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Sketches by eight artists
"Hokkus" by Kwaw Li Ya (Aleister Crowley)
Vanity Fair (New York, New York, U.S.A.), July, 1915.
May Wilson Preston’s Vampire
Blood-lust, Lelia lures me,
Glad to the graveyard!
[These sketches or caricatures were contributed by eight artists. Crowley then wrote an haiku to accompany each "vampire" picture. One was by the well-known, American illustrator May Wilson Preston. Following a Latin theme in the naming of the subjects ("Flavia", "Vania", "Psyche", "Circe"), it is probable that this "Lelia" sketch—which isn't obviously sinister—was of L.W., "Lelia" also being a Latin name.
L.W. arrived in New York from England on the 20th of February, 1915, on the Lusitania.]
The New York Times (New York, New York, USA), Tuesday, 13 July, 1915.
Ten Patriots at Daybreak Renounce Allegiance to England Near Statue of Liberty
Independence is Declared
Sympathy with Germany, They Say, a Matter of Expediency
—Then They Breakfast at Jack’s
As dawn was slowly spreading over the city on the morning of July 3, a thirty-foot launch slipped from the recreation pier at the foot of West Fiftieth Street and glided down the Hudson. On board were ten persons, silent and serious with the consciousness of what was to them a profoundly solemn and significant ceremony. ...
In the boat also was Miss Leilah Waddell, whose mother was an Irish refugee of the last generation and who believes herself an Irish patriot. She is a violinist and has appeared publicly on several occasions since her recent coming to America. ...
The official copy of this declaration of independence is “signed by order and on behalf of the committee” by “Aleister Crowley, 418,” and “attested” by “L. Bathurst, 11.”
With the conclusion of the reading of the declaration, the launch headed up the Hudson River, proceeding near the western shore, Miss Waddell playing patriotic Irish airs on her violin. The music and the large Irish flag, now plainly visible in the increasing light, identified the boat to the seamen on the German ships interned at the Hoboken waterfront, and they cheered the small company of Irishmen lustily. ...
["L. Bathurst" was L.W., that being a pseudonym that she had previously used.
Find a text copy here:
Irish Republic Born in New York Harbor]
New York Herald (New York, New York, USA), Sunday, 18 July, 1915, p 9.
Shooed from Bedloe’s Island, Revolutionary Committee Takes Fateful Step on Board Motor Boat ...
“By the mouth of our trusty and well beloved delegate and spokesman, Brother Aleister Crowley, No. 418,” the committee announced,“ All men and women are created unequal.” To stop all that the committee then mutually pledged the lives, the fortunes and the sacred honor of everybody on board the motor boat and declared war on England.
Breakfast at Jack’s followed the ceremonies, which included Irish jigs played on a fiddle by Miss Leila Waddell as the motor boat sped up the Hudson. Men on board the German steamships at the Hoboken docks, the British of the Cunard and French sailors cheered the motor boat and its green flag with the gold harp. On board, besides Mr. Crowley and Miss Waddell, were J. Dorr and Patrick Gilroy.
[Features the Artemis photograph from The Sketch; with, unusually, an attribution.
Find a text copy here:
Extra! Irish Republic Declares War on England Despite Police.]
By Louis Stone
Hodder and Stoughton (London, England), 1915.
IN April of the following year, six months later, Ricordi announced the first performance of a “Bush Ballad” by an Australian composer. This work, which had been advertised for the previous season, and then withdrawn, was awaited with considerable curiosity. It was reported that it was a strange, bizarre composition, and Australian to the marrow.
Ricordi, who had found Sydney without an orchestral society, had begun in a small way by giving concerts on a Saturday afternoon with a band of capable amateurs. Then it became the fashion to subscribe to his orchestra, and with a sprinkling of professionals to strengthen them, he had transferred his amateurs to the Town Hall for the season of four concerts.
By a quarter to eight the shilling seats under the gallery were packed, and a fashionable crowd sauntered in a leisurely manner up the steps from George Street. A dense crowd blocked the entrance stopping to chat with friends in the portico, or studying the costumes of the arrivals by carriage and motor-car. Mr. Goddard, looking very handsome in his dress suit, stood on the steps watching each group that arrived. Presently Betty and Freda, and Gus and the geisha girl, came in sight, and he stepped forward to meet them. Betty flushed when she saw him, but Freda gave him a hostile look, and Gus shook hands with polite indifference. Ignoring their cold reception, he walked beside Betty and talked rapidly in a caressing undertone. Gus, who had booked the seats, led the way to the northern gallery, and they found themselves in the front row with an excellent view of the audience. A confused murmur of voices and the shuffling of feet rose from the floor as the ushers showed the late-comers to their seats. From behind the organ came the persistent sound of the A, and the tuning of violins. Then a medley of sound as the players tested their instruments, running up and down the scale, or trying a difficult passage to make sure of it.
