Temporary Kings - Anthony Powell [28]
Tokenhouse was still occupied when Glober arrived for his appointment. Negotiations on the matter of St John Clarke’s Introduction to The Art of Horace Isbister had just begun. St John Clarke was still haggling about payment. He was too well known a novelist to be dismissed out of hand, so Glober could not be received. The manager, with whom I shared a not over-luxurious office, was wrangling with a binder in the firm’s waiting-room, a cubicle from its austerity in any case unsuitable for reception of another publisher, especially an American one. Tokenhouse rang through on the house-telephone with instructions to hold Glober in play for the further few minutes required to dislodge St John Clarke. The room where the manager and I passed our days, its walls grimly lined with file copies, was almost as comfortless as the waiting-room, but Glober was shown in. From the moment he entered, there was no need to provide distraction from the frugality of the surroundings. Glober himself took charge. In a matter of seconds we seemed already on the friendliest of terms. That was Glober’s speciality. I made some apology for this delay after an appointment had been made.
‘Don’t worry. It’s great to draw breath. There’s a lot of running round in London. I didn’t get to bed till late last night.’
He sat down in the collapsed armchair, and looked about him.
‘You’ve got a real Dickensian place here.’
‘Bleak House?’
Glober laughed his quiet attractive laugh.
‘The Old Curiosity Shop,’ he said. ‘In the illustration.’
I supposed him thirty, possibly a year or two more, to my own twenty-two or twenty-three, but his self-confidence, maturity of manner, separated us by several decades. Unusually tall, incontrovertibly good-looking, Glober’s features – in the later words of Xenia Lilienthal – were those of a ‘young Byzantine emperor’. One saw what she meant. It showed she had taken in that aspect of him, in spite of her bad cold. His quietly forceful manner suggested a right to command, inexhaustible funds of stored up energy, overwhelming sophistication, limitless financial resource. At that age I did not notice a hard core of melancholy lurking beneath these assets. Perhaps in those days that side of his nature was better concealed. The instinct he so essentially possessed was getting on the right terms with everybody, no matter how transiently encountered. This intuitive impulse caused him to move from illustrating Dickens to pictures in general, the fact that he himself wanted to buy an Augustus John drawing before he left England. The gallery handling John’s work had shown him nothing he fancied. Had I any ideas? I suggested direct approach to the painter himself, all the time feeling there was some quite easy answer, which Glober’s flow of questions had put from my head.
‘John’s out of the country. If I could meet some private person that had a drawing he was willing to trade.’
Then I remembered such an opportunity had been announced the previous week. The Lilienthals were trying to sell a John drawing for Mopsy Pontner. Moreland had mentioned the fact. Moreland had been searching for a secondhand copy of The Atheist’s Tragedy in the Lilienthals’ bookshop, and Xenia Lilienthal had told him that Mopsy Pontner – more correctly, Mopsy Pontner’s husband – had an Augustus John drawing to sell. The Lilienthals were accustomed to take books off Mr Deacon’s hands, when included in miscellaneous ‘lots’ acquired by him at auction to add to his stock of antiques. Mr Deacon was not above marketing the odd volume of curiosa – eroticism preferably confined to the male sex – but did not care to be bothered with the sale of more humdrum literary works. The Lilienthals’ shop was just around the corner. They were familiar with his quirks, like the Pontners, frequenters of The Mortimer, though not regularly.
Moreland (these were days before marriage to Matilda) always commended Mopsy Pontner’s looks, but was a friend of Pontner, who was musically inclined in a manner Moreland could approve, a qualification by no means common. Moreland tended to keep off his friends