1. Royal Academy, April 1931,
   1 still life, “Cactus”.
   Visible in photographs in Sphere, 4 April 1931, p.3: “Sending-in day: first arrivals at the Royal Academy”, reproduced in WD, p.16.
    
2. Chat Noir [Old Compton St.], 1931 (W),
   unknown number of paintings, including “The Chef”.
    
3. Regal Restaurant [Soho], December 1931–January 1932 (W), “Soho Group”
   12 paintings, including “Cactus” (12 guineas) – see first item above.
   Review:
   Birmingham Post (W).
    
4. Wertheim Gallery, 3–23 January 1932, “Twenties Group”
   3 paintings, including portraits of P G (“Goatie”) Smith, Annie Tompkins, and “The Chef” (10 guineas) which had already been shown at the “Chat Noir” (above), and was reproduced in the News Chronicle (W).
   This exhibition moved on to Worthing in February 1932.
    
5. Wertheim Gallery, before June 1932 (W), “Twenties Group”
   paintings, including a portrait, “The Wild Head” (5 guineas).
    
6. Wertheim Gallery, 1933 (G – probably an error for the previous item(s))
    
7. The Art Gallery, Sark, 30 August 1933–??, “Opening exhibition”
   8 oil paintings, including “Darts” [depicting two Sarkese playing in a tavern], “Orchard”, “The Spring Song”, “Tiger, Tiger”, and “Five Heads”; chalk and charcoal studies; 8 small water colours, including “Puy de Dome”; 7 figure drawings.
   Reviews:
   Guernsey Evening Press, 31 August 1933 [which mentions that MP had already exhibited at the Redfern Gallery “with the London groups”]; and
   Guernsey Advertiser and Weekly Star, 2 September 1933.
   See also Borlase Smart, “Sark – a new artists’ colony”, The Artist, November 1933, p.100.
    
8. Redfern Gallery, November 1933
   “The Redfern Gallery has taken one of Mervyn’s [paintings]” – letter from Eric Drake to the Dame of Sark, 7 November 1933 (Y).
    
9. Cooling Galleries, 1–14 May 1934, “Paintings by the Sark Group”
   paintings, including a portrait of the Prevot of Sark, Mr Baker. [The “Sark Group” were Lisel Drake, Brenda Streatfield, Janice Thompson, Antony Bridge and MP.]
   Reviews:
   Birmingham Post, 2 May 1934;
   Daily Herald, 2 May 1934;
   Daily Sketch, 2 May 1934;
   Sunday Times, 27 May 1934, p.5, by Frank Rutter;
   Christian Science Monitor, 9 June 1934, by Frank Rutter;
   The Artist, July 1934, p.165.
    
10. The Art Gallery, Sark, 21 May–16 June 1934, “First exhibition, second season”
    works include a set of 12 animal drawings and a portrait in oils of J. Hotton.
    Review:
    Guernsey Star, 22 May 1934.
     
11. The Art Gallery, Sark, 18 June–14 July 1934, “Second exhibition, second season”
    11 oil paintings.
     
12. The Art Gallery, Sark, 16 July–11 August 1934, “Third exhibition, second season”
    1 oil painting of Lisel Drake (15 guineas) and contributions to “Paintings and drawings by the Sark Group” [i.e. those shown at the Cooling Galleries shortly before].
     
13. The Art Gallery, Sark, 1–29 September 1934, “Fourth exhibition, second season.” “Paintings by Sark Artists”
    4 oils: “Houses and Trees”, “Trees, La Valette”, “The Church, Sark”, “Lanie”.
     
14. Royal Society of British Artists, April 1935,
    1 painting.
     
15. Leger Galleries, 1936 (G)

 
16. Calmann Gallery, 4–26 March 1938,
    33 drawings and 20 paintings.
    One drawing, of walking female nudes, was reproduced in London Mercury, March 1938, vol.37, no.221, f.p.501 (See Part D).
    Reviews:
    The Times, 7 March 1938 (“he has originality and is a good draughtsman. He has the ability, comparatively rare in England, to suggest roundness by the inflections of a line which does not vary in thickness”)
    Manchester Guardian, 11 March 1938
    Spectator, 11 March 1938, p.427, by Anthony Blunt
    Sunday Times, 13 March 1938, by Eric Newton
    Liverpool Daily Post, 17 March 1938.
     
17. Leicester Galleries, 22 February–10 March 1939,
    paintings and 46 drawings.
    One drawing, a nude figure, was reproduced in London Mercury, March 1939, vol.39, no.233, f.p.505 (See Part D). This is probably the work that (according to Watney) was shown again in the summer of 1939.
    Maeve Gilmore had an exhibition of her own at the Wertheim Galleries during the middle week of MP’s.
    Reviews:
    Daily Mail, 24 February 1939
    Evening News, 24 February 1939, with photo of MP “sketching Mrs Peake while she paints a portrait of him”)
    Star, 24 February 1939, with photo of “a model couple: MP sketching his wife, MG, as she paints his portrait.” 
    [Daily] Sketch, 25 February 1939 (“eight of the pictures were sold at the private view”)
    Cavalcade, 11 March 1939, with photo of MP solus.
    Reynolds’ News 19 March 1939.
     