Suddenly the players walked on to the platform, threading their way between the music-stands to their seats. Betty watched them eagerly, picking out the players who were there in time. Hessel was still leading the second violins, and another girl was sitting in Betty's old place behind him. It took her back to the time when Paoli had made eyes at her over the ivory mouthpiece of his flute. She thought of him with a curious detachment. It seemed very childish to her now, and she passed his band in the streets with indifference. Other and stronger emotions had driven him out of her mind. Mr. Goddard, ignoring Freda's sulky looks, paid her a flattering attention. Betty heard his running comment on the audience, and replied with a vague smile, her mind elsewhere. She had a curious feeling that Walter's eye was on her, and she looked about with a slightly defiant air, expecting to see him at any minute. But Ricordi, walking rapidly to the conductor's stand, opened the score, and tapping with his baton for silence, the concert began. ...
[Originally serialized in the Sydney magazine The Lone Hand in 1913 and 1914, this novel, set in the classical-music scene in pre-war Sydney, was published in London in 1915 with some cuts. A paperback edition of the complete version was published in 2008.
The "Signor Roberto Ricordi" character, an Italian conducter, was based on Signor Roberto Hazon; and so the story was set before September, 1907 when he last conducted at the Sydney Town Hall, before leaving for Milan.
The English author, Louis Stone, had his earlier novel, Jonah (London, 1911), which was also set in Sydney, republished by Inky Stephensen in 1933.
A freely-available pdf based on the cut version is available here:
Betty Wayside (1915).]
Widespread regret will be felt at the death of Mr. Wallace M. A. Waddell, at the residence of his parents, Mr. and Mrs. David Waddell, 64 Stewart St., at 8 o'clock yesterday morning. ...
On Tuesday Lieutenant Beaufort Waddell, of the local A.I.F. Camp, received news of the death of his brother Wallace, which sad event occurred at his parents' residence, 64 Stewart-street, Bathurst, that morning. Deceased, who was only 26 years of age, had been ailing for some time. The officers of the Dubbo Camp, as a mark of condolence to Lieut. Waddell, sent along a handsome wreath to be placed on the coffin. Deceased was a brother of Miss Leila Waddell, the well-known violinist, who is at present in America.
By Aleister Crowley
August 6, 1916.
"Woke after dreaming twice that M.O.H. was dead. A close horrible night; lightning and low booming thunder. M.O.H. is the only thing I have of value; I am not happy. She hasn’t written all the week; and I know she hasn’t been well. I suppose it’s only a mixture of the thunder, the extreme mental fatigue and eyestrain, and possibly my new Corned Beef Croquettes. I cannot have been asleep long; an hour at most; though it had been all night; could hardly believe combined evidence of clocks and murk."
[Crowley was at that time living in a shack on a river island in upstate New York and in the throes of what he believed to be the initiation to the grade of Magus. "M.O.H." stood for "Mother Of Heaven", which L.W. was known as by the Equinox crew, after playing that part in The Rites.]
By Leila Waddell
The International (New York, New York, USA), November, 1917, pp 350-351.
Don’t you feel relieved that the concert season is about to burst its glories upon us — and we can lose ourselves in its beauties — and so forget the horrors of the war for brief and beautiful intervals? ...
[The Music sections of The International were written under the pseudonym of "Haut boy" or "Hautboy". They were, evidently, written by Leila Waddell. "Hautboy" is an archaic word for "oboe", the latter being a contraction of it. The pieces exhibit a detailed knowledge of music and music personalities and there is also, in this first article, a particular interest in Australian musicians. There is mention of Doris Barnett, "the finest pianist Australia has produced up till now". Miss Barnett had performed in Sydney with L.W. on several occasions including at the complimentary concert for L.W. in 1906. Also mentioned was Percy Grainger, another Australian pianist (and composer). Also, in the March, 1918 edition, the Hautboy persona is used in The Hippodrome Horror, for which L.W. was credited. Furthermore, L.W. is credited for the Music section in the Contents of the April, 1918 issue.
The writing of this section was, apparently, one season of what was referred to, in the SMH article of 05 September, 1925, as "the work of musical criticism" that she had conducted "for two seasons in America".
See: The International.]
By Aleister Crowley
The International (New York, New York, USA), December, 1917, p 376.
"But these were seven stormy years!"
"Lean years were these, as Pharaoh’s kine!" ...
We know today what once we guessed,
Our love no dream of idle youth;
A world-egg, with the stars for nest,
Is this arch-testament of truth.
to my breast!
Is fixed in God —
[Genesis 41 (KJV): "27: And the seven thin and ill favoured kine that came up after them are seven years; and the seven empty ears blasted with the east wind shall be seven years of famine. 28: This is the thing which I have spoken unto Pharaoh: What God is about to do he sheweth unto Pharaoh."
The word "kine" is an archaic plural meaning "cows". This poem was written to mark the seventh anniversary of Crowley and L.W. meeting in 1910.]
By Leila Waddell
The International (New York, New York, USA), December, 1917, pp 381-382.
