to an audience that has never heard of him without touching at least some of these familiar bases?

Things pick up quickly. There’s a solid discussion of the state of the Estate with an accurate (that’s a first) statement of values, debts and the scope of the legacy. Lenkiewicz’s method of painting in Projects is explained well, picking up on the existence of related notebooks and diaries. The comment:

“At their best his paintings emanate a dark, brooding intensity. At worst they veer dangerously towards chocolate-box kitsch”

is fair; Lenkiewicz felt the same thing and said as much. Then:

“Taken together, they provide an encyclopaedia of his abiding obsessions and constitute one of the most singular… bodies of work of any (my italics) British artist of modern times.”

That is the most positive assessment of Robert’s art yet expressed in mainstream media. It’s not effusive praise, I grant you, but Brown is not an art expert and must have known of the utter critical black hole Robert inhabits. To risk saying even that puts him quite far out on a limb and raises the bar for future reviews. Brown’s previous book enables him to give an excellent treatment of The Round Room material:

“Lenkiewicz executed compendious notes and drawings… poring over them at Port Eliot, one realises the extraordinary breadth of scholarship that he brought to his work. …Kabbalistic thought, the writings of Christian mystic Meister Eckhart, disquisitions on dragons, griffins and the best way to catch a unicorn. (Hardly any of this seems to have found a way into the paintings itself…)”

This, to me, captures both the extraordinary breadth of the artist’s erudition, which he wore lightly, and the frustrating gap between inspiration and the flat limits of the canvas. But at least Brown sees that you have to take Lenkiewicz as the whole package.

If there’s something missing from the article, it’s an engagement with the paintings qua painting. However, since this is the first article not commissioned because Lenkiewicz had come up on the national radar thanks to a large exhibition, Brown cannot have had many opportunities to view the work. It’s one thing to look at an illustration in a book of The Burial of John Kynance, but quite another to stand before the 18ft canvas and gaze up at the watching figures from the point of view of the corpse in the coffin!

An interest in unusual ‘belief systems’ is an ideal qualification to opine on Lenkiewicz, and I suspect that if they had met, the artist would have warmed to Mick Brown. And I am informed that Brown never actually met Lenkiewicz or knew about him prior to this year. Which makes the article’s treatment of Robert’s theory on ‘aesthetic fascism’ even more impressive:

“Lenkiewicz believed that ‘there is only addictive behaviour’, and that everyone, at any time, is simply somewhere along the spectrum ‘of all possible intensities’. At its most apparent, this may be addiction to alcohol or drugs; Lenkiewicz hated both. The addiction to people was more insidious still, leading to extreme or fascistic behaviour. In the matter of love, the relationship one is having… is essentially with oneself – an addiction to one’s own ‘aesthetic vulnerability’.”

Lenkiewicz’s belief in the common origin of brutishness and love is the most subtle and challenging aspect of his thought and it is misunderstood or ignored by every other commentator: Mick Brown absolutely nails it. But then, this is probably the first journalist to look at Lenkiewicz who can actually read. The discussion of Robert’s relationship with Mary portrayed in The Mary Notebook confirms this:

“Lenkiewicz would record their every encounter in minute detail, meticulously noting each emotional shiver and physical tremor with almost clinical detachment and illustrating each page in hallucinatory vivid watercolours. The Mary Notebook… is a disturbingly compelling document – the passive, reluctant bemused young girl, and Lenkiewicz himself, ‘like Satan trying to ground an angel’, as he would later put it.”

Impossible to read that and not believe that Mick Brown has really read The Mary Notebook, which must be another journalistic first. In fact, I see that Whitelane Press have sensibly but cheekily used this passage as an endorsement on their new website. Never turn down a free plug!

The article concludes with a look at the library and its dissolution. Again, numbers are accurate: Brown hasn’t fallen for the exaggerations Lenkiewicz and his unquestioning disciples were prone to. He smartly picks out the most important rare books already sold off and neatly summarises the problems facing the estate.

If there’s one sour note running through the entire article, it’s the rent-a-quote problem. If the Lenkiewicz Foundation is looking for inexpensive methods to enhance Robert’s critical standing a thousand fold, they need only take out a gagging order on the Earl of St Germans.

“Lenkiewicz was a charlatan,” St Germans says. “But in the best possible sense of the word”.

Which is the last time you’ll ever see that second sentence properly attached to the first.

Or this:

“I think there was an element of Robert enjoying being a big fish in a small pool.”

