Evelyn Dunbar
(1906 - 1960)

Study for background of A Land Girl and the Bail Bull

£2,350.00

SKU: 7896
Pencil and watercolour on paper. 13 x 21 in. (33 x 53.3 cm)

Size:
Height – 33cm
Width – 53.3cm

1 in stock

DESCRIPTION

Exhibited: Evelyn Dunbar ‚Äì The Lost Works, Pallant House Gallery, October 2015 – February 2016, cat 92. Literature: Evelyn Dunbar ‚Äì The Lost Works, eds Sacha Llewellyn & Paul Liss, July 2015, cat. 92, page 138-139; WW2 – War Pictures by British Artists, eds Sacha Llewellyn & Paul Liss, July 2016, cat 105, page 149; Evelyn Dunbar: A Life in Painting, Christopher Campbell-Howes, October 2016, pages 331-335. The bail’ in Dunbar’s title was a tractor-hauled milking apparatus including petrol-driven suction pumps and – as in this drawing – a mobile milking shed. This equipment was designed to avoid driving the dairy herd across fields to the farm milking parlour. The setting is Sparsholt Farm Institute, Winchester, where Dunbar had worked in the early days of her 1940 appointment as war artist. She returned with her then fiancé, Roger Folley, in the summer of 1942, to make dawn sketches of the bail milking process. The milking process was later reduced to the middle ground of a much bolder statement symbolised by a Land Girl (modelled by Dunbar’s sister Jessie) confronted by a bull, which she is about to capture. A Land Girl and the Bail Bull is now in the Tate.


We are grateful to Christopher Campbell-Howes for assistance.

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THE ARTIST

Dunbar, Evelyn

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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