One was also struck by the splendid discipline in his orchestra — a quiet dignity and earnest— such as is exemplified in their conductor — and one couldn’t help contrasting the go as you please attitude of the New York Symphony men — many of whom gaze about bowing and smiling to their friends in the audience. Even during a symphony — whilst counting their bars rest. — This is particularly noticeable amongst the first violins, and might well be called to Mr. Damrosch’s attention.
By Leila Waddell
The International (New York, New York, USA), January, 1918, p 31.
Whilst thanking heaven for the good things, canst tell me, Yvonne, why we must listen to so many indifferent concerts? — some of them indeed painful; most of the culprits are singers. And why is it that the worse the singer the more knitting goes on in the hall — clicking needles to the left, clicking needles to the right, vivacious flappers jabbing one in the ribs, wool being wound in front of one and a screeching soprano large and ugly holding the stage. The more she weighs the more pastel in shade, her gown, with many draperies struggling to flow — where? One hardly dare think; one is reduced to weeping into one’s muff. If, in order to make the world safe for democracy, we must eliminate so much beautiful music, won’t some far-seeing statesman safeguard the hearing of well-intentioned listeners and also ask the ladies to use their needles more discreetly?
Happy New Year, Yvonne. Yours,
By Leila Waddell
The International (New York, New York, USA), February, 1918, p 64.
Hats off to Walter Damrosch! His name should go down in history not only for his musical work; he has stopped women from knitting at the Symphony concerts, and we one and all go on our hands and knees in gratitude to him. Your
Evening World (New York, New York, U.S.A.), Saturday, 09 February, 1918, p 7.
For the first half of the week Proctor's Fifth Avenue Theatre will have Sterling and Marguerite, Jack Conly and Margaret Webb, Deiro and others. When the bill changes on Thursday, McIntosh and His Musical Maids will have their place. ...
[Sterling and Marguerite did athletic items, Conly and Webb were a pianist and female singer. Sandy McIntosh and His Musical Maids was a Scottish act with three women, including a violin player. However they did not, according the the Evening World of 16 February, appear the following week. The top of the bill was taken by Jean Sothern instead. See below.]
Evening World (New York, New York, U.S.A.), Saturday, 16 February, 1918, p 9.
At Proctor's Fifth Avenue the first half of the week will be Jean Sothern, Conly and Webb, Charles O'Donnell and Ethel Blair, Sterling and Margurite, and Bradna and Derrick and motion pictures. There will be a complete change on Thursday, with McIntosh and His Musical Maids heading the bill. ...
[Proctor's Fifth Avenue Theatre was the premiere, vaudeville theatre of four Proctor's theatres in New York City (see the Proctor's ad, bottom of column 3). It was part of the Loew, theatrical circuit.
As L.W. was performing there on Tuesday the 19'th of February, she would have been in one of these acts, in an unadvertized act or in the orchestra. (See An Interview With Auer, below.)
Jean Sothern was a noted singer, and a piano and violin player. Conly and Webb were a pianist and female singer. Charles O'Donnell and Ethel Blair were a comedy duo. Sterling and Margurite did athletic items and Bradna and Derrick were an equestrian act.
Sothern, born 1893, from Pennsylvania, had developed an act for Loew’s circuit by 1914. She began a film career when she performed with Theda Bara in The Two Orphans in 1915. She was then chosen to star in a 17-part, film serial, The Mysteries Of Myra. Made at Ithaca, New York, it was the only film serial ever made with a serious, occult theme. Sothern played the daughter of a deceased member of a Black Order who, aided by the shade of her father and by a handsome, young detective, battled the evil Order. The series climaxed with the evil leader sending a "Thought Monster" to kill the detective and to capture Myra. However, the wily detective used a mirror wheel to send it back to destroy its creator.
The screenplay was by Charles Goddard assisted by Hereward Carrington. Goddard had written The Perils of Pauline (1914), The Exploits of Elaine (1914) and The Goddess (1916). Carrington was the well-known writer on psychic matters. He was also an acquaintance of Crowley's. It is believed that Carrington based the character of the evil, cult leader on Crowley. An image of the evil leader, seen in a crystal ball, used on a poster for episode one, was clearly based on a 1912 photograph of Crowley published in the The Equinox. The same ritual gesture is used in the sigil of the Black Order. It is also said that Carrington based the character of Dr. Payson Alden on himself. Alden has been called film’s first, occult detective.
It has also been said that Crowley was a consultant for the series but evidence for this has not been published (though it is claimed that photographs of Crowley at Ithaca exist). However, Crowley was aware of it, at least, as he referred to it in the Blue Equinox (1919), in a review of a book by Carrington: "MR. HEREWARD CARRINGTON was a very clever young man, and that was his trouble. He is still a very clever young man, and as he is older than he was, his trouble is increased. I always thought him crazy with his ideas on fasting and his weighing souls, but he always gave the impression of the greatest sincerity. He did extraordinarily good work in the case of Eusapia Palladino. He merely destroys one's confidence when he coils himself in the Flag, and issues a Bryce Report like the mysteries of Myra, ...".