18. Delius Giese, 13 June 1939, “Satirical drawings of our time”
    drawings.
    Review in News Chronicle 13 June 1939 by Henry Bean (“reminds me of all that is best in Salvador Dali , and all that is funniest in Alice in Wonderland”)
     
19. Leicester Galleries, summer 1939 (W), “paintings, drawings and sculpture by Artists of Fame and Promise”
    “Nude Figure”.
     
20. Leicester Galleries, December 1939, “8 1/2 x 6: Little pictures by Contemporary Artists”
    132 paintings (all the same size and price), by a number of artists including MP and MG.
     
21. Stafford Gallery, April 1940, “The War as I See it”
    1 painting, “I was called”.
    Review:
    Sunday Times, 21 April 1940 by Eric Newton (cites Peake’s painting as an instance of “things truly felt”).
     
22. American British Art Centre, New York, 1941,
    10 cartoons [presumably from the Ministry of Information leaflet (see below, under “Other Printed Ephemera”)].
     
23. Leicester Galleries, December 1941, “Drawings by Mervyn Peake”
    52 drawings, including 14 for Ride a Cock-Horse, 6 for S&S (not used in the book), and 2 for The Hunting of the Snark.
    One of the S&S drawings, bought by the composer Richard Addinsell, came up for sale by auction on 14 November 2007.
     
24. Adams Gallery, 1943 (G)

 
25. Calmann Gallery, 1943 (B)

 
26. National Gallery, 1943,
    “The Glassblowers” exhibited.
     
27. Peter Jones’, June 1944,
    drawings, engravings, and oil paintings, including “Mr Brown’s Resurrection”.
    Reviews:
    Sunday Times, 18 June 1944, p.2, by Eric Newton (reprinted in In My View (Longmans, Green & Co, 1950), pp.155–7)
    Time & Tide, 8 July 1944, by Maurice Collis
    Studio, September 1944, vol.128, pp.89– 91 (p.90) by Cora J. Gordon.
     
28. Peter Jones’, (?September) 1944, “Loaves and Fishes”
    1 painting, “Plaice”.
    Mentioned in Time & Tide, 23 December 1944, by Maurice Collis.
     
29. The Gallery Roland (Browse & Delbanco), March 1945, “Vision and reality in three centuries of English drawings”
    Mentioned in The Windmill, 1945, vol.1, no.2, p.49.
     
30. Leicester Galleries, October–November 1945, “Drawings by Mervyn Peake illustrating Maurice Collis’s new book Quest for Sita and other subjects”
    41 drawings.
     
31. Adams Gallery 1945 (W – probably a mistake for 1946 item)

 
32. Arcade Gallery, late 1945,
    painting, “Figure in Yellow”, reproduced in Studio, December 1945, vol.130, no.633, p.183 (see Part D); also mentioned in Time & Tide, 1 September 1945, p.728, by Maurice Collis.
     
33. Redfern Gallery, 16 May–8 June 1946, “Recent paintings by Mervyn Peake”
     
34. Adams Gallery, 5–27 July 1946,
“Paintings by Mervyn Peake”
ranging in price from 20 to 150 guineas
Review:
Studio, November 1946, p.155 by Cora J. Gordon (“the best he has yet produced”).
 
35. Arcade Gallery, 15–30 November 1946.
    50 drawings. Alluded to by Cora Gordon in Studio, March 1947, pp.93–94.
     
36. St. George’s Gallery, (?September) 1947, “Welsh painting”
    “The Black Hat”.
    Review:
    Time & Tide, 18 October 1947, by Maurice Collis (“reminds us that MP is Welsh” [sic]).
     
37. Royal Society of British Artists, Spring 1948,
    “Girl and Child”, and “The Still Girl”; the latter is reproduced in WD, p.[72].
     
38. Royal Society of British Artists, Spring 1949,
    “Two Clowns” and “The Still Girl”. The former is probably the “Clowns embracing” reproduced in WD, p.[90].
     
39. Waddington Galleries, Dublin, March 1951 (Y),
    39 drawings.
     
40. Gorringes, 18 June 1951,
    “Two centuries of British humorous art”
     
41. Waddington Galleries, Dublin, July 1956,
    paintings.
     
42. Army & Navy Stores, 15–27 October 1956,
    “Authors as Artists”
     
43. Collectors Gallery, c.1957 (G)

 
44. Waddington Galleries, 27 November–20 December 1958,
    “Line drawings by Mervyn Peake”
    Reviews:
    Freedom, 13 December 1958, vol.19, no.50, p.2, by D[onald] R[ooum]
    Studio, March 1959, vol.157, pp.92–4 (p.93), by G. S. Whittet.
     
45. Holloway Hospital, Virginia Water, (early) 1959 (W),
    paintings by MG and MP.
     
46. Collectors Gallery, 1963,
    portraits of celebrities, fey children, cats, clowns, and nudes.
    Review:
    Arts Review, 21 September 1963, p.14, by Max Wykes-Jones (“living, vital beings trapped for all time in a few strokes of a brush, pen, or pencil.” MP is one of those who “create not for a day but for a century, not for themselves but for their children’s children.”)
     
