Lear (with Norman McKinnel, at the Haymarket, 1909). During the 1910s he designed Bernard Shaw's The Dark Lady of the Sonnets (1910), Arnold Bennett's Judith (1916), and Shaw's Annajanska, the Bolshevik Empress (1918). After the First World War Ricketts resumed his theatrical activity, and designed The Betrothal, by Maurice Maeterlinck (with Gladys Cooper) at the Gaiety Theatre (1921), Shaw's Saint Joan (with Sybil Thorndike) at the New Theatre (1924), Henry VIII (with Lewis Casson and Thorndike) at the Empire Theatre (1925) and Macbeth (with Henry Ainley, Thorndyke and Casson) at the Princes Theatre (1926). In the same year he designed costumes and scenery for the D'Oyly Carte Opera Company's production of The Mikado at the Savoy Theatre, and did the same in 1929 for their The Gondoliers at the same theatre. Most of Ricketts's costume designs for The Mikado were retained by subsequent designers of the D'Oyly Carte productions for more than 50 years. Outside London, Ricketts worked for the Abbey Theatre, Dublin, in 1912 on plays by W. B. Yeats and J. M. Synge, and designed John Masefield's The Coming of Christ, staged in Canterbury Cathedral in 1928. His final theatre designs were for Ferdinand Bruckner's Elizabeth of England (with Phyllis Neilson-Terry at the Cambridge Theatre, London (1931) and Donald Tovey's opera The Bride of Dionysus, which was staged in Edinburgh after Ricketts's death. After Ricketts's death the National Art Collections Fund bought a collection of his drawings for theatrical costumes and scenery, and arranged for them to be exhibited at galleries in London and throughout Britain. Twelve of the drawings were shown in the Winter Exhibition of the Royal Academy, and a selection of eighty from the remainder of the drawings was shown at the Victoria and Albert Museum. Collector and writer Together with Shannon, Ricketts accumulated a collection of drawings and paintings (French, English, and old masters), Greek and Egyptian antiquities, Persian miniatures, and Japanese prints and drawings. The collection was bequeathed to public art galleries, principally the Fitzwilliam Museum in Cambridge. Ricketts achieved some success as a writer. He published two monographs: The Prado and its Masterpieces (1903), and Titian (1910). Delaney comments that although superseded by modern scholarship, they remain "among the most evocative books on art in English". Pages on Art, a selection of Ricketts's essays and articles for publications including The Burlington Magazine and The Morning Post, was published in 1913. It covered