Brown is enough of a journalist to have a good ear for the pithy characterization, but those who enthuse about Lenkiewicz aren’t media-savvy enough to vet their own pronouncements. However, I suspect this quote from St Germans is Brown slyly turning the tables:

“He was not at ease with posh or social people. He’d want to blind them with his knowledge in a rather didactic way. It was nervousness.”

Actually, as Robert sometimes confessed, it was sheer bloody boredom with gentrified table-talk. But Robert ‘nervous’ in anyone’s company, pauper or prince? Lenkiewicz struck me as someone who could go round to Hannibal Lecter’s house for dinner and still maintain his witty, urbane sang-froid… and teach Lecter a thing or two about obscure Florentine painters.

Perhaps Mick Brown is slipping in another portrait here of the class which would rather have their boarded sons be good at rugger than win a Nobel Prize; the class which invented the phrase “too clever by half”, a sentiment which would make no sense whatsoever to a Frenchman.

Summing up, I give Mick Brown a 7.5 out of 10. Yes, I would have liked him to risk an unqualified endorsement of the art, with reasoned arguments— and for his intended audience, some sort of guide to prices fetched by individual paintings would have been useful. But all in all, this is off the scale good compared to every other mainstream introduction to Lenkiewicz. The previous high was about 2.4.

The medium is the message: Lenkiewicz has arrived well-represented in the favourite rag of middle England, which I oddly suspect to be a receptive constituency not just for “the girlie pictures” (it’s a fair cop, guv’nor) but also for the darker undertones in his oeuvre. All that conservative repression has to have an outlet, you know.

I can’t wait to find out how the shires responded to this edition of The Telegraph landing on their Welcome mats. Did it hit with a particularly portentous thud this morning? Excuse me while I jump in the Land Rover and nip round to the nearest neighbour to find out. Looks windy out; where’s my Barbour?

Lenkiewicz On Vagrancy - The Big Issue Feb 2007

On 5 February 2007 The Big Issue published an 8 page supplement on Lenkiewicz to mark the launch of a major exhibition of his work at The Halcyon Gallery in London.

White Lane Press have kindly allowed us to make this feature available for download from this website. It is in pdf format, and can be downloaded here.

If you would like to support The Big Issue, you can make a donation via their website.

Lust For Life (feature article published in the Independent on Sunday)

The following is the feature article that was published in the Independent on Sunday on 7 August 2005. It is reproduced here with the kind permission of the Independent on Sunday. Copyright and all rights remain the property of Independent on Sunday:

Lust For Life
By Mike Higgins

There aren’t many reasons for remembering the painter Robert Oskar Lenkiewicz, who died three years ago. To the art world, he was a minor portraitist. He painted largely figuratively, with embarrassing emotion. Prodigiously too - he was thought to have produced 10,000 drawings and paintings over his lifetime. At the time of his death you could have picked up one of his better works for £5,000 or so. He chose for most of his adult life to live in Plymouth, and therefore, provincial purdah. As it is, Lenkiewicz is probably most widely remembered for the eccentric act of embalming a tramp in 1984. The Times’ obituary declared that “his gift for self-publicity considerably outran his skills with the brush or the pencil.”

In Plymouth, where I grew up, Lenkiewicz’s reputation had a bit more life to it. He had affairs with his models! He slept in a coffin! He was a necrophiliac! He lived with dossers! And if you wanted to know the truth about him, you could usually go and ask him yourself. With his mane of greying hair, his fireman’s boots and fisherman’s smock, he was pleasingly conspicuous around town, in and out of Joe Prete’s cafe on the Barbican and striding between his studios (my dad nearly ran him over once). His appearance - he embodied the visual cliché of “the artist” - was deceptive, though. By the time Lenkiewicz died in August 2002, at the age of 60, the citizens of this sleepy Devon city and the wild artist son of European immigrants had, over four stormy decades, collaborated to produce an astonishing grand project of social art. And today one man is endangering our appreciation of this legacy. That man is Lenkiewicz himself.

Little in Lenkiewicz’s background suggests that Plymouth would become his home. He was born in 1941 and he grew up at the Hotel Shemtov, which his Jewish parents ran in Cricklewood, north London. They had fled Poland and Germany in 1939 and after the war the hostel’s 60 rooms were mostly filled with elderly European refugees, many of whom had survived the Nazi camps. “A lunatic asylum,” Lenkiewicz called it.

