An "important self-portrait", it would later be bought by Led Zeppelin -guitarist Jimmy Page. He worked chiefly in pastel or pencil, drawing rapidly, often taking no more than two hours over a picture. At the wedding, Spare choked on his wedding cake , something his bride thought hilarious.
Here, his paintings illustrated many of the themes that would continue to inspire him throughout his life, including his mystical views about Zos and Kia. Although this "atavistic resurgence" was very different from orthodox Darwinism , Spare greatly admired the evolutionary biologist Charles Darwin , and in later life paid a visit to the Kentish village of Downe , where Darwin had written his seminal text On the Origin of Species He proceeded to move to Lambeth for a while, and then in to Elephant and Castle , a poverty-stricken working class area of South London, where he set up his home in the flat at 56a Walworth Road, situated above the loading bay of a Woolworth's store. Spare's obituary printed in The Times of 16 May states: Envisioning his new venture, titled Form, as a successor to The Yellow Book, he was joined as co-editor by the etcher Frederick Carter , who used the pseudonym of Francis Marsden. It was a very successful show and led to something of a post-war renaissance of interest. At first taking up residence at the working men's hostel in Walworth Road, he then moved into a sculptor's studio in Spitalfields and finally the Brixton basement of his friend Ada Pain at 5 Wynne Road. Exploring his own mystical ideas regarding the human being and their unconscious mind, it also discussed magic and the use of sigils. As a result, Spare was forced to join the Royal Army Medical Corps , initially being stationed at its depot in Blackpool , where he worked as a medical orderly, giving tetanus vaccine injections to British troops before they were sent abroad. His later biographer Phil Baker would later characterise it as "a remarkable work of Edwardian black-and-white art" which was "far more confidently drawn and better finished than the work of the Satyrs". The book was finished off with an introduction authored by Scottish painter James Guthrie. Spare with a considerable fund of fancy and invention, although the activities of his mind still find vent through somewhat tortuous channels. George's Gallery in Hanover Square in , and then at the Lefevre Gallery in , but his work received little praise in the press or attention from the public. A great fan of the wireless, he eagerly agreed, but was deeply upset by the result, which appeared on an episode titled "Unusual Beliefs", believing that he had been ridiculed. He was especially interested in delineating the old, and had various models over 70 and one as old as The World commented that "his inventive faculty is stupendous and terrifying in its creative flow of impossible horrors", while The Observer noted that "Mr. This work appears to have been well received. Our critic ends his review with the observation that Spare's "drawing is often more shapeless and confused than we trust it will be when he has assimilated better the excellent influences upon which he has formed his style. Here, Spare attended St. Ithell Colquhoun supported his claim to have been a proto-Surrealist and posthumously the critic Mario Amaya made the case for Spare as a Pop Artist. Here, he was appointed to the position of Acting Staff-Sergeant, and given the task of illustrating the conflict along with other artists based in a studio at 76 Fulham Road. His funeral was paid for by his friend Hannen Swaffer, and he was buried alongside his father at St. He was productive from his earliest years until his death. In the evenings he attended the Lambeth School of Art. Spare's drawings otherwise than as diagrams of ideas which I have quite failed to unravel; I can only regret that a good draughtsman limits the scope of his appeal".
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