Myra and Frederick Pinter home in London 16 Chalcot Gardens, London

Englands Lane, Hampstead, Camden, Greater London.

Front and rear extensions added. 1898

 For the artist Adolphus J. Whalley.

 

Photo courtesy of Charles Lawrence, 2012 16 Chalcot Gardens, London, photo courtesy of John Trotter

 

 16 Chalcot Gardens, London, image on victorianweb.org.

One of eleven drawings in pen, ink and watercolour for "The House that Jack Built," Mother Goose, the Old Nursery Rhymes, Heinemann, 1913.
Prints, Drawings & Paintings Collection of the Victoria and Albert Museum, Accession No. E.175-1969. (Source: victorianweb.org)

 

16 Chalcot Gardens in a photograph of 1913 on victorianweb.org

Link > victorianweb.org

 Description on Historic England

CAMDEN TQ2784NE CHALCOT GARDENS 798-1/52/186 (South East side) No.16
II Detached house. 1881. Probably built as a studio in the grounds of No.39 Englands Lane (not included); front and rear extensions added c1898 by CFA Voysey for the artist AJ Whalley. Multi-colour stock brick with stone dressings to windows. Tiled gabled roof with tall brick chimney-stack to left. 2 storeys 1 window to road front. Ground floor window 5 lights, 1st floor 4 lights; both with small leaded panes and stone cornice under relieving arches. This was also the home of the illustrator Arthur Rackham, 1903-20 (GLC plaque).

 Reference:

Prof. Ian Hamerton, 'Small Houses of Artistic Pretensions', - C F A Voysey's studio designs for artistic clients, in The Orchard, Number Ten, Autumn 2021, pp.22-27.

Home of Arthur Rackham,  the illustrator for Peter Pan and Alice in Wonderland 

 

https://www.instagram.com/reels/DC1R2-iIK0B/  

Myra Mortimer bio

Myra Mortimer (March 26, 1894 – January 29, 1972) was an American contralto singer renowned for her refined interpretations of German lieder and her international concert career in the 1920s. Specializing in works by composers such as Schubert, Schumann, Brahms, and Hugo Wolf, she demonstrated exceptional diction and expressive depth in her performances.[1] 

Mortimer, influenced by her German musical background, first gained acclaim in Europe before making her American debut on January 25, 1926, at New York City's Town Hall, where she presented an ambitious all-lieder program that echoed her overseas successes. Accompanied by pianist Coenraad V. Bos, her recital highlighted her vocal control in the lower register and her ability to convey nuanced emotion, earning praise for her artistry.[1] 

Following her debut, Mortimer toured extensively across Europe, performing in cities including Leipzig, Budapest, Prague, Berlin, and Scandinavian locales, as well as London, often traveling by airplane for back-to-back engagements. She returned to the United States for a notable recital at Carnegie Hall on November 7, 1927, featuring cycles by Schubert and Wolf alongside English ballads and modern American songs, which further solidified her reputation among American audiences for intelligence and vocal poise.[2][3] 

Early Life and Education Family Background and Upbringing Myra Mortimer was born on March 26, 1894, in Spokane, Washington, U.S.[3] She was the daughter of Daniel Mortimer and Dora Angie Munson Mortimer. 

Musical Training and Career Shift Mortimer's early vocal training involved rigorous lessons that emphasized breath control and tonal depth suitable for her rich contralto voice, drawing influences from European vocal traditions even before her professional engagements. She worked with key mentors who guided her technical development, fostering a strong foundation in interpretive singing. Details on Mortimer's formal musical education and specific mentors are limited in available sources. 

Performing Career Debuts and American Performances Myra Mortimer made her American debut in Boston on January 23, 1926, marking her entry into the U.S. concert scene following successful European engagements. Local critics welcomed her warmly, describing her as an "artist par excellence" for her command of German lieder.[4] 

In March 1926, Mortimer continued her U.S. tour with performances in Los Angeles, Spokane, and Tacoma, where she earned praise for her expressive delivery and vocal depth in lieder programs. Audiences in these western cities appreciated her nuanced interpretations, contributing to growing recognition on the American stage. 