47. Portobello Road Gallery, September 1963 (Y)

 
48. Portobello Road Gallery, May 1966,
    various paintings and drawings.
     
49. Upper Grosvenor Galleries, 4–22 July 1966, “Mervyn Peake”
    8 oils, and 85 drawings, plus 11 other drawings ex-catalogue. Catalogue introduction by Terence Mullaly.
    Review:
    Spectator, 15 July 1966, p.81, by Henry Tube.
    Daily Telegraph, date not known, quoted by Yorke p.318
    Arts Review, 9 July 1966, by M. Wykes-Jones
     
50. [City of] Westminster Public Library, 22 January–24 February 1968, “Mervyn Peake exhibition”
    books, drawings, and MSS.
    Review:
    Library Association Record, vol.70, p.6 of Liaison.
     
51. Edinburgh University, 25 April 1969, “Secondary Worlds Symposium”
    2 drawings, letters, and a representative selection of books. [Attended by MG who answered questions about MP’s work.]
     
52. Eltham College, 12 July 1969, “Mervyn Peake: a commemorative exhibition”
    34 paintings and drawings, MSS, and tape recordings of broadcast work (“Rhyme of the Flying Bomb” by the BBC, and “Boy in Darkness” at the Mind’s Eye Theatre, New York – see below).
     
53. Swansea University, Wales, 1970 (G)

 
54. National Book League, 5–26 January 1972 (published dates); extended to 3 February 1972, “Word and Image III”
    books, drawings, and MSS.
    The abundantly illustrated catalogue contains an introduction by Maeve Gilmore (pp.5–9) and a chronology of MP’s life (pp.10 & 11).
    Reviews:
    Connoisseur, January 1972, vol.179, no.719, p.75, by Caroline Shaw
    Guardian, 5 January 1972, by Alex Hamilton
    Times, 5 January 1972, p.6, by Brian Alderson
    Arts Review, 15 January 1972, vol.24, no.1, p.11, by Maurice Collis (with a photograph of MG, with Maurice Collis and Beatrice Greek, on p.7)
    Daily Telegraph, 15 January 1972, p.10, by Terence Mullaly
    TLS, 11 February 1972, p.154
    American Notes and Queries, 8 April 1972, vol.10, no.8, p.126, by Rigby Graham.
     
55. International Culture Centre, Antwerp, 6 October–4 November 1973, and Royal Library, Brussels, 1 December 1973–26 January 1974, “Pen as Pencil”
    1 oil painting, 2 pencil drawings, and 1 in chalk.
     
56. Wednesbury Art Gallery, August 1974, “44 Modern British Drawings”
    “Dead rat”, on loan from the V. & A.
     
57. St. Catherine’s College, Oxford, 1975 (G),
    Mervyn Peake exhibition
     
58. Bluecoat Gallery, Liverpool, 5 May–5 June 1976, “an honest patron” [a tribute to Sir Edward Marsh]
    3 drawings. [Sir Edward also owned an oil painting, which (according to the catalogue) he bought at the Leicester Galleries exhibition of 1939. MG believed it was earlier, at the Calmann Gallery in March 1938.]
     
59. Warehouse Gallery, 4 January 1978–??, “Fantasy and imagination”
    3 oil paintings: “Yellow Man”, “Clown”, “Two Clowns” (reproduced in WD, p.[90]).
    Review:
    MPR 6:30, by Louise Collis.
     
60. Woodstock Gallery, May 1978,
    Reported in Guardian of 27 May 1978.
     
61. Bodleian Library, Oxford, 17 November 1978–13 January 1979, “Mervyn Peake 1911–1968”
    MSS, drawings, and illustrations.
    The opening speech by E.J.S. Parsons was printed in MPR 8:32–33.
    Review:
    MPR 8:33–36, by Hugh Brogan.
     
62. Eltham College, 2–14 July 1979, Commemorative exhibition
    paintings, drawings, and illustrations.
    Review:
    MPR 9:34–37, by Diana Gardner.
     
63. DLI Museum and Arts Centre, 8 December 1979–13 January 1980; Douglas Hyde Gallery, Trinity College, Dublin, 4 March 1980–??; Oldham Art Gallery, Union St., Oldham, 31 May–19 July 1980; Mappin Art Gallery, Sheffield, early October–19 October 1980; Walsall, 28 March–25 April 1981; The University of York, 4–31 May 1981; and The Ilkley Literature Festival, 11–24 July 1981,
    “The voice of a pencil” – paintings and drawings.
    MG’s introduction to the catalogue was reprinted in MPR 10:31–33.
    Reviews:
    Durham Advertiser, 30 November 1979
    Durham Advertiser, 13 December 1979, by Jackie Levitas
    Arts Review, 21 December 1979, vol.31, no.25, pp.718–19, by John Milner
    Northern Echo, 28 December 1979, by W. E. Johnson
    Arts North, December 1979–January 1980
    Guardian, 2 January 1980, by Pamela Kirk
    Irish Times, 7 March 1980, by Brian Fallon
    Yorkshire Post, 11 October 1980.
    Review-article:
    “MP: humanist. Three paintings of old men” by Diana Gardner, MPR 11:41– 45.
     
64. Theo Waddington Gallery, 9 September–3 October 1981, “Drawings and Watercolours”
    Reviews:
    Guardian, 9 September 1981, p.10
    Arts Review, 18 September 1981, p.397, by Ben Mallalieu
    The Tablet, 19 September 1981, by John Griffiths
    Daily Telegraph, 23 September 1981, by Terence Mullaly.
    [These reviews were quoted at length in MPR 13:43–44.]
     
