Evelyn Dunbar (1906 - 1960)

Studies for Faith, Hope and Charity, an unrealised allegorical painting [HMO 699]

£950.00

SKU: 6744
Pencil and pen & ink on paper. 15 x 22 in. (38.2 x 56 cm)
Presentation:
framed

Size:
Height – 38.2cm x Width – 56cm

1 in stock

DESCRIPTION

Provenance:
The Hammer Mill Oast collection

Indian Ink

Finding in Indian ink possibilities of a hitherto unexplored medium, Dunbar has used it to draw some of the themes that preoccupied her in the years immediately after World War 2: Faith, Hope and Charity, used for her 1950 Christmas card; Crowns of Myrtle; and to the left of a giant splodge of Indian ink, surely accidental, the stately figure of Mercatora, the patron deity of map-making as invented by Dunbar, with her portfolio under her arm.

Exhibited: Evelyn Dunbar – The Lost Works, Pallant House Gallery, October 2015 – February 2016 cat 109. Literature: Evelyn Dunbar – The Lost Works, eds Sacha Llewellyn & Paul Liss, July 2015, cat 109, page 156-157. At the end of the war, Dunbar was still only 38 years old. Married in 1942 to Roger Folley, she was able to spend time with him at last, setting up home firstly in Warwickshire, then in Oxfordshire, finally in Kent. She now had the time to explore other modes than the observational ones she had favoured during the war, turning towards a more personal manner, rediscovering modes from her student and pre-student days and returning to allegory as her preferred vehicle. Several studies for Faith, Hope and Charity exist, usually following an iconic tradition in which Charity is shown to be faceless. Evelyn may have planned a large-scale rendering, but the only known finished image was used for her and her husband Roger Folley’s Christmas card for 1950.

We are grateful to Christopher Campbell-Howes for assistance.

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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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