target="_blank" rel="nofollow" href="#ulink_45e48195-30fb-5fe1-88df-ce4214f6ee55">45Musée Rodin Archives, three letters from Eileen Gray to Auguste Rodin, December 1902, January 1902 and 20 January 1902.
46Ibid, Adam, p.38.
47Bilbiothèque Jacques Doucet, fonds Paul Léautaud, MS 24133, deux lettres de Paul Léautaud à Eileen Gray. Paris, 24 February and 30 April 1904.
48Ibid, Adam, p.37.
49Sutin, Lawrence, Do What Thou Wilt, A Life of Aleister Crowley, New York, St Martin’s Press, 2000, pp.49-50.
50Crowley, Aleister, The Confessions of Aleister Crowley, London, Bantam Press, 1971; originally published by Mandrake, 1929, edited by John Symonds and Kenneth Grant, pp.166, 347-350.
51Bruce, Kathleen, Self Portrait of an Artist, London, John Murray, 1949, p.71.
52Hamnett, Nina, Laughing Torso, Reminiscences of Nina Hamnett, New York, Roy Long and Richard Smith, 1932, p.31.
53Crowley, Aleister, The Confessions of Aleister Crowley, London, Bantam Press, 1971. Originally published by Mandrake, 1929, edited by John Symonds and Kenneth Grant, pp.166, 139-140, 347-350.
54Ibid, Crowley, Aleister, p.370.
55NMIEG 2003.59, The Mother’s Tragedy, 1901. NMIEG 2003.56, Tannhäuser, a Story of All Time, 1902. NMIEG 2003.57, An Essay in Ontology with some remarks on Ceremonial Magic., 9 December 1903. NMIEG 2003.58, The Star and the Garter, 1903.
56NMIEG 2003.59, Crowley, Aleister, The Mother’s Tragedy, London, Privately Printed, 1901.
57The Warburg Institute Archives, the Yorke Collection, OS D6, letter from Aleister Crowley to Gerald Kelly, 12 August 1903. Crowley denies to Kelly in this letter that they were lovers – however the fact that he gave her the brooch was an indication of affection on his part. It is insinuated that Gray and Crowley were engaged.
58NMIEG 2003.56, Crowley, Aleister, Tannhäuser, a Story of All Time, London, Kegan Paul, Trench, Trubner & Co. Ltd, 1902, pp.13-15.
59NMIEG 2003.58, Crowley, Aleister, The Star and the Garter, London, Watts & Co, 1903.
60Ibid, Crowley, The Confessions of Aleister Crowley, p.371.
61Ibid, Crowley, pp.371-2.
62Musée Rodin Archives, Aleister Crowley papers.
63NMIEG 2003.57, Crowley, Aleister, Berashith: An Essay in Ontology with some remarks on Ceremonial Magic, Paris, Clarke and Bishop, Printers, 1902.
64Ibid, Adam, p.40.
65Ibid, Adam, p.38.
66Maugham, William Somerset, The Magician, London, Vintage Books, 2000, p.19.
67Ibid, Adam, p.40.
68Ibid, Crowley, p.364.
69Tate Gallery Archives, Prunella Clough Collection and Archive, letter from Alden Brooks to Denys Sutton, 12 July 1936.
70Bennington, Jonathan, Roderic O’Conor, Dublin, Irish Academic Press, 1992, p.95.
71Ibid, Bennington, p.93.
72TCD Archives, Paul Henry Papers – 7429.2, transcript of Paul Henry’s autobiography.
73TCD Archives, Paul Henry Papers – 7432/71-109, letter from Stephen Haweis to Paul Henry, undated, and letter from Stephen Haweis to Paul Henry, 4 March 1952.
2
A Moveable Feast: Stephen Haweis, Students and Paris
Throughout Eileen Gray’s life she kept many publications, letters, articles, magazines and photographs of people whom she knew and who shaped her life, both personally and professionally. Included in this interesting contemporary milieu were Wyndham Lewis, Aleister Crowley, Gerald Festus Kelly, Clive Bell, Kathleen Bruce, Jessie Gavin, Roger Fry (1866-1934), Natalie Clifford Barney (1876-1972), Nancy Cunard (1896-1965), Loïe Fuller (1862-1928), Lucie Delarue Mardrus (1874-1945), Chana Orloff (1888-1968), and Gabrielle Bloch. It is through the diaries, notes, letters and archives of those family, friends, acquaintances and associates who featured in her life during this time that a fuller understanding of Eileen Gray, from art student to artist emerges.
2.1 Eileen Gray, 1898-1900, black and white photograph © NMI
Gray’s library also contained a number of publications by the writer and painter Stephen Haweis and letters from his niece René Chipman (1903-1986).1 Haweis was described, by some, as a suitor and a fellow student who emigrated to Dominica and kept writing to Gray all of his life, sending her ‘unasked for’ photographs ‘looking like a very, very old chimpanzee’. Gray commented, ‘No sense of pudeur (modesty)’.2 However, Gray wrote to Haweis until Haweis’s death on 17 January 1969. It is through Haweis’s memoirs and those of his circle that one gains more insight into Gray’s Paris of the early 1900s, into the teachings of the various art schools, and into their friends and student life. Haweis’s memoirs and correspondence are a veritable anthology of who was who in Paris at that time. He kept in touch with many from both their London and Parisian days. His memoirs and letters describe in depth their circle, and the correspondence with Gray reveals much about her personality, beliefs