Mortimer's prominence in New York City grew in 1927 with solo recitals at Town Hall and Carnegie Hall. A New York Times review of her Town Hall appearance highlighted her voice's "dramatic capabilities, range and power, with lighter lyric moments," noting its versatility in handling both intense and delicate passages.[5] These events solidified her reputation among East Coast critics and music enthusiasts. 

During the 1927–1928 season, she appeared as a soloist with the Los Angeles Philharmonic, performing alongside other notable artists in programs that showcased her contralto range.[6] In the late 1920s, Mortimer expanded her orchestral work with engagements including the Cincinnati Symphony Orchestra and a recital in Bridgeport, Connecticut, further demonstrating her adaptability in American symphonic and solo settings. 

European Tours and International Acclaim Myra Mortimer's international breakthrough came with her first European tour in late 1925, when she arrived in Berlin by December and began performing to enthusiastic receptions. German critics lauded her lieder interpretations, particularly her fresh vocal timbre, impeccable diction, and profound emotional depth in works by Schubert and Wolf, hailing her as a rare American talent attuned to the German art song tradition. Her Berlin concerts marked a pivotal moment, solidifying her reputation across the continent before her American debut the following year. 

Building on this acclaim, Mortimer launched a second European tour in early 1927, shortly after initial U.S. successes, conducting a rapid itinerary via airplane that included recitals in Leipzig, Budapest, Prague, and Berlin. She extended the tour to Scandinavian capitals such as Stockholm and Copenhagen, before concluding in London, where audiences appreciated her nuanced phrasing in Brahms and Schumann cycles. These performances, often accompanied by pianist Coenraad V. Bos, showcased her contralto's rich timbre and stylistic authenticity, drawing comparisons to established European singers for her command of lieder nuances. 

In 1928, Mortimer resided in Europe for the majority of the year, basing herself in major cultural hubs like Berlin and Vienna to fulfill engagements at prestigious venues including the Wigmore Hall in London and the Bechstein-Saal in Berlin. Her repertoire emphasized German Romantic composers, with representative programs featuring Schumann's Frauenliebe und -leben and Wolf's Italian Songbook, which critics praised for their dramatic intensity and vocal control. This extended period cemented her transatlantic stature, as reviewers noted her ability to rival native interpreters in interpretive subtlety and tonal warmth, contributing to her status as a prominent 1920s contralto on the global stage. 

Later Career and Contributions 

Teaching and Post-Performance Activities 

In the early 1930s, Myra Mortimer relocated to London with her husband, Frederick Pinter, spending eight years there before returning to the United States in 1938.[7] During this period abroad, Mortimer shifted her focus from active performing to establishing herself as a voice teacher, though contemporary records provide limited details on her specific methods, curriculum, or notable students. 

Upon resettling in New York City in 1938, Mortimer adopted a lower public profile, with her correspondence reflecting continued interest in musical composition and performance while adapting to life back home.[7] In 1941, amid escalating global tensions leading into World War II, she volunteered as an air raid warden in New York City, contributing to civilian defense efforts in her community. 

Post-1940s activities for Mortimer remain sparsely documented, suggesting a continued emphasis on private teaching and personal pursuits rather than concert stages, aligning with a gradual retreat from the international spotlight of her earlier career. Available archival materials indicate no major public recitals or tours after the war, highlighting gaps in sources regarding her mid-century professional trajectory. She died on January 29, 1972, in New York City.[8][7]

 Publications and Artistic Donations 

Myra Mortimer contributed to musical literature through her 1927 article "Analyzing Audiences in Many Lands," published in The Musician. In this piece, she reflected on the behaviors and preferences of concert audiences encountered during her European and international tours, offering insights into cultural differences in musical appreciation. 