The Bryce Report was a 1915, British report on German atrocities against civilians. It was intended to influence the U.S. government to join the war. However, its use of lurid accounts led to it being discredited and to the report becoming notorious as propaganda. Crowley, in comparing The Mysteries Of Myra with it, was, apparently, saying that it was also overwrought and lurid to the point of discrediting the critics.
Only a few reels of the series survive but a novelization based on the series was published. It has been republished (2010) with stills from the series. One shows members of the Order giving the ritual sign. An image of Baphomet may also be seen on the right pillar.
For a closer view, see here: Baphomet.
And see here: Jean Sothern.
And here: The Mysteries Of Myra.
And here: The Mysteries of Myra.
And here: The Exhumation of Myra Maynard.]
The Evening Post, New York, New York, U.S.A., Tuesday, 19 February, 1918.
SEATED in my dressing-room in Proctor’s Fifth Avenue Theatre one afternoon and feeling very bored with waiting for the next performance, I proceeded to read my evening paper — when suddenly my eyes lighted on the magic headline: “Leopold Auer arrives.” I read the paragraph with feverish haste. It announced that the famous Professor, accompanied by his niece and three pupils, had quietly stolen into New York on the previous day and would remain in New York to give lessons for the period of the war.
[From An Interview With Auer; see below.]
[The Hungarian violinist Leopold Auer, who had been a violin professor at the Saint Petersburg Conservatory for 49 years, arrived in the U.S., with his party, on the night of Monday, 18 February, 1918.
While not, apparently, the article that L.W. referred to, this article was published the same evening.]
The Sun (New York, New York, USA), Thursday, February 21, 1918, p 14.
[The Hungarian violinist Leopold Auer, who had been a violin professor at the Saint Petersburg Conservatory for 49 years, arrived in the U.S., with his party, on the night of Monday, 18 February, 1918.]
By Lord Boleskine (Aleister Crowley)
The International (New York, New York, USA), March, 1918, p 67.
Snowstorm — Nerissa by Eric; Eric by Maud. (Observe hunters’ disguises again.)
The Scorpion — Laylah by Rinaldo; their love by the Scorpion. (This is a romance, and neither comedy nor tragedy in the best sense.)
Household Gods — Crassus by Alicia. (Note supreme disguise.) ...
[Nerissa, Laylah and Alicia are all characters based on L.W. in dramas by Crowley.]
By Lord Boleskine (Aleister Crowley)
The International (New York, New York, USA), March, 1918, pp 83-85.
[First published in the September, 1912 Equinox. See the note to that listing.]
By Leila Waddell
The International (New York, New York, USA), March, 1918, pp 94-95.
Hautboy — Hello, is that you Central? Please give me my friend Yvonne.
Morning, Yvonne. This is Hautboy.
Yvonne — Good. What’s the news?
Hautboy — Oh, were you at the Hippodrome last night?
Yvonne — Unfortunately, no; were you?
Hautboy — Sure.
Yvonne — My dear, how lucky you were; what did you think of Galli-Curci?
Hautboy — I hardly like to say — it’s really a very delicate question. ...
[Amelita Galli-Curci was an Italian, coloratura soprano who was then very popular in the U.S.. She toured Australia in 1925 and returned in 1932.]
The Sun (New York, New York, USA), Sunday, 24 March, 1918, p 11.
Famous Hungarian Violinist
Greeted by Critical Audience.
OLD PUPILS HEAR MASTER
Programme, Delightfully Played, Made Up Entirely of Classic Compositions.
Leopold Auer, the world famous violin teacher, who recently came to this country from Hungary, gave his first violin recital in America yesterday afternoon at Carnegie Hall. Born in Hungary seventy-three years ago, Mr. Auer later when a young man was known through-out Europe as a concert violinist. Succeeding Wieniawski as a professor of the Imperial Conservatory at Petrograd nearly fifty years ago, he became a Russlan subject, was soloist to the Czar, who conferred on him the hereditary order ot St. Vladimir. ...
As was to be expected, Mr. Auer attracted to his recital a large assemble, which contained many violinsts, including several of his well known pupils, and other music lovers, together with a large number, no doubt, of those who are in the local muslc field curiously inclined. When he first appeared on the platform he was long greeted by long continued applause. ...
By Leila Waddell
The International (New York, New York, USA), April, 1918, p 128.
Today was a red letter day in the lives of all violin students who happened to be in New York, and from 2 o’clock until 2:30 there was a constant stream of fiddlers into Carnegie Hall; tall and thin, short and fat, fiddlers of all sizes and all ages who had come to hear the celebrated veteran violinist Leopold Auer. So many had brought their violins with them, one wondered if they imagined the instruments should also listen to this wonderful master. Pour moi, I took my field glass in my great excitement instead of my opera glasses, maybe it seemed almost too good to be true that Leopold Auer was really giving a recital in New York, and in the subconscious I still thought my glasses might enable me to see him in Petrograd. ...
