Adnams, Marion

(1898 – 1995)

A two part design for a Nautical Mural, 1930's

SKU: 10420

Gouache on paper

Height: 30.7cm
Width: 39.9cm


The Artist’s Estate

Literature: Llewellyn, Sacha, et al. Women Only Works on Paper. Liss Llewellyn, 2021, p. 77.

An early work, probably undertaken when Marion Adnams was at Derby School of Art, there is no record
that this nautical mural, which was clearly a site-specific decoration (space is left for a doorway on the second
sheet), was probably never realised. Maritime subjects inspired Adnams throughout her career; titles from
her studio book typically refer to Fishing Gear, Sark, Drying the Nets etc.

From her earliest work, Adnams played with discrepancies of scale and the creation of unlikely narratives
in a surrealist way. She recorded that When I first went to see René Magritte at the Tate I saw him for
the first time and I nearly passed out. So often the same thought had been with me”.

In 1930, Adnams started attending life classes at Derby School of Art. She was gratified to find her natural
ability to draw recognised, though perhaps less so in the terms her talent was acknowledged, with one
teacher remarking, she drew like a man, direct, with no rubbing out’. The ornamental dogs featured in the
pencil drawing Study of two Staffordshire Dogs were from Adnams’ own collection of Staffordshire pottery.
The addition of a piece of paper to the left-hand side, suggests that having at first intended to draw only
one of the pair, Adnams felt a compulsion to unite it with its companion.

Liss Llewellyn are continually seeking to improve the quality of the information on their website. We actively undertake to post new and more accurate information on our stable of artists. We openly acknowledge the use of information from other sites including Wikipedia, and and other public domains. We are grateful for the use of this information and we openly invite any comments on how to improve the accuracy of what we have posted.


Adnams, Marion

1898 – 1995

Napoleon III disliked the portrait of him drawn by Gill. In December 1867, La Lune was censored. “La Lune will have to undergo an eclipse,” an authority commented to Editor Francis Polo when the ban was instituted, unwittingly dubbing Polo’s subsequent publication: L’ƒclipse, which made its first appearance on 9 August 1868. Gill would contribute caricatures to this successor of La Lune as well.


Marion Adnams
Study for The Twins, 1955