65. Victoria & Albert Museum, 21 October 1981–21 February 1982, “The art of Radio Times: six decades of original illustrations”



66. (Main foyer of the) Royal Festival Hall, 16 February–12 April 1987,  “Mervyn Peake Retrospective”
    Some 600 (250 according to other sources) items. No catalogue.
    Reviews:
    Financial Times, 24 February 1987, by William Packer (“wonderful accomplishment”)
    (London) Evening Standard, 26 February 1987, by Brian Sewell (“What’s on view here could well have been painted by an amateur lady in Farnham dabbling away with coloured vaseline and tinted butter”
    Arts Review, 27 February 1987, by Beatrice Phillpotts
    What’s On and Where to go, 5 March 1987, by Michael Leech (“a vastly gifted artist”)
    The Observer, 15 March 1987, by William Feaver
    The Times, 17 March 1987, by John Russell Taylor
    Today, 20 March 1987
    Jersey Evening Post, 25 March 1987



67. Guernsey Museum and Art Gallery, 6 September–1 November 1987
    
    
68. Chris Beetles Gallery, London, 14 June–8 July 1994
    
    
69. National Literature Centre for Wales [now called Ty Llen], Swansea, Wales, 4 February–30 March 1997, “Drawings by Mervyn Peake”
    No further details.

1. National Book League, November 1946, “British Book Illustration 1935–45”
   Ride a Cock-Horse.
    
2. National Book League, 12 December 1973–12 January 1974, “Looking at Picture Books”
   Ride a Cock-Horse and Captain Slaughterboard Drops Anchor (A1a, b, and e).
   In the catalogue, Brian Alderson comments on Ride a Cock-Horse: “the imagination working within these illustrations supplies an energy far beyond anything that Brian Wildsmith could manage in Mother Goose [the neighbouring item in the exhibition]. Mervyn Peake’s view of nursery rhymes . . . flows from an intensive reading of and response to the chosen rhymes and as such (and most unusually) raises the stature of these little verses to a new imaginative level. Even where, as in ‘I saw a ship a-sailing’, he uses only part of the rhyme, he contrives to embue it with a new and inexplicable sense of mystery.” On CSDA, he observes that “recent printings in black and yellow only help to emphasize how far the quality of the book lies in its drawing.”
   Reviews:
   Observer (colour supplement), 9 December 1973, pp.66–7, “Every picture sells a story” by Ena Kendall
   Books and Bookmen, July 1974, pp. 80–81, “The purpose of illustration” by Konstantin Bazarov.
    
3. National Book League, May 1973, “Three centuries of nursery rhymes and poetry for children”
   Ride a Cock-Horse.
   Catalogue comments by Iona and Peter Opie: “The other-worldliness of the nursery rhymes, and the human predicament of the nursery rhyme characters, is precisely conveyed in this most elegantly-designed of nursery rhyme books. Two copies are shown so that the book can be fully appreciated.”
    
4. National Book League, 25 September–15 October 1975, “British Book Design and Production 1975”
   Drawings 1974, selected as one of the 50 best-designed books of the year. Also shown at the Frankfurt Book Fair.
    
5. Brillig Gallery, Bath Festival, June 1979, “Alice in Wonderland”
   MP’s Alice books.
    
6. Bethnal Green Museum of Childhood, 29 September 1977–15 January 1978, “After Alice: a hundred years of children’s reading in Britain”
   Ride a Cock-Horse.
   Catalogue comments by Christine A. Kloet: “One of Peake’s early illustrated books for children, Ride a Cock-Horse is a fine example of this artist’s strikingly individual style, which sometimes borders on the grotesque and macabre. These qualities are more apparent in the 1945 edition, printed on differently coloured papers, of his illustrated children’s story Captain Slaughterboard Drops Anchor, which had the most startling appearance of any picture book at that time. Peake provided haunting drawings for editions of children’s classics, including Grimm’s Household Tales (1946) and Treasure Island (1949), but his illustrations have never appealed widely to the young.”
    
7. Cotton Gallery, Midland Arts Centre, Birmingham, 7–20 November 1983, “From Cruikshank to Peake: a century of British book illustration”, as part of the first Birmingham Festival of Readers and Writers.
   The Hunting of the Snark.

1. A Christmas Commission
(or A Mural for Christmas)
a. Radio play, produced by Donald Holmes (who is reputed to have suggested the theme to MP). Recorded by the BBC in London on 29 October 1954, with Paul Scofield in the role of the artist. Also broadcast on the NBC (North America) at Christmas 1954.
b. Revised as The Eye of the Beholder (or The Voice of One) broadcast on the BBC Home Service on Tuesday 18 December 1956, 10.15–10.45 p.m. Printed in WD, pp.106–118.
A “superimposed” version of the two plays, showing the differences, was printed in PS for April 2005 (Vol.9, No 2, pp.5–31).
 
2. Letters from a Lost Uncle
   MP’s adaptation for Independent Television of his story for children (A6), 12-part series broadcast November–December 1955.
    
3. Titus Groan
   MP’s adaptation of his novel as a 1-hour play for radio. Broadcast live on the BCC Third Programme on 27 February 1956.
    
