Caution!

Jacqui Hicks has experienced a frustrating time of it trying to purchase the new edition of Equus (with the cover by me) from the Penguin online bookstore. She writes at the Artlog this morning:

‘Hmmm… so I clicked ‘available here’ and ordered direct from Penguin and was so excited when the package arrived, only to find what they sent isn’t the image on their advert but a photo of some half naked youth and a horse. A tad disappointing. Going to ring them up and see if this is purely oversight and whether they’ll exchange. Will post update later.’

Jacqui’s later update reads:

‘OK, so the phone number for Penguin is:

0870 607 7600

A very nice woman said very sorry can’t guarantee what front you will get on the book we send out, even though the advertised one is Clive’s. It just depends what they have in the warehouse. Can’t guarantee when it will appear in the shops either, but did give me a freepost address to send the copy back. Does seem a bit daft to advertise the new cover then. If I order a blouse having seen it on the internet I do expect to get the one I saw, not something they decide to pull out of the warehouse. Oh well, if anyone spots Clive’s version in any bookshops, do let us all know!’

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I’m not quite sure how to resolve this, though I may try dropping a line to my contact at Penguin to see if there’s any way around it. If there’s any news, I’ll post about it here. But in the meantime, like Jacqui says, if anyone out there sees copies of the edition in bookshop, please let us know. (And my thanks to Jacqui for flagging the problem.)

UPDATE  16/04/13

Thanks to John Gamblin, we now know that Penguin jumped the gun by putting up an image of the new cover at their online bookstore. It looks as though it will be removed until such time as the book really is ready for dispatch. So, the wait goes on.

UPDATE  19/04/13

Today I had this e-mail from Isabelle de Cat at Penguin. She explains what happened, and promises the book in August.

‘Dear Clive

Many thanks for your message and for alerting us to the cover issue.

After investigating with my production department, it seems that the re-print date of the book had been unexpectedly rescheduled, and that the cover could not be changed just yet. Unfortunately this was done without us knowing, hence the new cover design had been circulating still with our online suppliers.

According to our printers and the production department, the next re-print is now scheduled for August this year, when your beautiful cover will finally come to life!

We have now updated the circulating cover images with our suppliers, and no one should be mislead anymore until the new cover is printed.

I very much apologise for the inconvenience caused to you and your supporters.

Kind regards,

Isabelle’

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Isabelle De Cat
Art Editor – Penguin Press

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it’s been a long wait…

… but it’s out at last:

my cover for the new Penguin Classics Equus!

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Available HERE.

Above: Maquette for Equus

Good timing in this year of puppets and horses!

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To read more about my relationship with the play Equus, click HERE.

capturing peter

From the moment I began to paint, my partner Peter’s likeness has been present in my work. Occasionally I’ve been unconscious of using him, and it was friends who first pointed out he was there in the wrestling angel of The Temptations of Solitude, though burlier in the paintings than in life, and shaved bald. Peter has never subscribed to the theory that the angel is him, but whatever was going on in my head when I was making the paintings, it’s clear it’s him.

The Comfort of Angels Attending the Dying.

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The Man Who Lived in a Tree.

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Struggle.

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He was the model for Bluebeard when I was compiling an early illustration portfolio, painstakingly made as a pointillist drawing with a rapidograph pen. This time I reinvented him as darkly sensualist, a Russian oligarch in furs and silk cravat.

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When I illustrated Equus for the Old Stile Press edition of the play (2009) I cast Peter as the psychiatrist Dysart, though for the longest time he had no idea I was using his likeness as I somehow neglected to tell him. It came as a bit of a surprise for  him when he found out, and it has to be said he wasn’t at all comfortable with the idea.

Above: a lost study of Peter made for Equus. I have no idea where it is, which is a shame as I think it rather good. I like the faint image of a ghostly horse looking over his shoulder.

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Above: two studies of Peter as Dysart, referencing the psychiatrist’s dream that he’s trapped in a horse’s head, bridled with a bit clamped between his teeth.

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Above: the image as it finally appeared in the book.

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Many studies of Peter were made using conté pencil against  a red oxide ground. Some of the original drawings were included as ‘extras’ in the special boxed-editions of the book, of which there were ten produced.

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Above: Peter on his old National Library of Wales identity card. I didn’t know him when the photograph was taken, though I’ve  conjured something of his appearance at that time for many paintings. Even the pudding-basin haircuts of the following images are based on the fact that his hair was cut in the style when he played King Henry V in a school play.

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Saint Kevin

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Saint Kevin

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Saint Francis (Detail)

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Angel Gabriel (Detail)

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Quite a lot of mileage out of a single model!

equus revisited: part four

Part four of my Afterword to the 2009 Old Stile Press illustrated edition of Peter Shaffer’s Equus.

