As regards Knopfschrank’s work, they did not lack opportunity for inspecting and appraising it. However resolutely he might hold himself aloof from the social life of his restaurant acquaintances, he was not minded to hide his artistic performances from their inquiring gaze. Every evening, or nearly every evening, at about seven o’clock, he would make his appearance, sit himself down at his accustomed table, throw a bulky black portfolio on to the chair opposite him, nod round indiscriminately at his fellow-guests, and commence the serious business of eating and drinking. When the coffee stage was reached he would light a cigarette, draw the portfolio over to him, and begin to rummage among its contents. With slow deliberation he would select a few of his more recent studies and sketches, and silently pass them round from table to table, paying especial attention to any new diners who might be present. On the back of each sketch was marked in plain figures the announcement “Price ten shillings.”
If his work was not obviously stamped with the hallmark of genius, at any rate it was remarkable for its choice of an unusual and unvarying theme. His pictures always represented some well-known street or public place in London, fallen into decay and denuded of its human population, in the place of which there roamed a wild fauna, which, from its wealth of exotic species, must have originally escaped from Zoological Gardens and travelling beast shows. Giraffes Drinking at the Fountain Pools, Trafalgar Square, was one of the most notable and characteristic of his studies, while even more sensational was the gruesome picture of Vultures Attacking Dying Camel in Upper Berkeley Street. There were also photographs of the large canvas on which he had been engaged for some months, and which he was now endeavouring to sell to some enterprising dealer or adventurous amateur. The subject was Hyenas Asleep in Euston Station, a composition that left nothing to be desired in the way of suggesting unfathomed depths of desolation.
“Of course it may be immensely clever, it may be something epoch-making in the realm of art,” said Sylvia Strubble to her own particular circle of listeners, “but, on the other hand, it may be merely mad. One mustn’t pay too much attention to the commercial aspect of the case, of course, but still, if some dealer would make a bid for that hyena picture, or even for some of the sketches, we should know better how to place the man and his work.”
“We may all be cursing ourselves one of these days,” said Mrs. Nougat-Jones, “for not having bought up his entire portfolio of sketches. At the same time, when there is so much real talent going about, one does not feel like planking down ten shillings for what looks like a bit of whimsical oddity. Now that picture that he showed us last week, Sand-Grouse Roosting on the Albert Memorial, was very impressive, and of course I could see there was good workmanship in it and breadth of treatment; but it didn’t in the least convey the Albert Memorial to me, and Sir James Beanquest tells me that sand-grouse don’t roost, they sleep on the ground.”
Whatever talent or genius the Pomeranian artist might possess, it certainly failed to receive commercial sanction. The portfolio remained bulky with unsold sketches, and the Euston Siesta, as the wits of the Nuremberg nicknamed the large canvas, was still in the market. The outward and visible signs of financial embarrassment began to be noticeable; the half-bottle of cheap claret at dinnertime gave way to a small glass of lager, and this in turn was displaced by water. The one-and-sixpenny set dinner receded from an everyday event to a Sunday extravagance; on ordinary days the artist contented himself with a sevenpenny omelette and some bread and cheese, and there were evenings when he did not put in an appearance at all. On the rare occasions when he spoke of his own affairs it was observed that he began to talk more about Pomerania and less about the great world of art.
“It is a busy time there now with us,” he said wistfully; “the schwines are driven out into the fields after harvest, and must be looked after. I could be helping to look after if I was there. Here it is difficult to live; art is not appreciate.”
“Why don’t you go home on a visit?” someone asked tactfully.
“Ah, it cost money! There is the ship passage to Stolpmünde, and there is money that I owe at my lodgings. Even here I owe a few schillings. If I could sell some of my sketches—”
“Perhaps,” suggested Mrs. Nougat-Jones, “if you were to offer them for a little less, some of us would be glad to buy a few. Ten shillings is always a consideration, you know, to people who are not over well off. Perhaps if you were to ask six or seven shillings—”
Once a peasant, always a peasant. The mere suggestion of a bargain to be struck brought a twinkle of awakened alertness into the artist’s eyes, and hardened the lines of his mouth.
“Nine schilling nine pence each,” he snapped, and seemed disappointed that Mrs. Nougat-Jones did not pursue the subject further. He had evidently expected her to offer seven and fourpence.
The weeks sped by, and Knopfschrank came more rarely to the restaurant in Owl Street, while his meals on those occasions became more and more meagre. And then came a triumphal day, when he appeared early in the evening in a high state of elation, and ordered an elaborate meal that scarcely stopped short of being a banquet. The ordinary resources of the kitchen were supplemented by an imported