[Auer gave his first recital in the U.S.A. at Carnegie Hall on the afternoon of Saturday, March 23, 1918.]
KILLED SYDNEY GIRL IN PARIS.
A cablegram last week received by Mr. Frank Waller of Dalton House, Sydney, informed him that his sister, Miss Eastermorn, was one of the victims of the attack on Paris recently by the Barbarians with that long-range gun. She was one of Australia's promising artists, and was in Germany at the time that the Kaiser decided he wanted to be king of the earth. In the muddle Miss Waller, with others, found herself virtually a prisoner in Kaiserland. Two years later she contrived to get to Paris, where she remained, taking up her study of the violin till this tragic happening sought her out.
[Miss Eastermorn Waller studied in the Staell studio with L.W. in Sydney. She then travelled to England with L.W., on the Orontes, in October-November, 1908.
See the 03 October 1908, SMH passenger list.
See also the 18 February, 1911, SMH item.]
By Leila Bathurst (Leila Waddell)
The International (New York, New York, USA), May, 1918, pp 156-157.
It was with my heart in my mouth that I entered Auer’s suite in the Hotel Netherland. I sat down, feeling more excited than words can express. After a few moments a very dignified, but active, gray-haired man crossed the room to greet me — and I was at last talking with the master of masters. ...
["Leila Bathurst" was a pseudonym previously used by L.W.. The article is adorned with three drawings by Ellen Graham Anderson who was an artist who specialized in theatrical and literary work. One is of Auer and two, apparently, are of L.W. herself. And see "Leopold Auer, Teacher Of Violinists, Is Here", above.]
The Bathurst Times in it's obituary notice says:—
Yet another young life has been cut short by pneumonic influenza, the victim being a well-known and popular young Bathurstian in the person of Mr. Welsley Waddell, whose untimely end at Grenfell was announced by private telegram this morning. ...
Mr. Waddell had gone to Grenfell on a short visit, and was due to perform with his fine tenor voice at a pending concert. He became ill only a few days ago with the tragic result stated. The late Mr. Waddell, who was 25 years of age, was single. For years he conducted the stationery business under the name of T. Luckhurst, in Howick-street. He was the second son of Mr. and Mrs. David Waddell, of Stewart-street, to whom the sympathy of the whole of Bathurst will be extended. Mrs. Dr. Curran (America), Miss Leila Waddell (returning from a musical tour abroad), Miss Thelma Waddell, and Miss Beaupre Waddell (the two latter in Bathurst) are sisters. The only surviving brother, Lieut. Beaufort Waddell, is on his way back from the front. ...
Kansas City Star (Kansas City, Missouri, USA), Friday, 08 August, 1919, p 2.
Doctor and Mrs. E. J. Curran are entertaining Mrs. Curran's brother, Lieut. Beaufort Waddell, and sister, Miss Lela Waddell of Sydney, Australia.
Passengers by the Sonoma yesterday from America included ... Sapper B. E. H. Waddell, brother of Miss Leila Waddell, the Australian violinist now in London; ...
Miss Leila Waddell, the Australian violinst, now doing excellent work in America, will return to Sydney in November. She has been absent from Australia for 12 years, and prior to the war played in all the big cities in Europe.
Mr. B. Waddell, who arrived in Sydney by the Sonoma last week, says that his sister, Miss Leila Waddell, the Australian violinist, who has been absent from her native land for twelve years is doing excellently well in America. She is now completing a successful concert tour through the States, and in November hopes to return to Sydney. Before the war she played in almost every city in Europe.
Riverside Enterprise (Riverside, California, USA), Sunday, 19 October, 1919, p 6.
With gracious hospitality, Mrs. Harry W. Hammond and Miss Olga Hammond yesterday afternoon entertained at a tea of attractive appointments. Miss Leila Waddell of Bathurst, New South Wales, Australia, and Miss Minnie Hellekson of Los Angeles who are Miss Hammond's house guests over the week-end, were the honorees and a group of the hostesses' friends had been invited to meet them. ...
Riverside Daily Press (Riverside, California, USA), Monday, 20 October, 1919, p 7.
On Saturday afternoon, Mrs. H. W. Hammond and Miss Olga Hammond entertained informally at tea in honor of their house guests, Miss Leila Waddell of Bathurst, New South Wales, Australia and more recently of New York City, and Miss Minnie Hellekson of Los Angeles. ...
Los Angeles Herald (L.A., California, U.S.A.), 15 November, 1919, p 23.
Miss Leila Waddell is the guest of Mr. and Mrs. Ernest Belcher at their home on Orange drive. Miss Waddell will remain here until the arrival of her brother, Beaufort, an Australian war hero. The two will then leave for New York. Miss Waddell is a talented violinist.
[Ernest Belcher (1883-1973) was an English, ballet dancer and choreographer who had worked in English vaudeville. He had been the principal danseur at the Alhambra Theatre in London from 1902 to 1909.