He began to paint at a young age and rattled through St Martin’s College of Art and the Royal Academy, at odds with most of his peers and tutors - while Rothko, Jasper Johns and their abstract-expressionist peers held aesthetic sway, Lenkiewicz attempted to emulate Velazquez, Goya and Rembrandt. By 1964 he was married to his first wife, who took him down to her home in Cornwall. Before long, though, Lenkiewicz was offered a studio in Plymouth, on the Barbican, the rough home of south Devon’s fishing fleet.

He set about personifying the stereotype of the bohemian artist, living in crumbling houses with various partners and assorted dossers. He fenced stolen goods, hawked Old Master copies he’d dashed off. But it was his sex life that most scandalised Plymouth. By his death, Lenkiewicz had married three times, fathered 11 children and claimed to have slept wit 3.000 women: “I look forward to the day,” he once said, “when the court of human rights regards it an imprisonable offence for anyone to live with anybody else for more than a fortnight.”

About the only aspect of Lenkiewicz that was conventional was, perhaps surprisingly, his style of painting. He specialised in the figurative single or group portrait, and with some success. He painted Terry Waite, Billy Connolly and Michael Foot, among others. And he worked swiftly - he would often grind through 11 sittings in a day, and sketch rapid likenesses for anyone who wandered in off the street. He painted big, too. There was a 364-ft. epic while at St Martins; the enormous Round Room mural at Lord Eliot’s estate in Cornwall; the 40 ft-long Temptation of St Antony that had to be removed from his studio by crane in 1994; not to mention several public murals around the city.

To cap the image of the struggling artist, he would often pay for his bills in oils. The result was that his work can still be found in homes across Plymouth, from council semis to grand Victorian villas. A friend of my family had done some building work for the artist and received one of their collection of three Lenkiewiczes as payment in kind. One was of some boys mooching around, called, I think, Barbican Boys, another an apparently unfinished painting of starving Biafran children. The last was a portrait he’d commissioned, of his two sons. This was the first “proper” art I remember seeing outside a gallery and I couldn’t take my eyes off them.

Why did Lenkiewicz paint with such abandon, particularly when many of the results were, frankly, poor? Because he knew he wasn’t in the first rank of painters - Lenkiewicz himself said he was “the best bad painter I know”. According to his partner and sometime model in the Nineties, Anna Navas: “He used to say that every century produces two or three great painters and he knew that he was nowhere near that good, so what was the point in worrying about it?” Instead, Lenkiewicz turned his conventional style and his unconventional mind towards a much more ambitious portrait, one that was 30 years in the making and still unfinished at his death: a portrait of Plymouth.

“I’m not an unhinged necrophiliac littering the city with children,” he once said, “I write social enquiry reports.” Between 1973 and his death in 2002, Lenkiewicz undertook 21 of these reports or “Projects”. Their subjects varied, from the obviously social - homelessness, mental disability, old age - to the less apparently so - death, jealousy, sexual behaviour. Each was years in the completion, involving the production of dozens or, occasionally, hundreds of paintings and an accompanying booklet in which Lenkiewicz’s research interviews, notes and forthright views were published.

His first Project, and one of his most powerful, was on vagrancy. It was exhibited in 1973 and was the culmination of Lenkiewicz’s lifelong interest in down-and-outs of all sorts. Soon after his arrival in Plymouth in the mid-Sixties, Lenkiewicz and some local vagrants started squatting a series of old warehouses, the so-called Cowboy Holiday Inns. (Interestingly, the “Inns” were by and large tolerated in Plymouth - Lenkiewicz had done much the same in Swiss Cottage in the early Sixties when, he says, he soon found himself run out of the neighbourhood by the police.)

A council representative turned up to the Project’s opening night and, surrounded by over a hundred of Lenkiewicz’s large, stark portraits of Plymouth’s destitute, gave a speech in thanks that Plymouth was fortunate not to have a vagrancy problem. “It was at that point,” remembered Lenkiewicz, “that I gave a prearranged signal and 73 dossers entered the room, most of them drunk, and they wrecked the evening.” The incident is caught, along with many others, in the lovely photographic account of Lenkiewicz at work from the early Seventies onwards, A Portrait of Robert Lenkiewicz: Photographs by Dr Philip Stokes.

The Vagrancy Project was the first proper illustration of Lenkiewicz’s ethos: “I was very unattracted to the idea of the artist intensively trying to represent all his thoughts, feelings about something in one image. To me there was more humility in one hundred images that didn’t worry about high art.”