4. The Wit to Woo
   Printed in Peake’s Progress (pp.267–374, although it should be noted that this version does not correspond to the playscript of the first performance). Performed
   a. Arts Theatre Club, 12 March–mid-April 1957
   Reviews:
   The Daily Mail, 13 March 1957, by Cecil Wilson
   The Daily Telegraph, 13 March, by W. A. Darlington
   The Times, 13 March 1957
   Manchester Guardian, 14 March 1957, by Philip Hope-Wallace
   Observer, 17 March 1957
   Sunday Times, 17 March 1957
   Illustrated London News, 23 March 1957, vol.230, p.470, by J.C. Trewin
   Punch, 27 March 1957
   The Sketch, 27 March 1957
   Theatre World, April 1957, by L.M.
   Plays and Players, May 1957, by Anthony Merryn
   Encore, July 1957, vol.3, no.5, editorial (quoted in MPR 9:32)
   Also in the Evening Standard, Hendon & Finchley Times, Kensington News, Kensington Post, and the Manchester Evening News, (quoted by Yorke, pp.272–75), and in Truth, the Church of England Newspaper, the Queen, the Universe, the Lady, the Jewish Chronicle, and the Daily Worker (according to Yorke, p.272, no dates given); in all 53 reviews.
   b. Green Room Theatre, Manchester, 1958 (according to MG, in the Nottingham Theatre Group programme)
   c. Cambridge Arts Theatre and Oxford Playhouse, one week each, by the Prospect Players,1962 (idem)
   d. Lauriston Hall, Edinburgh (Edinburgh Festival Fringe), 16 August–1 September 1979, Nottingham Theatre Group, directed by Glen Kinch.
   Reviews:
   Scotsman, 18 August 1979, by Lindsay Paterson
   MPR, Autumn 1979, no.9, pp.31–2, by Edwin Morgan.
   Also in Edinburgh Review, date not known.
   e. Grand Theatre, Lancaster, 21–22 July 2006, by the Carabas Theatre Company.
    
5. For Mr Pye – an island
   MP’s adaptation of Mr Pye as a 30-minute radio play. Broadcast by the BBC on 10 July 1957, produced by Fancis Dillon.
   Script printed in Peake’s Progress (pp.517–560).
    
6. Just a Line
   Television cartoon, early 1950s. Not broadcast; printed in WD, pp.93–6.
    
7. Noah’s Ark
   Printed in Peake’s Progress (pp.383–443). Not performed on the stage, so far as I am aware, but adapted for radio and broadcast for schools by the BBC in three instalments in May 1981 .
    
8. The Cave
   Printed as MPR 29, 1996. (See Part D, last item)
   
   
9. Those Wicked Doctors: a farce in three acts
   Typescript sold at Bloomsbury Book Auctions, July 2000, and again at Sotheby's in 2006. Printed in PS, October 2006.
   
   
10. The Widowers, or Four Old Men
    Unfinished play; extant fragments printed in PS, April 2007.
    
    
11. Isle Escape
    Unfinished play; extant fragments printed in PS, April 2007.
     
12. The Greenhorn
    Unfinished play; extant fragments printed in PS, April 2008.
     
13. The Teddy Boys
    Unfinished play; extant fragments printed in PS, April 2008.
     

1. The Connoisseurs
   One-act play, not printed. Amateur performance, Smarden 1952 (G). Does the MS or a TS still exist?
    
2. Manifold Basket
   Incomplete sketch.
    
3. Mr Loftus, or a Horse of Air (on a theme suggested by Aaron Judah)
   Complete but neither performed nor printed.  (Watney reported the sub-title as “A House of Air” and I repeated this right up to 2007 (thirty years!) when I was kindly allowed to see the MS. It really is “A Horse of Air” – a quotation from the old ballad of Tom o’ Bedlam.)
    
4. Opera of Gormenghast
   Incomplete. Peake apparently wanted to interest Benjamin Britten in this project, but there is no record in Britten’s diary or papers of his ever having actually being contacted by Peake.
    
5. Sally Devius
   Incomplete sketch out of which grew The Wit to Woo.
   
   
6.  The Unconscious Objectors
   Incomplete sketch.
    

1. The Rhyme of the Flying Bomb
   a. Adapted for radio, with music specially composed and conducted by Tristram Cary, 26 August 1964, on the BBC Third Programme. Produced by Laurence Gilliam. “One of the happiest marriages of spoken word and music that the Third has yet produced” (Glasgow Echo).
   Repeated in Australia, on Sunday Night Radio 2, “in 1975 or thereabouts” (David Chandler of ABC Radio Drama and Features, in 24 Hours, Vol.8, No.10, November 1983, p.7).
   b. A new production (by Terence Tiller) with revised score, 9 August 1973, on BBC Radio 3. 

2. Titus trilogy
   The Mind’s Eye Theatre, New York.
   “Dramatic readings from the Gormenghast trilogy”, produced by Baird Searles. Recorded 9 February 1967. 

3. Titus Groan
   “Radio adaptation for the Pacific Foundation (a non-commercial station in California),” 19 April 1969 (quoted from WD, p.11). The Pacifica Radio Archive lists an “adaptation of Peake’s play for radio”, produced by David Rapkin, on “1 reel (81 min.)”, 1967. Archive number E2BB3818.12
   This is presumably MP’s own adaptation, listed above under “plays performed”. The catalogue of the Eltham College 1969 exhibiton (mentioned above) mentions broadcasts by KPFA, KPFK and WBAI radio stations. 