He founded the "Celeste School of Dancing" in L.A. in 1916 and had already made his name there by supplying dancers for D.W. Griffiths' Broken Blossoms in 1918. By 1919, an ad in the L.A. Herald declared, his school had also been patronized by movie producers De Mille and Mack Sennett and by prominent actresses. Later students included Fred Astaire and Cyd Charisse.
He had married, about 1917, a film actress, Gladys Baskette. She had a daughter from a previous marriage, Lina Basquette (1907-1994), who had already appeared in many short films and went on to appear in feature films and to marry Jack Warner. Mr and Mrs Belcher had only recently had their own daughter, Marjorie Celeste Belcher (born September 2, 1919). She also went on to have a movie career including performing as the dance model for Snow White in Snow White and the Seven Dwarfs (1937).
See: Marge Champion.
And see here for photographs held by the Library of Congress:
Ernest Belcher Collection.]
The Yonkers Statesman And News (Yonkers, New York, USA), Monday, 05 December, 1921.
St. John's Church choir certainly needs no introduction to the people of Yonkers. ...
Leila Waddell, Australian violinist, has been secured as the soloist. Miss Waddell has played in all of the big cities of Europe, as well as this country, with success. She is a pupil of Emile Sauret, a great French teacher.
The programme is as follows:
"Chorus of Homage," Gericke—the choir.
"Dream-Love," Fletcher, and "Poor Little Tom-ee," Caldicott—the choir.
"Memories," Cadman, and "Spinning Song" from "The Flying Dutchman," Wagner—women of the choir.
"Berceuse," Godard, and "Serenade," Plerne— Miss Waddell.
"A Rose to a Rose," Gilchrist, and "The Goslings," Bridge—the choir.
"At Dawning," Cadman, and "Johnny Schmoker,"—men of the choir.
'Le Cygne," Saint-Saens, and "Poem Hongroise," Lederer, Miss Waddell.
"A Song of Victory," Fletcher—the choir.
[Emile Sauret was a French violinist and composer who was a violin professor at the Trinity College in London from 1908.]
The Yonkers Statesman And News (Yonkers, New York, USA), Tuesday, 06 December, 1921, p 2.
[Advertisement for the St John's concert.]
The Rev. John Knox Allen delivered a Christmas message to the people of the Tarrytowns Sunday afternoon at the Y. M. C. A.
Dr. Allen's talk on "Good Will" was followed by a violin recital by Leila Waddell. Also at the gathering Christmas carols were sung by the group gathered about the lighted Christmas tree in the Association Building. ...
[L.W. performed at the Tarrytown, New York, Y.M.C.A. building on the afternoon of Sunday, 30 December, 1921. The Reverand Allen was the minister of the First Reformed Church of Tarrytown.
See the 30 December, 1936 item.]
New-York Tribune (New York, New York, USA), Saturday, 18 March, 1922, p 9.
Dr. Glenn Frank
"New Wine In New Bottles."
Leila Waddell, violinist.
West Side Y.M.C.A. 4 P.M. 318 West St
The Brooklyn Standard Union (New York, New York, USA), Wednesday, 22 March, 1922, p 6.
Thomas O'Kelly, the Irish baritone, will give a song recital on Friday evening, March 24, at Aeolian Hall, 28 West Forty-third street, Manhattan. Mr. O'Kelly will present a varied programme which will include some of Moore's beautiful melodies. Miss Leila Waddell, violinist, will be the assisting artiste.
The Brooklyn Standard Union (New York, New York, USA), Sunday, 26 March, 1922, p 18.
Symphony and Recital
The last of the season's concerts for young people by the New York Symphony Orchestra, Walter Damrosch conducting, was given at Aeolian Hall, Manhattan, yesterday morning. The programme was devoted to works by Rossini, Handel, Saint-Saens, Gounod, Massenet, Wagner, and special Illustration were made of the violin. viola, violoncello and harp.
Erna Rubinstein, violiniste, heard in Carnegie Hall, Manhattan, concert yesterday afternoon, played the adagio from Spohr's eleventh concerto, Lalo's "Symphony Espagnole," Tschaikowsky's "Seerenade Melancholique," Hubay's "Mazurka de Concert, op. 54, and Paganini's "Hexentanz."
The Woman's String Orchestra, Sandor Harmati conductor, was announced for Town Hall, Manhattan, concert last evening in a program of works by Beethoven, Volkmann, Sibelius, Liadow, Forsyth, Palmgrer, Ehrenberg and Elgar.
Friday evening recitals were those of the pianist Bachaus, in a Beethoven, Schumann, Chopin, Schubert, programme; and Thomas O'Kelly, baritone, in a recital programme of Irish ballads, at Aeolian Hall, with Leila Waddell, violinist, as assisting artist, and Conal O. C. Quirke on piano as accompanist.
Long Island Daily Press (Jamaica, New York, USA), Wednesday, 19 April, 1922, p 1.
Livlier Spirit Of Service Pleaded for by Business Executive.
Has Praise For Memorial House
Men's Club Applauds Bogg's Appeal For Stronger Support for Church and Religion.