Neither were the comments of Diogenes, Doc, Cockney Jim, the Irish Compressor in the booklet accompanying the Project an afterthought. They are by turns pathetic – “You wake up in the morning, you put your hand in your pocket, is there enough, enough for a bottle, a bottle, a bottle?” – and darkly funny - “Always keep the creases in your trousers - but don’t shit ‘em; that will take the creases out.” Today, of course, the Project as a whole cannot be experienced. But, 32 years after it was published, the booklet still provides a striking context for the paintings. It’s also a harrowing, evocative passage of social history, with its tales of invalided dockyard workers and down-and-out servicemen who never recovered from the war.

For the next 30 years, Lenkiewicz’s Projects served up his often tart views on Plymouth, and yet Plymothians kept volunteering themselves as the raw ingredients. For instance, in his mid-Eighties Project, Observations on Local Education, Lenkiewicz was unequivocal: “Some of the sitters became quite upset when they read my preface, which made the claim that contemporary education was not dissimilar to aspects of the Holocaust. That’s an extraordinary claim but I did tend to feel that it was about the mass spiritual slaughter of the young on a huge scale.”

By contrast, perhaps the most personal and extraordinary of the Projects was The Painter with Mary (A Study of Obsessional Behaviour). Mary was a 17-year-old girl who worked in the Co-op in Plymouth when the 36-year-old Lenkiewicz declared his infatuation with her. Lenkiewicz recorded his obsession with Mary in text, drawings, paintings, often in explicit sexual detail. The painter, who was a tireless self-portraitist anyway, then laid these feelings and their relationship bare in The Mary Notebook. After a few years, the two of them married - and soon divorced.

Lenkiewicz always insisted that one theory linked these disparate-seeming Projects: that we’re all trapped in destructive behavioural loops, be they of love or power or jealousy. He called this theory “aesthetic fascism”: “All the Projects have one feature in common: they are based on the suggestion that patterns of human behaviour are aesthetic experiences, a matter of taste ... I do not think there’s any line of enquiry of greater importance than to study the physiological - not the psychological - cause of addictive behaviour.”

And where better to test this theory than this “rather naive city”? But Lenkiewicz wasn’t merely observing and recording we Plymothians, he was trying to rouse us from what he saw as our complacency. The impact of the booklets and paintings of the exhibited Projects was one method, but so too were the elaborate pranks that Lenkiewicz enjoyed. And these, more often than the Projects, made the news. There was the time, in 1981, that he announced his own death in The Times; and the lecture he delivered, incognito as a frail, elderly academic, to local old age-care health professionals.

Most notorious, of course, was the incident that made Lenkiewicz’s name around the world: the embalming of Diogenes. When Lenkiewicz met Edward McKenzie in the late Sixties, he had been living for nine years in a concrete barrel overlooking a rubbish dump near Plymouth (hence his nickname). On McKenzie’s death in 1984, and at his request, Lenkiewicz had his friend embalmed. After a few weeks, the authorities demanded entry to the painter’s studios in pursuit of the McKenzie’s remains. They quickly found a coffin, prised it open... whereupon Lenkiewicz sat up wrapped in a duvet and clutching a hotwater bottle, holding a sign on which was written “HABEAS CORPUS”.

“Robert didn’t do things just for the sake of it,” says Annie Hill-Smith, the chair of The Lenkiewicz Foundation, a charity established to safeguard the artist’s legacy. “Robert did things almost always … to promote change.” In this way the embalming of Diogenes could be seen as Lenkiewicz’s final contribution to the Vagrancy Project. He noted at the time that the authorities had been far quicker to take an interest in McKenzie in death than they had been in life. Diogenes’ body was found among Lenkiewicz’s belongings after the artist’s death.

Stunts such as this invariably infuriated the local authorities, which in itself endeared “Mr Lannervitch” to many Plymothians. And despite his predictably anti-bourgeois pronouncements on the nature of charity - “I am revolted by any notion of altruism” - his generosity, frequently anonymous, was known around the city. For instance, he organised the annual dossers’ Christmas party in Plymouth for many years and donated funds to Age Concern.

By the Nineties the artist had subordinated his art to another obsession: his library of some 60,000 books on philosophy, theology, anti-semitism, fascism and witchcraft. “He didn’t look for approval in anything other than the library that he built from nothing,” says Anna Navas. “It wasn’t just a solid academic collection but a beautiful and rare antiquarian collection. He was hugely proud of it, and driven by it - he painted in order to feed his book-buying habit.”

One result of