Brianhuman's Blog

The story of the intertwining lives of John Craxton, Niko Ghika and Patrick Leigh Fermor have already shone a little light on the enigma that is Joan Leigh Fermor (‘Ghika Craxton Leigh Fermor – Charmed Lives in Greece’, see post Joan Leigh Fermor 2 23^rd June 2018).  The publication of a new biography, John Craxton – A Life of Gifts, by Ian Collins, adds a little to what we already know.

Joan is identified as a photographer early on when Craxton meets ‘a neighbour from heaven – the photographer Joan Eyres Monsell’ in the early 1940s.  We learn nothing about what sort of photographer she is, but we are told quickly that she is: ‘Six feet tall, and willow slender’…with ‘light gold colouring’; ‘Elegant, empathetic and intellectual’; and ‘independent thanks to money from her mother that she shared with her circle’.  Craxton said, “She was so sexy, so attractive; slightly aloof but the hint of bed.”

Collins records that in Cairo late 1944 Joan was ‘still taking photographs [unspecified] but was now helping with the war effort’ (it was here she met Patrick Leigh Fermor, ‘Paddy’).  During a cruise on the Eliki in 1951, ‘Paddy made notes for a travel feature to be illustrated with Joan’s photographs’.  Collins says she was Paddy’s ‘travel companion, photographer and first critic’.  Five photographs are credited to Joan; with one exception they are essentially social snaps.  We learn nothing more about her as a photographer.

Variously throughout the period covered here Joan was: driving Craxton and Paddy to Greece in 1952; at Ghika’s house at Hydra with the artists and writers; had Ghika staying with her in London in 1958; visiting Craxton in Chania over Easter 1963; sharing correspondence with Craxton; and having him to stay at the house in Kardamyli.  She is there as a presence, but with no direct creative role.

But a role she did indeed have, a role presaged by the opening description of her.  Craxton used her aristocratic connections to facilitate a relationship with Lady ‘Peter’ Norton, wife of the British Ambassador in Athens, which helped establish him in Greece.  Her support for Craxton was also direct and practical, as an undated letter shows

Joan now looked out for John more than ever (‘Here’s an anti-birthday and anti-Christmas present which I meant to send you ages ago with lots of love’; ‘This cheque is because I am suddenly and unexpectedly rolling at the moment, can’t go into a shop and only like giving it to friends.’  She bought pictures from his exhibitions and did all she could to promote his talents.

Later when Craxton found a property to rent with Christopher Mason, ‘Joan would meet all expenses.’  In 1960 Craxton wrote to Joan, ‘with a recklessness inspired by your generosity I have rented this empty house…’.  Her generosity of spirit extended to Paddy: ‘Immune to jealousy, Joan befriended her partner’s lovers.’

When Joan died Craxton wrote: ‘Like all adorable people Joan Leigh Fermor had something enigmatic about her nature which, together with her wonderful good looks, made are a very seductive presence.’  Collins adds, ‘She had been a most generous and loyal friend over six decades…’. Once again we learn very little about Joan as a photographer; we are told again of her beauty, charm and generosity.  If she was limited as a creative force in her own right, she facilitated it in others through emotional and financial support.  Craxton may have made a success of his art without her, but as Collins suggests, ‘Paddy might never have written a word without Joan’s adroit support’.  To cast her as a muse would fit the Grecian setting of much of these entwined lives, but was she a source of artistic inspiration?  ‘Adroit support’ suggests something more practical.