Samuel W. Boggs, president of the Model Mills Co. of Philadelphia, Pa., was the guest of the Men's Club of Grace Church at its regular monthly meeting in Memorial House, Jamaica, last night. ...
Mr. Boggs received a most hearty welcome. After the address the members were treated to a high class musical program by operatic artists as follows:
Eduardo Battente, tenor, who contributed several solos; Leila Waddell, who is an Australian violinist and who was very pleasing in a number of selections and encores; Bartolo Sabatino, basso, who aroused much enthusiasm; Helen Gerstenfeld, a most acceptable accompanist, and Anna Darien, a graceful dancer.
Mr. Homans was called upon and spoke briefly of the work the club was trying to do for the community.
Sunday Express (London, England), 26 November, 1922.
Crowley is an author and journalist by profession, and a poet in spite of the morbidity and perversity of his work, of undoubted accomplishment. His underground activities are less avowable. He came under the notice of the police in 1900, when he stole ₤200 from a widow with whom he cohabitated; the woman, however, refused to prosecute. According to his own statement, Crowley was exploring in Kashmir in 1902 under the auspices of the Australian Government. He reappeared in 1903, when he married at Strathpeffer a young widow, Mrs Skerrat, formerly Miss Rose Kelly; he then called himself McGregor of Boleskine. After this Crowley went to Paris, where he celebrated what he called “Isis Worship”. His wife divorced him, and he subsequently married a violinist named Leila Waddell. ...
By W. B. Seabrook
The Indianapolis Star Sun (Indianapolis, Indiana, U.S.A.), 29 April, 1923.
“But I can tell you something much more interesting,” he added,” the story of a girl whom you may some day meet. But perhaps I’d better read you an account of her as I have set it down in writing to be included in the ‘Equinox.’
And he read from a manuscript (he afterward gave me a copy, which I have before me now), the recital which you shall hear. ...
The story Crowley told me was of a modern girl who secretly believed and engaged in “magical” practices, and who had a talisman which she tried to make use of in this way. With a self-sacrificing girl cousin, who was her submissive victim, she went to dreadful lengths, Crowley’s narrative related; to restore to this talisman the potency which she believed it had lost. ...
She took the talisman and hid it in her clothing. Last of all, she loosened the cords, and Margaret sank in a heap on the floor. ..."
I broke the silence that followed. “Do you mean to tell me seriously,” I asked Crowley, “... that such things are actually done by anybody in this modern twentieth century?”
“Next week,” said Crowley, with an enigmatic smile, “if you care to meet her, I’ll introduce you to a girl who looks like ‘Patricia.’"
"She’s coming to America. Wait a minute; I’ll show you her picture."
From a little iron-bound trunk which contained pictures and clippings about himself and the doings of his cult, saved from old magazines and newspapers, he produced a portrait of Leila Waddell, the beautiful violinist. ...
The lady in question, it may be added, is Miss Leila Waddell, who is very well known as a concert artist in England, Australia and New Zealand. Other photographs of Miss Waddell, I discovered afterward, appeared in several of the volumes of Crowley’s mystical books—always in the garb and role of a “priestess” of the cult. I noticed the dedication on the manuscript from which Crowley had just been reading the amazing story. It contained the initials “L. W.”
A week later, true to his promise, he took me to meet Miss Waddell, who had arrived in America—in fact, to have tea with her.
It was in a hotel just off Fifth avenue, in her own apartment. She proved to be a lovely, cultured woman, a charming hostess and a brilliant musician, for I later heard her play exquisitely.
We talked of many things, but I didn’t quite dare to bring up directly in my conversation with her such a subject as magic. It seemed utterly impossible that two such cultured, well-bred, thoroughly modern and cosmopolitan English persons, as she and Crowley were at that moment, could have anything in common with the strange beings of whom I had glimpses—and more than glimpses—during my acquaintance with Crowley and his books.
Behind it all there is such a mass of facts which will never be known, of mysteries that lead into the secret places of China and the Orient, into old and forgotten cults on the one hand, and into events which, on the other, are taking place to-day in American and English cities, that I doubt if the whole truth will ever be known of Crowley and his strange associates. ...
[One of a 12-part series of illustrated, newspaper articles by Crowley's friend, William Seabrook, journalist and travel writer. The series was syndicated across the U.S. in 1923. Despite their friendship, Seabrook wrote about Crowley in a sensationalist style, setting a template for much of the journalism on Crowley to the present day.
Despite the claim to have met L.W. in 1915, and having several photographs to draw upon, the drawing of L.W. in a riding outfit torturing her half-naked, magical victim bears little resemblance to her. Indeed, the drawing of Countess Guerini, also in a riding outfit, in chapter VII, is suspiciously similar. Possibly they were added at a late stage of the fabrication process with no input from Seabrook.