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Page opening

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The horses in this version of Equus are sometimes recognisable animals, sometimes the hybrid man/horse/god of Alan’s imagination and Dysart’s fearful reflection. In places they become brutalised beasts, lingering near the text like apparitions haunting their tormentor. Significantly, Shaffer never mentions the fate of the blinded animals, though the implication must be that they were destroyed. Absences like these allow an artist to slip into the gap, to illuminate rather than illustrate.

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Page opening

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In Equus Peter Shaffer created a play that became an iconic presence in twentieth-century theatre. It has been challenging, in the strangest way, to direct the play at last. This edition has been a collaborative venture from the start. Nicolas and Frances are my sternest critics and greatest supporters. I greatly appreciate them in both roles. Callum James had the generosity to share his original idea. I owe much to Simon Callow (Shaffer’s original Amadeus), who helped me dissect the text, discussing it in lengthy e-mails and bringing his insights to bear on my understanding of the characters. Having seen him on stage in the role of Dysart, I always heard Simon’s magnificent voice when I summoned the character to mind. And finally there is Peter Wakelin, who tirelessly navigates my ship through all too frequently choppy waters and who, without dissent, allowed his likeness to be used throughout this book. Such are the ways of creativity. He is not as sinister as I’ve made him look.

C.H.-J. 2009

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Page opening

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Study of Peter made for Equus. Conté pencil and acrylic ink.

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EQUUS

A play by Sir Peter Shaffer
with imagery by Clive Hicks-Jenkins
124pp
325x235mm.
Main Edition: 200 copies (1-200) 
£275
Special Edition: 10 copies (I-X)
£950
Signed by the playwright and the artist.

Contact The Old Stile Press  to purchase.

Publishing History

Equus first published by Andre Deutsch, 1974

Copyright Peter Shaffer 1973

Three plays first published in Penguin Books 1976

This edition published in 2009 by The Old Stile Press

Images by Clive Hicks-Jenkins

Designed by Nicolas McDowall

The images were printed by Nicolas McDowall at The Old Stile Press

The Bodoni types were printed by J. W. Nortend Ltd, Sheffield

Bound at The Fine Bindery

ISBN: 13 987-0-907664-83-3

Edition of 200 copies

Special Edition of 10 copies

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Limited edition lino-print, one of several extras included in the Special Edition

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Click on Equus in the topics box to view past posts about the making of the book.

equus revisted: part three

Part three of my Afterword to the 2009 Old Stile Press illustrated edition of Peter Shaffer’s Equus.

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Frontispiece

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Gradually I pared down the characters to just Strang and Dysart and, of course, Nugget and his stable companions. By using a radically limited cast, I could better produce images that felt like ideas. For these I had to invent a visual language: the back view of a naked youth can stand for Alan, while the bearded profile and dark gaze will summon Dysart.

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Page opening

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In my sketch books the horses developed in ways I hadn’t anticipated, as though demanding fresh transformations from page to page. These metamorphoses had something to do with time: I noted that every scene where Nugget appears is either recalled or imagined, never in the present. Alan describes past events, as do his parents, but other characters, particularly Dysart, imagine them. Therein lay clues to the way the book might develop. Face to face with this troubled young man, anyone might feel the presences of his crime and his victims.

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Page opening

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 The fourth and final part of the Equus Afterword tomorrow.

equus revisited: part two

Part two of my Afterword to the 2009 Old Stile Press illustrated edition of Peter Shaffer’s Equus.

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Page opening

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Two decades on, an unfinished circle drew closer to completion when Nicolas McDowall suggested that I collaborate with the Old Stile Press on an edition of Equus ’with images’. Here was an opportunity to bring together the experiences of both my former vocation and my present one. The idea had come about when Callum Jones, himself a maker of books, met Nicolas at a book fair in London and whispered the words ‘Equus‘ and Clive Hicks-Jenkins’ in his ear. According to Nicolas, his first response was ‘It’s obvious! Why didn’t I think of that?’ The idea took root in his imagination, and after extensive enquiries and negotiations by Frances, permissions were secured.

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Double-page spread

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Page opening (my favourite ‘decoration’ in the book)

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During the ensuing eighteen months I discovered that making images to accompany the text of a play was a more challenging task than decorating a volume of poems. Poetry supports allusion, as I had previously found when working on Old Stile Press editions of the work of Richard Barnfield and Catriona Urquhart. Vignettes of mossy gravestones under country spires have decorated many poetic meditations on the transience of life and have been interpreted as metaphors, enriching the words without overwhelming them. Thomas Bewick was a master of the vignette and, no doubt, that is why so many volumes of poetry have come decorated with wood-engravings by him or his followers.