Mortimer's philanthropic legacy extended to the arts through her bequest of the oil painting Sandy Road with a Farmhouse (c. 1630) by Dutch landscape artist Jan van Goyen to the Metropolitan Museum of Art. Acquired by Mortimer during her lifetime—likely through private European art markets amid her touring career—the work entered the museum's collection in 1972 following her death, enhancing its holdings of 17th-century Dutch masters.[9] 

Among her minor writings, Mortimer penned a personal letter to composer Arthur Farwell on June 5, 1939, preserved in the Sibley Music Library at the Eastman School of Music; this correspondence reflects her ongoing engagement with American musical figures post-retirement.[10] 

Personal Life and Legacy Marriages 

Myra Mortimer married her vocal instructor, Wilhelmus Cornelis Giesen, on 24 February 1925 in London, England.[8]

 Giesen, born around 1881 in The Hague, Netherlands, had been a key figure in her musical training before their union.[3] The marriage ended prior to her second marriage in 1932, and no children were born from the union. 

Following her first marriage, Mortimer wed Austrian businessman Frederick R. Pinter on 26 April 1932, also in London.[8] Pinter, born in 1901 in Vienna to David Pinter and Rosa Kraus, later became known as Myra Mortimer Pinter.[11]

 This marriage, like the first, produced no documented children, and Mortimer retained her professional name throughout her career. 

Death and Lasting Impact 

Myra Mortimer died on January 29, 1972, in New York City at the age of 77.[3] 

Details regarding the cause of her death and her precise circumstances in her final years remain sparsely documented in available sources, though records indicate she maintained residence in New York during this period. 

Mortimer's lasting impact is evident in her contributions to the 1920s international music scene, where she was celebrated as a leading American contralto for her interpretations of German lieder and her successful European tours that elevated American performers abroad.[1][2] Her bequest to the Metropolitan Museum of Art in 1972, which included notable European paintings such as Jan van Goyen's Sandy Road with a Farmhouse (1627), underscores her patronage of the arts beyond music.[12] No known recordings of her performances survive, and there is no documented evidence of a teaching career; further archival research is needed to explore her influence on subsequent generations of singers. 

Photo:John Barnes Wells and Myra Mortimer at Piano ca 1915 1920

References https://www.nytimes.com/1926/01/26/archives/debut-by-mme-mortimer-american-contralto-repeats-foreign-success-in.html 

https://www.nytimes.com/1927/11/08/archives/myra-mortimer-returns-contralto-adds-to-the-good-impression.html 

 http://freepages.rootsweb.com/~nancygcunningham/genealogy/GCuncgenAug2008/fam417.html https://cambridge.dlconsulting.com/?a=d&d=Sentinel19260213-01.1.4 

https://www.nytimes.com/1927/02/03/archives/myra-mortimer-in-song-recital.html 

https://newspaperarchive.com/bakersfield-californian-sep-26-1927-p-7/ 

https://www.esm.rochester.edu/sibley/specialcollections/findingaids/afarwell/ 

 https://ancestors.familysearch.org/en/LTY1-XH9/myra-a.-mortimer-1894-1972 

https://www.metmuseum.org/art/collection/search/436555 

https://www.esm.rochester.edu/sibley/specialcollections/findingaids/afarwell/ser7-9/ 

http://freepages.rootsweb.com/~nancygcunningham/genealogy/GCuncgenAug2008/fam418.html https://www.metmuseum.org/art/collection/search/110000997

