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Evelyn Dunbar (1906 - 1960)

Study for Autumn and The Poet [HMO 266], circa 1948

SKU: 6499
Black ink and colored crayon on brown paper
14 1/2 x 22 7/8 in. (36.8 x 58.2 cm)
Presentation:
folio

Size:
Height – 36.8cm x Width – 58.2cm

DESCRIPTION

Provenance:
Roger Folley; Alasdair Dunbar; Hammer Mill Oast Collection


Autumn and the Poet, Dunbar’s last allegorical painting, was begun in Oxfordshire in 1948/9 then laid aside for some years before completion in 1958-60. In the form
of a traditional Annunciation, the fruit-laden but moribund figure of Autumn is urging the Poet (who closely resembles Roger Folley) to disseminate truths about the essential synergy between man and creation, without which mankind cannot survive.
Evelyn Dunbar’s final completed work Autumn and the Poet was also her greatest and most significant allegorical work, a version of which she had begun in the late 1940s when living in Enstone, Oxford. It was finished in her studio at Staple Farm, near Wye, Kent during 1958-59 having absorbed her intermittently for the past 10 years or so. The two figures symbolise ‚ÄúAutumn and the Poet‚Äù; Dunbar used her husband Roger Folley as her model for the poet as she had particularly wanted him in that angular pose.
In Autumn and the Poet Dunbar’s use of colour is especially noteworthy. The mellow colours from palest gold to the deep, rich copper, purple and red coupled with the feeling of autumn glow as the light begins to fade are emblematic of a spiritual presence and sensibility.
Post War
“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, thenin Oxfordshire, finally in Kent. In a manner similar to Stanley Spencer, to whose work her Joseph’s Dream (FIG 21) was not unexpectedly compared, she had worked in a personal and mystical mode as well as in a more objective observational one. Dunbar’s Portrait of a Retired Schoolmistress (CAT 110) is compelling in its directness, with the sitter’s determined gaze, solid figure and floral patterned overall. The black line between the shoulders forms the base for an equilateral triangle to the crown of the head. Her self-portrait (CAT 113) has the quality found in some of Spencer’s of being caught off guard in the act of painting, as the awkward positioning of the legs seems to suggest.
In Flying Applepickers (CAT 107), the theme of levitation, used at Brockley in the
soffits of the balcony, returns. Is it a metaphor of liberation after the years of pre-war unhappiness in love, followed by the privations and war? No doubt this theme of weightless bodies emanates from the spiritual seeking of a Christian Scientist, but it is also delightfully comic, with more tenderness than is found in most of Spencer’s comparable works of supernatural events in Cookham High Street. Such compositions were falling out of fashion in the post-war world, but this did not prevent Dunbar from working on a series of allegorical and deliberately mysterious paintings that continue the pastoral romantic tradition in which she was trained, as her companion painter at Brockley, Mildred Eldridge, was to do with her cycle, The Dance of Life, painted for the Orthopaedic Hospital at Gobowen in the Welsh Marches. They shared a belief that humans are most complete when close to the rhythms of the natural world, to which
Eldridge brought a more mistrustful view of civilisation’. These are themes of urgent contemporary relevance and far from sentimental.
Several of Dunbar’s major late works remain to be relocated and revealed. Autumn and the Poet (CAT 114) has the look of a post-war painting in its brushwork and slightly distorted drawing (with a hint of John Minton, perhaps), which pulls away from the more purely classical pre-war works. The iconography of poet and his fecund pin-headed muse, characterized as a season but more representative of nature as a whole, continues the celebratory quality of Dunbar’s painting of the numinous landscape as shaped by man, very different from Minton’s more sinister evocations. Lines in the composition tie the surface together in a root two rectangle, while leading the eye into the distance by a double perspective.
Dunbar’s last mural commission, Alpha and Omega (CAT 111), painted for the library at Bletchley Park Training College, fortunately survives, although not in situ. The many studies that came with the two paintings to Oxford Brookes University show Dunbar’s range of experiment in finding an appropriate iconography for a modern dress allegory. 
Both panels have the unforced otherworldly quality that Dunbar found early on and which stayed with her to the sadly early end.”
Alan Powers

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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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Letterhead proof for The Children’s Shop c. 1950

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Study of Dipsacus fullonum (common teasel)

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Phallic bud, 1937

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The Vegetable Gardener

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House and Garden – Greetings to you!

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Basket with Fruit and Flowers (2)

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SKU: 11914

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Drawing of Carved Oak Buffet, 19th Century

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Study for June

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Some Games…c. 1958

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Fancy Dress Ball, 1926

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Service! c. 1924

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What fools…c.1926

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Sacred Music on Sundays’

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Farm Illustration 4

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Landscape 2

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Artist Sketching

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View over fields

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Girl Playing the Banjo

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Private
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Sketch for An English Calendar 1938

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Florence Dunbar Peeling Apples c.1922

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Miss T. and begging dog!

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Christmas Tree in a pot

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Nude Study of Woman Sitting

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Seated Nude Study 1

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Sketches of two Land Girls featuring in Men Stooking and Girls Learning to Stook. Pencil 1940

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Portrait

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Study for Seated Woman reading

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Study for Seated Woman

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Sketch for Joseph in Prison, 1947

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Seated Nude Study 2

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Wheelbarrow Study

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Vignette Sketch for Gardener’s Choice

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Studies for A Farm Dictionary (Evans Brothers, London) 1953

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Farming Sketch

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Flowers study

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Nude Study with artist at work

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Nude Figure Studies

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Chalk Nude Study with Sketching Figure in Foreground

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Sitting Nude Study with Umbrella

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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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Sketch for Land Girls Going to Bed.

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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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SKU: 11443

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The horse gin

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SKU: 11100

Evelyn Dunbar (1906 - 1960)

Royal College of Art Sketch Club Annual Summer Camp, 1930

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SKU: 11103

Evelyn Dunbar (1906 - 1960)

Pencil sketch for Portrait of an Airwoman, 1944

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SKU: 11095

Evelyn Dunbar (1906 - 1960)

Portrait of a Musician, 1924

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SKU: 11096

Evelyn Dunbar (1906 - 1960)

Ring-a-ring-a-rosies

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SKU: 11086

Evelyn Dunbar (1906 - 1960)

Trenching or double-digging, 1938

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SKU: 11088

Evelyn Dunbar (1906 - 1960)

A diagrammatic explanation of trenching or double digging

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SKU: 11089

Evelyn Dunbar (1906 - 1960)

Cape Capers!

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SKU: 11075

Evelyn Dunbar (1906 - 1960)

The Harvest of Hay, 1954

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SKU: 11074

Evelyn Dunbar (1906 - 1960)

Nude standing with hand on thigh

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SKU: 11066

Evelyn Dunbar (1906 - 1960)

Portrait Sketch of a Friend

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SKU: 11068

Evelyn Dunbar (1906 - 1960)

Four studies of a nude standing leaning against a partition

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SKU: 11064

Evelyn Dunbar (1906 - 1960)

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

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SKU: 11057

Evelyn Dunbar (1906 - 1960)

Study of a WAAF at RAF Gravesend, 1944

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SKU: 11050

Evelyn Dunbar (1906 - 1960)

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

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