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Page opening

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But the meaning of a contemporary play text is usually more explicit. There are characters who come with histories, events dramatic and mundane, stage directions, numbered scenes and dialogue. In the book I knew my images would sit next to Shaffer’s words. I wanted to avoid describing too closely the dramatic action of the play, which would result in overstatement. Moreover Equus came freighted with the imaginative inventions of its original designer, John Napier. I needed to create my own universe for this new expression of Shaffer’s story. Meditations and inventions, rather than recollections of past productions, were my aim.

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Page opening

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Part three of the Equus Afterword tomorrow.

equus revisited: part one

The Old Stile Press illustrated edition of Peter Shaffer’s Equus was published in 2009. A forthcoming Penguin Classics edition of the play in new livery and with cover artwork by me will be out later this year. Right now I’m up to my knees in Mari Lwyd imagery again, as I embark on the Mid Wales Chamber Orchestra project for which composer Mark Bowden and writer Damian Walford Davies have been commissioned to create a new music/theatre piece, The Mare’s Tale, inspired by my 2001 series of drawings for which that title was coined.

I’ve been trawling through the horse-related material I’ve produced over the past twenty years, and find there is plenty of it. Here, to kick-start what promises to be my ‘year of the horse’, is the ‘afterword’ I wrote for the OSP edition of Equus, together with some of my illustrations for the book. It was edited by my friend Marly Youmans, who kindly cast her writer’s eye over it for me and made numerous helpful suggestions.

The cover of Equus

Afterword by Clive Hicks-Jenkins.

In the mid 1980s I was asked to direct a murder mystery play by Anthony Shaffer. Whodunnit was an opportunity to work with an interesting cast on a national tour, and I accepted the offer. However, I also harboured a faint hope that in so doing I might meet the playwright’s twin brother Peter and, by dint of the wonderful work I planned to do, convince him I would be the perfect director for a new production of his great play Equus. Anthony declared himself delighted with the production, but I never met Peter and I never directed Equus. A few years later I left my career in the theatre to concentrate on painting.

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The illustrated lining of the folding slip-case

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Page opening

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Title page of my own copy inscribed by the playwright to the illustrator

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Part two of the Equus Afterword tomorrow.

a time of gifts

Earlier this year the artist and illustrator Ed Kluz contacted me to ask about purchasing a piece of my work as a birthday gift for his partner, the curator and art historian Simon Martin. However after some discussion, we agreed instead on a like-for-like transaction. Ed selected an acrylic study of an unused illustration, Fallen Conquistador, made for the Old Stile Press 2009 edition of Peter Shaffer’s play Equus. Later I selected a collage he had made, Dean Terrace, Edinburgh, as my Christmas gift to Peter. This is one of  the most delightful perks I can think of as far as being an artist is concerned, the happy exchange of artworks between  those who admire each other. I’m relieved to report that both recipients loved their presents!

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Ed’s Dean Terrace, Edinburgh, selected by me for Peter.

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My Fallen Conquistador from Equus, selected by Ed for Simon.

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Merry Christmas to you all!

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full circle

1973

Above: National Theatre poster for Equus. The image is by Gilbert Lesser.

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Peter Shaffer’s Equus enthralls London audiences when first presented by the National Theatre at the Old Vic. The play is directed by John Dexter and designed by John Napier, starring Alec McCowen as Martin Dysart and twenty-year-old Peter Firth in his breakthrough role as Alan Strang. I see the play and I’m swept away by its power.

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1977

Above: Gilbert Lesser poster for Sidney Lumet’s film of the play. (My thanks to John Coulthart at Feuilleton for identifying the designer .)

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Sydney Lumet directs the screen version of Equus, adapted by Shaffer himself. Richard Burton and Peter Firth head a cast that includes Eileen Atkins, Joan Plowright, Colin Blakely and Jenny Agutter.

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1986

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I’m asked to direct a murder mystery play by Anthony Shaffer. Whodunnit is an opportunity to work with an interesting cast on a national tour, and I accept the offer. However, I harbour a faint hope that in so doing I might meet the playwright’s twin brother Peter and, by dint of the wonderful work I plan to do, convince him I’ll be the perfect director for his great play, Equus. At the opening Anthony declares himself delighted with the production of Whodunnit, but I never meet Peter and I never direct Equus. A few years later I leave my career in the theatre to concentrate on painting.

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2001

Above: Red Halter. Clive Hicks-Jenkins. Conté pencil on Arches paper.

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My first major exhibition in a public gallery, The Mare’s Tale, opens at Newport Museum and Art Gallery. The main body of work in it is a meditation on my father’s childhood memory of the Welsh mid-winter tradition of the Mari Lwyd, and how he was marked by the experience and haunted by it right up to his death. The Mari Lwyd was from the ‘hobby-horse’ tradition of mumming, and manifested as a horse’s skull on a pole with a sheet draped to cover the man who carried it. But in my drawings the Mari appears in many forms, some of which echo Shaffer’s horse-worshipping boy.

