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Evelyn Dunbar (1906 - 1960)

Studies for the Brockley mural panel The Country Girl and the Pail of Milk, 1933 [HMO 645]

SKU: 6686
Pencil, pen & ink and oil on paper
22 x 15 in. (55.8 x 38.2 cm)



Presentation:
folio

Size:
Height – 55.8cm x Width – 38.2cm

DESCRIPTION

Provenance:
Roger Folley; Alasdair Dunbar; Hammer Mill Oast Collection
Exhibited: Evelyn Dunbar – The Lost Works, Pallant House Gallery, October 2015 – February 2016, cat 22.

Literature: Evelyn Dunbar – The Lost Works, Sacha Llewellyn & Paul Liss, July 2015, cat. 22, page 59.

The artist’s sister, Jessie, modelled for the Country Girl’ in the various episodes of the fable.

The Brockley Murals
Art educators saw murals both as a training method in the classical tradition, and as
an affirmation of the value of artists to society. Sir William Rothenstein, the Principal
of the Royal College of Art, made a broadcast in 1932 on The English Artist and the
English Public’, stressing the value of honestly painted everyday subjects from nature
as a counterweight to Modernism on one hand, and the devotion even of topographic
painters to foreign places on the other. Being in daily touch with students’, Rothenstein
told his listeners, I know that there is no lack of blossom; that the English genius for
rich content still persists.’ Dr. Sinclair, the headmaster of the Brockley County School for
Boys in the London borough of Lewisham, then the suburban fringe of Kent, responded
by offering his school hall, with its five arched recesses, and a balcony with a vaulted
underside. The result, in Rothenstein’s view, was the best mural cycle since Ford Madox
Brown’s work in Manchester Town Hall.
Charles Mahoney, as a tutor at the RCA, assembled a team of younger women
collaborators, with Dunbar as the senior among them, and two who were still students:
Violet Martin and Mildred Elsie’ Eldridge. According to Eldridge’s memory in the 1980s,
they were united chiefly by their dislike of London and yearning for the country. The
chosen theme was Aesop’s Fables, which gave scope for narrative themes in landscape
settings. Dunbar painted The Country Girl and the Pail of Milk’, one of five large arched
panels, in which the main story in the foreground is perhaps less dramatic than the
before-and-after episodes of the fable drama in the background. It is fascinating, in the
light of this work, to see two of Dunbar’s newly discovered schemes for the panels on the
facing wall. Both have the same spatial design, with a winding road containing the main
subject at the bottom, and additional figures. Hercules, the god of the title, is contained
in a tondo shape, filling the arched top, (CAT 24) while in The Woodcutter and the Bees
(CAT 25), a carefully observed rural scene, the chicken hut peforms an equivalent role
in the composition, while a visually intriguing framework of green branches fills out the
bottom right corner.

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THE ARTIST

Evelyn Dunbar
Evelyn
Dunbar
1906 - 1960

Evelyn Dunbar studied at Rochester School of Art, Chelsea School
of Art (1927) and the Royal College of Art (1929’33). She painted
murals from 1933 -36 at Brockley School, a collaboration with her
RCA tutor (and lover) Cyril Mahoney (1903’1968) and in 1937
they wrote and illustrated together Gardeners’ Choice. 

In 1938 she set up the Blue Gallery in Rochester, exhibiting her
own work alongside that of Edward Bawden (1903’1989) and
Barnett Freedman (1901’1958) and others. In 1940 she was
appointed an official war artist, becoming the only woman (amongst
36 men) to be given a full time salaried position by the WAAC. 

She held her only solo exhibition at Withersdane, Wye, Kent
in 1953, although the WAAC included numerous pieces in touring
exhibitions ranging from Aberdeen Art Gallery to MOMA, New York. 

A posthumous exhibition was held in 2006 at St Barbe
Museum and Art Gallery, and in 2015 Liss Llewellyn mounted a
major retrospective of her recently rediscovered studio at Pallant
House Gallery. 

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Basket with Fruit and Flowers (2)

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Story Time, c.1926

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Fancy Dress Ball, 1926

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Service! c. 1924

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Laddie, The Intruder, c.1923

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What fools…c.1926

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Unidentified Woman with Parrot Brooch, c. 1927
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Reclining Male Nude Study

£490.00

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Head and Shoulders Male Study

£475.00

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April Fool!

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Sacred Music on Sundays’

£275.00

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Farm Illustration 4

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£700.00

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Landscape 2

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Artist Sketching

£700.00

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View over fields

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View across farm buildings

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Girl Playing the Banjo

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Design for a Christmas Card

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Sketch for An English Calendar 1938

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Florence Dunbar Peeling Apples c.1922

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Christmas Tree in a pot

£350.00

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Speciality Dancers
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Sketches and motifs for a Christmas card design, 1946

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Illustration for A Farm Dictionary

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Sketches for the personification of April for the Country Life 1938 Gardener’s Diary.

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Portrait

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Study for Seated Woman

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£500.00

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£300.00

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£300.00

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Farming Sketch

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Flowers study

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Flower Study

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Portrait sketch of unidentified WAAF officer, 1944

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Studies for Standing by on Train 21.

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The horse gin

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Farmer with Shoulder Yolk – Study for Farm Dictionary

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Prune’

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‘Bottle, Bowl, Box’

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Portrait of a Musician, 1924

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Ring-a-ring-a-rosies

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Trenching or double-digging, 1938

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A diagrammatic explanation of trenching or double digging

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Cape Capers!

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The Harvest of Hay, 1954

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Portrait Sketch of a Friend

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Four studies of a nude standing leaning against a partition

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Hop-picking, sketch for Farming Weekly, March 1954.

£780.00

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Study of a WAAF at RAF Gravesend, 1944

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Sketches of men and women involved in various activities, of unknown purpose or destination

£500.00

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Sheet of unconnected sketches. Pencil, crayon c.1954

£2,000.00

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Potato Harvesting, 1954

£785.00

SKU: 10457

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The garden of The Elms, 1956

£1,450.00

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The Garden at the Elms, Winter, 1956

£1,950.00

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Study of landworkers at Sparsholt

£1,000.00

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Life Class with full-length female nude in profile

£750.00

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Study for Gardener’s Choice: Himalayan Primrose with vignettes of a gardener to the margins

£975.00

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Sketches of children in various poses.

£1,100.00

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December for the Country Life 1938 Gardener’s Diary

£2,350.00

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Study for July, preparatory drawing for Gardener’s DIary

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Preliminary study for Mercatora

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