4. Boy in Darkness
   a. The Mind’s Eye Theatre, New York, 1967, a dramatic reading, directed by Baird Searles (recorded 9 Feb 1967).
   b. Dramatic reading by Michell Taylor, recorded 7 Aug. 1968. On 3 reels, 158 minutes. Pacifica Radio Archives, no E2BB3818.22.
   c. Soho Theatre, 15 June 1971–??, adapted and directed by Paul Alexander.
   d. LAMDA Theatre, Earls Court, 31 January 1975, with deaf actors, followed by a national tour which extended into 1976. Adaptation by the British Theatre of the Deaf, directed by Pat Keysell. 

5. Rhymes without Reason
   Set to music for string quartet and mezzo soprano by Christopher Bowers- Broadbent; first performance at the Purcell Room, 24 March 1975.
   Reviews:
   Daily Telegraph, 25 March 1975, by A. E. P.
   Financial Times, 25 March 1975, p.3, by Max Loppert
   Coventry Evening Telegraph, 24 April 1975, by Mike Wyatt.
   

6. “Mervyn Peake”
   An interpretation of MP’s life and work by Nigel Paton, 11 Buccleuch Place, Edinburgh Fringe, August–September 1977.
   Review:
   Scotsman, 30 August 1977, by Lynette Hunter
   MPR 5:38 (Autumn 1977) by Edwin Morgan. 

7. Mr Pye
   Musical by Medium Fair (Exeter), Torquay, March 1979. Produced by Baz Kershaw; adaptation by Peter Hulton; music by Gordon Jones.
   Review:
   Guardian, 22 March 1979, by Alan Saddler. 

8. Titus Alone
   Merton Floats and E.T.C. Adapted and directed by Patrick Harbinson, Oxford Playhouse, 12–16 May 1981.
   Repeated by the Oxford Theatre Group, under the same direction, at the Edinburgh Fringe, August–September 1982.
   Review:
   Scotsman, date unknown, by D. J. McLeod. 

9. Titus Groan and Gormenghast
    “Gormenghast”, adapted and directed by Jonathan Petherbridge, Theatre Camel. Performed in Wales, May 1982, and cancelled soon afterwards, for copyright reasons. Reports in The Stage and Television Today, 29 April 1982, p.22; 6 May 1982, a review by Lawrence Garner; and 20 May 1982.

10. “The Gormenghast Trilogy”
    Adapted for ABC radio, Australia, by Michael le Moignan and Lawrence Lucas, produced by David Chandler, in six weekly parts, commencing November 1st, 1983.
    Report in 24 Hours, Vol.8, No.10, November 1983, pp.6–7.
    Repeated in four two-hour parts from June 10, 1986, on ABC FM Radio, Australia.

11. Titus Groan and Gormenghast
    Adapted for BBC radio by Brian Sibley and directed by Glyn Dearman, with Sting as Steerpike, 1984. Won the Sony Radio Awards for Best Dramatization and Best Production in 1985. Available as a BBC audio cassette.

12. “Mr Pye”
    Filmed for Channel 4 television and broadcast mid-1986.

13. “The Web” Animated film of the Flay–Swelter duel, made by Joan Ashworth at the (English) National Film and Theatre School in the mid-80s. Shown on Channel 4 television in 1987, it was called “a little gem” by the Yorkshire Post and it won the Mari Kuttna Sward for the Best British Animation Film of 1987. A still from it was printed in PS 3:iii, 18.

14. “Songs on a Shipwrecked Sofa”
    A musical based on MP’s nonsense poems, with book and lyrics by James Milton and Polly Pen, score by Polly Pen, performed at the Vineyard Theatre, New York, mid 1987.
    Review:
    New Yorker 63:17, 15 June 1987 by Mimi Kramer

15. “Gormenghast”
    Adaptation for the stage written by John Constable for the David Glass Ensemble; numerous performances in Britain and in various countries throughout the world (under the aegis of the British Council) from January 1992 until early 1996. Much reviewed; a review from the Malaysian Sunday Star was printed in PS 4:iv, 43–45.

16. “Gormenghast”: the opera
    Adaptation by Duncan Fallowell, score by Irmin Schmidt, first performed in Wuppertal, Germany, in November 1998. The review by Rodney Milnes in The Times was reprinted in PS 6:ii, 53–54. Details from spoonrecords.com

17. “Gormenghast” for television
    Adaptation for BBCtv, produced by Estelle Daniel, directed by Andy Wilson, script by Malcolm McKay. Four-part serial, broadcast between 17 January and 7 February 2000. Available on DVD.
    
    

1. Tim Souster: Titus Groan Music (wind quintet / ring modulator / amplifiers / two-track tape, with quotations from Titus Groan)
   Commissioned by the Macnaghten Concerts. Performed by the Stockholm Philharmonic Wind Quintet at the Camden Festival, 1969. Further details.
   “The common factor of the piece and Mervyn Peake’s novel … is an atmosphere of ritual and grotesquerie: there is no attempt to create a programme” — Robin Thompson in Tempo (New Ser., No. 89, Summer, 1969), pp. 21-22.

2. Titus Groan rock group: record called “Titus Groan” (1970)
   “Most of the songs seem to be titled after passages in the books,” comments John Donaldson (to whom I owe a big thank you for help with this section). Further details.
   

3. Al Stewart, on the record called “Zero she Flies” (1970)
   a track entitled “The Room of Roots”; on the sleeve there’s a “thank you to MP for the adventures of Titus.”
   

