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Evelyn Dunbar (1906 - 1960)

Study for the background to The Queue at the Fish Shop, 1942 [HMO 584]

SKU: 6727
Inscribed with colour notes
Pen & ink on paper
15 x 22 in. (38 x 56 cm)
Presentation:
folio

Size:
Height – 38cm x Width – 56cm

DESCRIPTION

Provenance:
Roger Folley; Alasdair Dunbar; Hammer Mill Oast Collection
Exhibited: Evelyn Dunbar – The Lost Works, Pallant House Gallery, October 2015 – February 2016 cat 91.
Literature: Evelyn Dunbar – The Lost Works, Sacha Llewellyn & Paul Liss, July 2015, cat. 91page 137.

Hill’s fish shop in Strood High Street, reduced from its actual height and elongated laterally to accommodate the queue eventually to be painted in front of it.

Wartime
“The Country Girl and the Pail of Milk at Brockley (FIG 11) was a strangely prescient
subject in view of Evelyn Dunbar’s later work as a war artist. Her career had gone into
the doldrums at the end of the 1930s, but the war gave her the opportunity to create
paintings and illustrations for which her skills seemed especially well suited, moving out
of the garden and into the productive landscape peopled by dungareed volunteers of
the Women’s Land Army. In addition, she recorded other subjects on the home front’,
such as the fish queue in the high street of Strood (FIG 18), or the knitting circle in a
comfortable middle class house (FIG 7).
In these varied subjects, Dunbar’s keen observation and skill in drawing and
composition paid off in paintings of relatively large scale. They were criticized at the
time for being insufficiently dramatic, but that does not diminish their value today,
when we have become equally interested in the experiences of non-combatants. Two
things stand out from these paintings. One is the didactic quality of many of them,
which can be related to the illustrations Dunbar made at Sparsholt Farm Institute for
use in Michael Greenhill’s A Book of Farmcraft, 1942 (FIG 16). From Hesiod to Thomas
Tusser, there has been a tradition of using verbal art to convey practical rural wisdom,
but the visual element was now added, helping land girls avoid elementary mistakes.
Milking Practice with Artificial Udders, 1940 (CAT 85), the final version of which is in
the Imperial War Museum, shows intense concentration yet has an edge of comedy.
The physical and psychological demands of farm work are perhaps most apparent
in A Land Girl and the Bail Bull, 1945 (Tate, London) (FIG 19), a work that required
early rising to catch the atmosphere and action involved, described by her as a
delicate and dangerous job’. It is a complex composition,and we can see how, in the
preparatory drawings (CAT 92-93), the academic method worked to good effect. The
study for Potato Sorting, Berwick (FIG 20) is in some ways more interesting than the
finished work because of the sense of movement in the overlaid outlines of the figures.
Men Stooking and Girls Learning to Stook (CAT 100) is unusual in technique for Dunbar,
with a pointilliste treatment of the newly cut field more like Ravilious than her usual work.
The catalogue of actions depicted makes the whole process easily understandable, successfully holding the disparate composition together. She did not underestimate
the difficulties involved, writing in October 1943, when the terms under which her
appointment as a War Artist might be continued were under discussion. Anyone who
paints a figure composition knows that it takes often much longer than 10 days.’ The
Advisory Committee acknowledged her need for more time.
The drawings for Joseph’s Dream (CAT 104-106) also give us the chance to see Dunbar’s
process at work in a different kind of subject, as they move from what is essentially
illustration to become the basis for a haunting metaphysical painting, a foretaste of her
more imaginative post-war work.”
Alan Powers

Disclaimer:
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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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Study for a Christmas card design, 1942 [HMO 340]

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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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Drawing of Carved Oak Buffet, 19th Century

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Illustration 2 for A Farm Dictionary

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Story Time, c.1926

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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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Laddie, The Intruder, c.1923

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What fools…c.1926

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April Fool!

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Artist Sketching

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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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Sacred Music on Sundays’

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Farm Illustration 4

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Unidentified Design

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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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Private
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Speciality Dancers
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Illustration for A Farm Dictionary

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Sketch for Joseph in Prison, 1947

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Seated Nude Study 2

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Nude Study with Hand on Hip

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

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Evelyn Dunbar (1906 - 1960)

Portrait

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Study for Seated Woman reading

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Flowers study

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Flower Study

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Vignette Sketch for Gardener’s Choice

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Farming Sketch

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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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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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Pencil sketch for Portrait of an Airwoman, 1944

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Portrait of a Musician, 1924

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Ring-a-ring-a-rosies

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Cape Capers!

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Evelyn Dunbar (1906 - 1960)

Trenching or double-digging, 1938

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Evelyn Dunbar (1906 - 1960)

A diagrammatic explanation of trenching or double digging

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Evelyn Dunbar (1906 - 1960)

The Harvest of Hay, 1954

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Nude standing with hand on thigh

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Portrait Sketch of a Friend

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Evelyn Dunbar (1906 - 1960)

Four studies of a nude standing leaning against a partition

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

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Evelyn Dunbar (1906 - 1960)

Study of a WAAF at RAF Gravesend, 1944

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Evelyn Dunbar (1906 - 1960)

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

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Evelyn Dunbar (1906 - 1960)

Sheet of unconnected sketches. Pencil, crayon c.1954

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