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Above: Stumbles and Falls II. Clive Hicks-Jenkins. Conté pencil on Arches paper.

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Above: The Mare’s Tale. Poems by Catriona Urquhart and images by Clive Hicks-Jenkins. Published by the Old Stile Press in 2001.

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Catriona Urquhart produces a ‘poetic text’ for the exhibition, originally intended to be printed onto gallery panels. However, Nicolas and Frances McDowall at the Old Stile Press are so impressed by the poems, that they publish them to coincide with the opening. Titled The Mare’s Tale, the edition is illustrated with pen and ink images that I make specially for it.

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Tend: Clive Hicks-Jenkins. Conté pencil on Arches paper.

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I’m invited to show two works from The Mare’s Tale series in the exhibition Dreaming Awake at the Terezin Memorial Gallery in the Czech Republic.

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2002

Deposition III. Clive Hicks-Jenkins. Conté pencil on Arches paper.

A second Mari Lwyd exhibition, The Tower on the Hill, opens at Brecknock Museum and Art Gallery, with all the drawings from The Mares’s Tale plus a handful of new works on the same theme. Among the new drawings is Deposition III, which is acquired by Nicolas and Frances McDowall of The Old Stile Press.

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2007

Above: Clive Hicks-Jenkins. Collage made as a trial image for the Old Stile Press illustrated edition of Equus.

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Equus has continued to transfix audiences and actors over three decades, and diverse productions of it have been staged in countries around the world. Finally a major London revival of the play appears when Thea Sharrock’s production opens at the Gielgud Theatre with Richard Griffiths and and Daniel Radcliffe as Dysart and Strang. A performance is attended by Callum James, who has seen my drawing Deposition III while staying with Nicolas and Frances McDowall at their home in Wales. Later that weekend Callum meets with Nicolas at a London book fair, and whispers the words ‘Equus‘ and ‘Clive Hicks-Jenkins’ in his ear. Nicolas approaches me with the notion of making an illustrated edition of Equus. Permissions are sought and agreed with the author and Penguin Books. After a trial image made from collage, I begin work by making a series of preparatory maquettes before starting on some drawings.

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Above: Clive Hicks-Jenkins. Maquette made in preparation for the Old Stile Press illustrated edition of Equus.

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Above: Clive Hicks-Jenkins. Preparatory drawings for the Old Stile Press illustrated edition of Equus. Conté pencil and acrylic on paper.

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2009

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Above: Clive Hicks-Jenkins. Images for the Old Stile Press illustrated edition of Equus.

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The Old Stile Press illustrated edition of Equus is launched at the London Art Book Fair. Simon Callow, who has been playing Dysart in the national tour of Equus, turns up at the event to lend his support. His insights into the text have been fundamental to the way I’ve approached it.

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2011

Above: Both Fall. Clive Hicks-Jenkins. Conté pencil on Arches paper. Collection of Simon Callow.

My sixtieth birthday retrospective opens at the Gregynog Gallery of the National Library of Wales. The National Museum of Wales, Brecknock Museum and Art Gallery and private collectors from across Wales lend works for the exhibition, and for the first time since 2002, all the large Mari Lwyd drawings are assembled in one place.

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Above: the Gregynog Gallery of the National Library of Wales, 2011.

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Lund Humpphries publish a monograph of my work to coincide with the retrospective, with an introduction by Simon Callow in which he describes that it was a drawing from the Mare’s Tale series seen in a Bath art gallery, that led him to seek me out. A Mari Lwyd drawing from his own collection hangs in the gallery.

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2012

I’m approached by Isabelle De Cat, picture editor at Penguin, who asks permission to use an image of one of my maquettes on the cover of the play, due to be re-editioned in new livery by Penguin Modern Classics. The new Penguin edition will be available in mid-2013, forty years after I first saw and fell in love with Equus at the Old Vic.

the penguin modern classics cover

I fear I had to make you all wait for this, but here it is at last.

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It’ll be a little while yet before the book is available for purchase, as it’s not due out until mid 2013. The maquette is currently in Saint Helier, on show in a display-case at the Jersey Arts Centre.

Last year it starred in a documentary by the film-maker Pete Telfer, in which some maquettes went through their paces in short animated clips. The clips were really just a light-hearted way of illustrating the range of movement the maquettes are capable of. In reality they get blu-tacked to a wall of my studio, and I change their arrangements almost daily. I’d often said that if someone took regular locked-down camera photographs of the ‘maquette wall ‘, then after a year there would be an interesting animated film to show for it.