4. A progressive folk album called “Fuchsia” (Pegasus PEG 8) 1971
   It would appear that Tony Durant, vocalist, guitarist and songwriter, was the creative force behind this album, along with Madeline Bland (cello, keyb'ds, vcls), Mike Day (bs), Michael Gregory (drms), Vanessa Hall Smith (violin, vcls) and Janet Rogers (violin, vcls).
   Information adapted from Lost-in-Tyme, which adds that “the lyrics were influenced by English novelist and poet Mervyn Peake and supplemented by a lush violin and cello backing.”

5. The album “Bursting at the Seams” (1973) by The Strawbs has a song called “Lady Fuchsia” composed and sung by drummer Richard Hudson and bassist John Ford.
   Apparently never performed live. It is not mentioned on The Strawbs’ site.
   

6. Split Ens (NZ), album “Spellbound” (1976)
   Tracks inspired by the Titus books called “Stranger than fiction” and “Titus”; the line “Stranger than fiction, larger than life, full of shades and echoes” being lifted from the blurb on the back of Titus Groan. Further details.
   

7. Julian Grant, “Despondent Nonsense” (1979)
   Medium high voice and piano. 8 minutes. “A perfectly proportioned miniature cycle of six songs, this should be very popular indeed with performers and audiences” writes Jane Manning in New Vocal Repertory (OUP, 1999, p.146) and devotes the whole page to it.
   
   
8. Robert Smith, The Cure: song entitled “The Drowning Man”, 1981
   About Fuchsia’s drowning in Gormenghast: “She stands twelve feet above the flood / She stares / Alone / Across the water / … / Starting at the violent sound / She tries to turn / But final / Noiseless / Slips and strikes her soft dark head / The water bows / Receives her / And drowns her at its ease”. Further details.
   
   
9. Paul Patterson, song cycle called “The Sorriest Cow of Capricorn” (1990)
   For soprano and piano, to words from the Book of Nonsense (“Leave the Stronger”; “Little Spider”; “O Little Fly!”; “Crocodiles”; and “How Fly the Birds of Heaven”). No recording known. (Information from Edmund Milly)
   Review: Musical Times December 1992 (Vol. 133, No. 1798) page 644.
   
   
10. Roger Taylor (the drummer of Queen), solo album “Electric Fire” (1998)
    The track called “London Town – C’mon Down” contains excerpts from London Fantasy. Further details.
    
    
11. Steve Winwood and A N Other: song entitled “Boy in Darkness” (date?)
    See Ginger Geezer by Lucian Randall and Chris Welch (4th Estate, 2001; paperback 2002).
    

1. “The Artist’s World”, a talk in the series called “As I See It”, recorded 29 April 1947,
   broadcast by the BBC on the Pacific Service (26 May 1947) and African Service, (28 May 1947).
   Text printed in MPR 8:3–5. 

2. “Book Illustration”, a talk in the series called “As I See It”, recorded 20 May 1947,
   broadcast by the BBC on the Pacific Service (22 September 1947) and African Service, (24 September 1947).
   Text, with notes and illustrations, printed in MPR 9:14–23.
   

3. “The Reader Takes Over”, participation in a round-table discussion of Titus Groan, recorded 20 June 1947,
   broadcast six times by the BBC on the North American, Pacific, African (10–15 September) and General Overseas Services (2 December 1947).
   Text, with notes, printed in MPR 10:5–16.
   

4. “Alice and Tenniel and Me”, a radio talk recorded 12 December 1954,
   broadcast by the BBC Home Service on 12 December 1954.
   Complete text printed in MPR 6:20–24.

There is also a recording, made in England, of Jonathon Williams talking with Maeve Gilmore (about English and American poetry) in the Pacifica Radio Archive, dated 1968. 1 reel, 42 minutes. No E2BB3456

1. The Insect Play, Tavistock Little Theatre, 25 & 26 November 1932 (W),
   costume designs. 

2. The Insect Play, Little Theatre, opened 23 June 1936 (preceded by three performances for members and friends on 20 and 22 June) and ran for at least three months; revived with the same cast at the Playhouse on 27 April 1938 and at the Duke of York’s Theatre, 4 July 1938, costume designs.
   The programme bears a drawing by MP on the front, as does a leaflet used to advertise the play.
   Reviews:
   Theatre World, August 1936, vol.26, no.139, p.93 (with photographs)
   Bystander, 16 September 1936. London Mercury, August 1936, vol.34, no.202, reproduces two of the designs (see part D).
   

3. The Son of the Grand Eunuch by Albert Arlen, Arts Theatre Club, January 1937,
   costume designs.
   Review:
   London Mercury, February 1937, vol.35, no.208, pp.409–10, by A. V. Cookman (“the costumes by MP, which are a continual delight, deserved a better play”). A drawing of “the Grand Eunuch’s costume” is reproduced on p.409.
   

4. Man and Superman, King’s Theatre, opened 9 April 1946,
   1 original drawing for the programme, reproduced in MPR 17:25. 

5. In one of the Painter and Poet series of films produced by animators John Halas and Joy Batchelor for the Festival of Britain, 1951,
   visual interpretation of a poem. (Information from “Film and the Festival of Britain”.) Briefly mentioned in an essay by Sarah Easen, “Film and the Festival of Britain”, in British Cinema in the 1950s: a celebration by Ian Duncan MacKillop and Neil Sinyard (Manchester U P, 2003).
   