The (edited) extract is from Crowley's The Vixen (The Equinox, Vol. 1, No. 5, 1911). It is dedicated "To and from N. I. L. B. W." (L.W.'s actual initials, "L. I. N. B. W.", deliberately mixed up). Apparently, Crowley had been indicating that part of the story was from L.W.. As it involved a cousin, it was, possibly, a story from Australia.
L.W. did not leave for Australia for almost a year after this article was published so it appears not to have destroyed her career, there; or, at least, not immediately. However, she did leave from Vancouver, so she may have worked in Canada for part of that year.
A better copy of the illustration of the hatpin scene, from Sensation magazine (January, 1940), may be found here: She took a hatpin ... .]
The Morning Telegraph (New York, New York, U.S.A.), Friday, 04 May 1923, p 5.
New York Music Week had one of its crowning and most significant events last night. It was the first of the much-anticipated inter-racial concerts of folk song and folk dances, given in costume by the New Music Week Inter-Racial Committee, of which Felix M. Warburg is honorary chairman, in Aeolian Hall.
The boxes of Aeolian Hall were occupied by the consuls general of the nearly forty different nationalities represented. They were gay with the flags of each nation of each consul general, and adjoining each consul general's box was another for his nation's patronesses, draped with American flags, these patronesses being American citizens. The sentiment was interesting; it was well carried out and it gave the well-known auditorium a gala and most unusual appearance.
The city was represented, so was society, music and the arts, and the boxes presented a most distinguished assembly of New York's foreign nationalities. Murray Hulbert, President of the Board of Aldermen, represented the city, occupying a box decorated with the city flags and holding a large party.
Great Britain, Consul General Colonel H. G. Armstrong; patronesses, Mrs. Millicent Kleckner, Mrs. Bride Phelps, Mrs. Florence Hargreaves, Miss Leila Waddell; ...
British Isles, Randall Hargreaves, Irish and English folk songs, Old Londonderry Air (Irish), Lo! Here by Break, Drink to Me Only (English), John Peel (Hunting Song); Miss Claire Melville, Irish, English and Scotch folk songs, My Love is Like a Red, Red Rose (Scotch), Annie Laurie, Believe Me, If All Those Endearing Young Charms (Irish), Scenes that are Brightest (English), accompanied by the Irish harp. ...
[This concert took place in the Aeolian Hall on the night of Thursday, 3 May, 1923. The debut of Rhapsody in Blue was in this hall the following February.
Sir Harry Gloster Armstrong was the British Consul-General for the States of New York, New Jersey and Connecticut. Born in County Cavan, Ireland, he had been a captain in the Irish Fusiliers. He then became an actor, including a Shakespearean actor at the Haymarket Theatre in London. He then had a career in the Foreign Office, holding posts in London for twenty years before taking the post of Consul General at Boston in June, 1919. He took up the New York post in 1920. There, in 1922, with the French Consul General, Gaston E. Liebert, he organized monthly, Anglo-French concerts. Called a "British Empire and French Republic Night", this "Fete of Nations" seems to have been an expansion of this attempt at soft diplomacy. He was, however, also a practicioner of hard diplomacy. In this same period, he was at the centre of British, intelligence activities in the U.S.A., largely regarding attempts to interdict gun-running to Ireland.
Randall Hargreaves was an English baritone also resident in New York. Mrs. Florence Hargreaves was his wife. Mrs. Bride Phelps was also English.]
By Leila Waddell
Shadowland (New York, New York, USA), October, 1923, p 51.
A FEW years ago, while touring the English provinces, I met a New Zealand girl, who telephoned me after my return to London, inviting me to hear a Chopin recital by Vladimir de Pachmann. On my arrival at the Queen’s Hall, she introduced me to another New Zealander destined to make a great mark on the literary world. This girl was Katherine Mansfield.
"I am always charmed to meet an Australian," she said, in a cold, emotionless voice, which made me almost sad. "Isn’t it interesting that we are to hear De Pachmann?" she added. ...
For the past 20 years the Betts Strad has been in the possession of Mr. H. C. Waddell, a Glasgow millionaire meat packer, and he disposed of his collection to Mr. J. C. Freeman, an American expert on violins.
Evening Post (Wellington, NZ), Saturday, 19 January, 1924, p 17.
Over the signature of Leila Waddell, there appears in "Shadowland" (New York) a highly appreciative article of the late Katherine Mansfield. ...
The article is extremely well written.
Miss Leila Waddell, an Australian violinist, who has been living in Europe and America since her girlish days, will sail from Vancouver by the Niagara on April 10. During her absence Miss Waddell studied under both Emil Sauret and Leopold Auer, and has filled engagements all over Europe, travelling as far as Russia. Ultimately she settled in New York, and negotiated the sale of Mr. R. D. Waddell's famous collection of violins. Her uncle, a Glasgow connoisseur, was the possessor of the famous Betts "Strad," and the Leduc Guarnerius, and the whole collection was sold by Rudolph Wurlitzer and Co. for a price quoted in the papers as 250,000 dols. Besides her touring engagements, Miss Waddell has become known as a writer on art for the "Etude," "Shadowland," and other magazines.