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Evelyn Dunbar (1906 - 1960)

Study of two running mice, probably a design associated with The Childrens Shop [HMO 587]

SKU: 6721
Ink on paper
11 x 30 in. (28 x 76 cm)
Presentation:
framed

Size:
Height – 28cm x Width – 76cm

DESCRIPTION

Provenance:
Roger Folley; Alasdair Dunbar; Hammer Mill Oast Collection
Exhibited: Evelyn Dunbar – The Lost Works, Pallant House Gallery, October 2015 – February 2016, cat 74.

Literature: Evelyn Dunbar – The Lost Works, Sacha Llewellyn & Paul Liss, July 2015, cat. 74page 116.

Dunbar’s two older sisters, Jessie and Marjorie, ran The Children’s Shop, selling children’s clothes, at 38, High Street, Rochester.
The Children’s Shop & Commercial Design

Shop window of The Children’s Shop
on Rochester High Street.

There was clearly a strong entrepreneurial streak in the Dunbar family. In December 1938 an article in The Chatham News proclaimed that Although today there are half-a-dozen flourishing businesses associated under the name Dunbar, the family was unknown in Strood when the twentieth century was born.’ 
William, Evelyn’s father, had come south from Scotland some time in the latter years of the nineteenth century, first to Reading and then briefly to Bournemouth before finally setting up in business as a bespoke tailor and draper in Rochester, Kent, the archaeologist’s and the historian’s heaven’ as Richard Church described it. 
During the interwar years as the Dunbar children grew to 
maturity the name became ubiquitous in Rochester High Street: Evelyn’s brother Ronald branched out into radios and bicycles while two of her sisters, Jessie and Marjorie, opened The Children’s Shop. For several years the living accommodation above this shop at 244 High Street was also the family home until William bought The Cedars across the Medway at Strood.
Jessie and Marjorie were only one year apart in age, they never married and were like
twins living for each other happy in themselves, delighting in their work dressing small
children, and firm in their in their adherence to the Christian Science faith in which their mother had reared them. They established The Children’s Shop soon after the end of World War I and Evelyn, though still in her early teens was happy to help. Even when her commitments at the Royal College of Art and Brockley shifted the focus of her activity to London, she continued to assist designing headed notepaper (CAT 79) and other stationery (CAT 77), lettering publicity panels and painting the delightful signboard for the shop with its frolicking mice and sparrows (CAT 76).
In 1938, some eighteen years after opening The Children’s Shop, the two sisters
expanded their business interests when they took over a well-established haberdashery
further down the High Street, including, according to a notice in The Chatham News, its stock of rare silks: they renamed it The Fancy Shop. Their brother Ronald’s business
had by then expanded to such an extent that he took over Strood Hall and in December
that year advertised a Home Comfort Exhibition and a Miniature Radiolympia with:
TELEVISION, FREE DEMONSTRATION DAILY: FURNITURE, a representative selection of the most up-to-date and attractive styles for Bedroom, Dining Room and Sitting
Room: CHILDRENS WEAR and TOYS: Knitting Wools, ART NEEDLEWORK and Fancy
Goods’. The gros point panel Opportunity (CAT 75) embroidered in wools from The
Fancy Shop and copied from a 1936 painting by Evelyn might well have been one of the
pieces of Art Needlework included in this display.
With the opening of The Fancy Shop at 168 High Street Evelyn took over the first floor
to show paintings and items of antique furniture; she named her department the Blue
Gallery and in March 1939 staged an ambitious exhibition of work by friends including
Charles Mahoney, Allan Gwynne-Jones, Kenneth Rowntree and Edward Bawden as
well as sculpture by Bainbridge Copnall. However, with war looming on the horizon,
times were not propitious and the gallery soon closed and Evelyn found employment as
an Official War Artist. The Christian Science Reading Room took over the vacant space
in The Children’s Shop under the care of Jessie and Marjorie. 
Peyton Skipwith

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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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Some Games…c. 1958

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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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Portrait of William Dunbar, 1922

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Unidentified Woman with Parrot Brooch, c. 1927

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View over fields

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View across farm buildings

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Study for Children and Hands

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Child Playing the Banjo

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Sacred Music on Sundays’

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Unidentified Design

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Design for a Christmas Card

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Sketch for An English Calendar 1938

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Unidentified study, c.1956

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Florence Dunbar Peeling Apples c.1922

£300.00

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Miss T. and begging dog!

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Christmas Tree in a pot

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Figure Sitting

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Private
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Speciality Dancers
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Illustration for A Farm Dictionary

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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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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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Farming Sketch

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Wheelbarrow Study

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The Farming Year Poster

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Vignette Sketch for Gardener’s Choice

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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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Royal College of Art Sketch Club Annual Summer Camp, 1930

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Portrait of a Woman, 1926

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Pencil sketch for Portrait of an Airwoman, 1944

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Jessie and Felbridge, c. 1926

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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

£525.00

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A diagrammatic explanation of trenching or double digging

£1,750.00

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Cape Capers!

£350.00

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The Harvest of Hay, 1954

£1,700.00

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Nude standing with hand on thigh

£850.00

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Portrait Sketch of a Friend

£300.00

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Four studies of a nude standing leaning against a partition

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Sketch of the Dunbar Family, Sitting, c. 1926

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

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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

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