6. Boy in Darkness, 1971 (posthumous use),
   drawing of a boy on the poster and programme for the Alexander adaptation. The drawing is reproduced in Drawings 1974, pl.8.
   

7. Treasure Island, 16 December 1974 to 11 January 1975,
   eleven illustrations from B12 in the Mermaid Theatre programme of a dramatization of Treasure Island,  with a cast that included Spike Milligan as Ben Gunn and William Rushton as Squire Trelawney.
   

8. Titus Alone, 1981 (posthumous),
   wash drawing of figures on the poster for the Merton Floats performance mentioned above.

1. An Exhibition of the Artist, Adolf Hitler. A new Order. [1940]
   “A book of twelve drawings in the form of an exhibition catalogue, commissioned by the Ministry of Information for propaganda purposes” (WD, p.45). [Not seen. In fact it is doubtful whether this booklet was ever actually produced. Several previously unseen pictures from this series were reproduced in PS 2:2 (Summer 1991) where the history of these works is examined in some detail. For the history of this commission see Vast Alchemies, p.125.]  

2. “Até que a morte nos separe” [Until Death us do part]: a propaganda postcard, 140 x 90, depicting Hitler and Mussolini as a wedding couple.
   [Possibly one of the drawings produced by MP when he worked for the Ministry of Information, starting in October 1942. The language suggests that this item was for S. America. Reproduced in PS 8:2 (April 2003).] 

3. Black Magic
   Film poster for Ealing Studios, 1944. Reproduced in Projecting Britain by David Wilson (1983) and in Film Posters of the 50s edited by Tony Nourmand and Graham Marsh (London: Aurum Press, 2000).
   Shown at Gillian Jason Gallery (42 Inverness St.), 17–21 January 1984. 

4. “Harriet”
   Oil painting portraying a daughter of Sir John Walley, printed as a Christmas card, 1945.
   Not otherwise printed or exhibited. 

5. PEN Dinner Menu
   Pen-and-ink drawing incorporating the menu for a PEN presentation dinner in honour of Hermon Ould, 6 March 1946.
   Printed as the centre spread in PS 8:4 (April 2004). 

6. MP was commissioned to produce a series of drawings to accompany advertisements for pubs. According to the files of the Brewers’ Society, they were released on the following dates for publication in various periodicals. Examples we have located are given in parentheses. The complete set was reprinted in Peake Studies, vol. 5, no 1, pp.3–18.
   Weeks commencing: 1 December 1946, “There is nothing like a game of darts”
   8 December 1946, “Cricket has long been associated with the inn” (Country Life, 27 December 1946, p.1265; reproduced in Beer is Best (Part C, drawings), p.65)
   15 December 1946, “Old Isaac Walton could write of inns as well as of angling” (Country Life, 17 January 1947, p.196)
   29 December 1946, “There is not upon earth so good a thing as an inn”
   5 January 1947, “Much of the characteristic charm of English inns...” (Poetry Review, March–April 1947, vol.38, no.2, p.ix; Punch, vol.212 no.5538, February 12, 1947. Half page, rear cover. Reproduced in Beer is Best, (Part C, drawings), frontispiece)
   19 January 1947, “Bowls is as old as the 13th century”
   26 January 1947, “The game of bowls was introduced...”
   9 February 1947, “‘The noble art of venerie’, as hunting was called...” (Punch, vol.212 no.5542, March 26, 1947. Half page, rear cover)
   16 February 1947, “It is not generally realized to what extent pigeon-racing...”
   23 February 1947, “‘...and all day this chap felt a nasty little pain in his back...’”
   2 March 1947, “‘Shove-groat’ or ‘Shovelle-board’ was played by Henry VIII”
   9 & 16 March 1947, “‘Jog on, jog on, the footpath way...’” (Country Life, 11 April 1947, p.675; Poetry Review, May–June 1947, vol.38, no.3, p.xv; Punch, vol.212 no.5546, April 23, 1947. Half page, rear cover )
   24 & 31 March 1947, “‘Your friends are my friends...’”
   6 & 13 April 1947, “Stopping on a dreary day in Towcester” (Punch, vol.212 no.5548, May 7, 1947. Half page, rear cover)
   20 & 27 April 1947, “‘Some good stuff going tomorrow at the sale...’” 

7. Advertisement for Jamaica rum, late 1940s.
   An example may be seen in Picture Post, 20 August 1949, p.8; it was reproduced on the back of PS 5:1.
   

8. Christmas card for Pearn Pollinger & Higham, 1950.
   Reproduced on the back of PS 6:3. 

9. “Ex Libris N. Asherson”, 1951.
   MP designed a bookplate for Nehemiah Asherson, the ear specialist who treated his wife and children.
   Reproduced in The Bookplate Society Newsletter, September 1983, vol.5, no.3, and in MPR 17:27 (with a commentary on p.26).

10. Catalogue foreword, Woodstock Gallery, spring 1962.
    For an exhibition of paintings by Francyn (Cynthia Dehn, with whom MP had a desultory affair during the 1950s), MP wrote a 120-word encomium which was printed as a kind of foreword to the catalogue.

© Dee Berkeley and G. Peter Winnington 1983; this updated and enlarged edition © G. Peter Winnington 2008

Please tell me of any corrections or additions I should make.