Richard Warren

20thc British art and poetry (mainly), plus bits of my own – "Clearly I tap to you clearly along the plumbing of the world" (W S Graham)

Tag Archives: Paul Potts

Cedra Osborne, the Roberts and Burns Singer

Jimmy Burns Singer puts on a poetic stare for the publisher's mugshot for 'Living Silver', 1958.

Jimmy Burns Singer puts on a poetic stare for the publisher’s mugshot for ‘Living Silver’, 1958.

A source on the Two Roberts, painters Colquhoun and MacBryde, apparently not used by Roger Bristow in his 2010 biography of the dynamic duo, is the reminiscence by Cedra Osborne (later Cedra Castellain) published in the April/May 1993 London Magazine. (Though Bristow does cite personal conversations with her.) Selected excerpts (along with bits about them by Anthony Cronin and Julian Maclaren-Ross) will appear on the Colquhoun and MacBryde page here in due course, but meanwhile here is a moment when poet Jimmy Burns Singer (who has two pages on this site) comes very close to planting one on MacBryde:

Sometimes during 1955 [the Roberts] lived in a room above my own [in Chalk Farm], where Colquhoun did some drawings. They brought people with bottles back from Soho, and there were parties in my room, which had the piano. James ‘Burns’ Singer, a poet, brought his agreeable black wife to one of them. She was a child-analyst who, at a previous party, had offered to analyze Colquhoun, saying she was sure she could straighten him out. He was very polite about it. MacBryde used to play the piano for us. His limited repertoire unfortunately included ‘Way Down upon the Swanee River’. When he reached it, Jimmy leapt to his feet, crying: ‘I’d have you know my wife is black!’ He made for the piano, but was overcome by weight of numbers. MacBryde retired into the large cupboard (once a larder) off my room, and was heard sobbing. ‘Robert!’ shouted Colquhoun, ‘stop snivelling and come out of there.’ ‘Och, Robert’ came reproachfully from behind the door, ‘you know I like a good cry.’

Singer knew the Roberts well and counted them as friends, so his outrage must have been heartfelt. His later contributions to the TLS show that he became a forceful advocate for black literature and the civil rights movement. Marie Singer’s analysis of Colquhoun would have been worth a listen-in, had he taken up the offer. I assume that “straighten” is not used here in any homophobic sense.

osborne and roberts

Cedra Osborne and the Roberts with Barker children at Tilty Mill

Cedra Osborne, who died in 2006, is an interesting figure in her own right; she also appears in the photo here of the Roberts, George Barker and W S Graham at Tilty Mill – on the right, next to Paul Potts. She took a step up from bohemia in 1955 on becoming secretary to posh portrait painter Pietro Annigoni, but for a while was a bit of a poet herself, judging by the following piece by her from Nimbus 2, Spring 1952 – an early issue of this slim review with contributions by others of the Barker circle, including Cashenden (Betty) Cass.

Ace of Spades

Esther saw me lying dead
In a bitter cold and windy place,
With greasy cobbles underhead
And a knife stuck in my face.

I know the place, a fishing town
Once prosperous but now decayed,
With a small river bringing down
The sewage near the esplanade.

The breakwater courageously
Still stands against the battering shock
Of monstrous seas, and tenderly
Cradles the wrecks with arms of rock.

And there on the deserted quay
At dead of night I deadly lie,
My hair spread out in disarray
And a short knife in my right eye.

What dreadful passions here ran rife!
Who snared me in this fearful skein?
Oh whose the hand that drove the knife?
Oh Esther, read the cards again.

nimbusI like this.  It’s not the deepest poetry ever written, but it has a macabre, balladey smack to it that reminds me of Charles Causley’s “Dying Gunner”: “Oh mother my mouth is full of stars / As cartridges in the tray …”  True, the first verse is the strongest, but even so the poem seems well worth rescuing here. I haven’t come across any other published poems by Cedra Osborne.

Paul Potts on Robert MacBryde and Jankel Adler

Just caught up with the 1960 autobiographic collection, Dante Called You Beatrice, by the trenchcoat-wearing, tyewriter-stealing, broadsheet-hawking People’s Poet, the penniless Paul Potts. My 1961 copy is a book club edition; extraordinary that Potts went in one move from utter obscurity to Readers Union choice of the month. Included are very readable short pieces on painters Robert MacBryde and Jankel Adler, which I’ve added to the Two Roberts page – the MacBryde bit at the very top and the Adler bit at the very bottom, so easy to find.

Potts may have been a dodgy poet, but he wrote wonderful prose. Rather than advancing in steps by argument, his mind seems to have hammered out his world in aphorisms, so that every sentence has the quotability of a punch line. To save my summarising Dante, there’s a nicely readable appreciation of it here by Robert Latona – recommended. And Potts on George Barker is still here.

Colquhoun and MacBryde by themselves and others

The new page on the Scottish painters Robert Colquhoun and Robert MacBryde has been topped up with some scrounged images of the Terrible Twosome themselves, done by themselves or, in a couple of cases, by others.

We usually come across these in ones and twos, but it’s interesting to see them in a bunch. I know it’s possible to have too much of a good thing, but it’s hardly possible to have too much of the Two Roberts.

Paul Potts on ‘The World of George Barker’

Paul Potts

New page added here (or use the tab above) with the full text of a 1948 article, “The World of George Barker”, by the extraordinary Paul Potts, together with a bit of an intro. Also of interest with regard to Dylan Thomas and David Gascoyne.