Krishnamurti And The Rajagopals by Mary Lutyens --Talks of visit with Pinter

 Notes of this book talk of visit with Pinter 

It was while K was in New York this time, staying with Frederick Pinter, with whom he had stayed before and who also knew Rajagopal well, that he was warned that unless he took some steps he would soon find himself without any say in the affairs of KWINC of whose assets Rajagopal had sole control. Mr Pinter forcefully urged K to look into the matter because the large sums donated to the Trust were for his work and he, Pinter, had heard complaints from donors that their contributions were not being used for that purpose. As soon as K arrived at Ojai he asked Rajagopal to give him information about the affairs of KWINC. When Rajagopal refused, saying that it was none of K’s business, K asked to be put back on the Board. This request was also refused. After thirty-five years of running all K’s financial affairs, Rajagopal saw no reason for this sudden interference. He had a Vice-President and a Board of Trustees but he ruled them autocratically and they never questioned anything he did. Rajagopal’s refusal to reinstate K or give him any information aroused suspicion in K for the first time. Up till then he had trusted Rajagopal implicitly in spite of his meanness and their continual quarrels over small matters. RS does not mention these refusals by Rajagopal, nor that K continued for eight years to try to get back on the Board of KWINC before dissociating himself altogether from Rajagopal. 

pdf here https://vdoc.pub/documents/krishnamurti-and-the-rajagopals-5aj6uf7p2760 

In The Presence of Krishnamurti The Memoirs of Mary Zimbalist

 

On 21st of April 1971 Krishnaji visted Myra Issue 17 – October 1970 to May 1971  

Introduction 

This issue sees a flurry of attempts to have a resolution of the Rajagopal conflict without it going to court, but they are all futile. This issue also seem to contain, more than most issues so far, Mary’s expressions of wonder and appreciation of Krishnaji’s nature, and her dedication to him and his teachings. 

The next day, ‘While Krishnaji called on Mrs. Pinter, 

I shopped at Bergdorf, and then we walked back to the Ritz Tower. 

Then we walked to see a movie called The Andromeda Strain, science fiction, and Krishnaji found it exciting. Mitchell Booth[8] came in to see us, and said that the people most prone to court litigation are schizoid, paranoid personalities. [Both chuckle.] 

Quite late, Krishnaji said, “Angels are looking after you. They will look after you after I am gone.” He repeated it.

J. Krishnamurti: The Years of Fulfilment by Mary Lutyens A visist to Frederick Pinter

From the book J. Krishnamurti: The Years of Fulfilment: “…he was in New York where he gave five public talks while staying with an old friend, Frederick Pinter, and his wife, at 200 West 59th Street…” Page 59 🔍 

What this tells us (historical analysis) 

1. Frederick Pinter was part of Krishnamurti’s personal network The phrase “old friend” is key. This places Pinter within Krishnamurti’s inner or trusted circle, not just a casual acquaintance. 

2. He hosted Krishnamurti in New York Address given: 200 West 59th Street (New York City). This suggests: Pinter likely had means and a stable residence in Manhattan. He functioned as a host/supporter for visiting intellectual figures. 

3. Connection to lecture activity During this stay, Krishnamurti: Delivered five public talks Drew unusually large audiences for serious philosophical topics This implies Pinter may have been: Part of the organizational/social network enabling these talks, or At least socially connected to that intellectual circle. 

4. Social/intellectual positioning From context, Frederick Pinter appears to be: A New York–based associate of spiritual/intellectual movements 

Likely connected to: Theosophical circles Philosophical or literary networks around Krishnamurti Possibly part of a patron/supporter class rather than a public figure 

Full pdf of book here

Myra Mortimer 1926 photo opera DEBUT and recital tour booking vintage print ad

 

Myra Mortimer Song Recital review New York Times Feb 3 1927

 

Myra Mortimer, contralto, gave a recital at the Town Hall last night, assisted by C. V. Bos at the piano, in rare old English, classic and modern German songs, and one central group glorifying American composers. The singer's voice was one of dramatic capabilities, range and power, with lighter lyric moments, still halting in style as she curbed its power in seeking an even scale. Her varied selection and alternation of song groups produced effective contrasts. Miss Mortimer is scheduled to sail this week to tour England, France and Spain.