The main Cenotaph memorial is in Whitehall, London. All over the UK and the world there are many more however. The tomb of the unknown soldier is usually thrust into the sky at the top of the memorial. This tomb is empty and thus has contained the perceived graves of all other wars that have come after. The designs are mostly the same but every now and again you get one like in Liverpool, where the tomb is almost sideways.
Here is just a brief collection of Ravilious Firework pictures. During the war Eric wrote that the naval ship’s gunfire were like fireworks, I haven’t included those war works, but just the actual depictions of festive images.
Eric Ravilious – Fireworks – Mural at the Midland Hotel, Morecambe, 1933
The mural above was painted by Eric Ravilious and his wife Tirzah Garwood for the Midland Hotel in Morecambe. The hotel was designed by Oliver Hill. The murals in the dining room were in two parts, Fireworks and Flags, or Night and Day as they are also known.
The race to complete works in time for ‘a grand opening’ of the hotel would mean the newly plastered walls they were painting the mural on had not been left to dry sufficiently.
The diaries of both Eric and Tirzah tell of how leaks from the roof and cracks in the wall had also hindered the painting. The paint bubbled and chipped off within a year and the mural, only two years old was painted over.
The whole mural was repainted in 1989 for the filming of the Agatha Christie novel – Double Sin. Below you can see Hugh Fraser in front of the repainted mural. It is not precise, but good enough, the original pagoda building’s windows were circles, in the repainting they were rectangles.
Scene from Agatha Christie’s Double Sin, ITV, 1990
The painting below Alan Powers suggested might have been a study for the mural design by Ravilious. I think it shows a young artist in his bedsit flat in London, Bawden made a similar work in his etching, ‘London Back Garden, 1927’. As a friend of mine called it, “a stacked up world with too many people and not enough money”.
All his life, fireworks were an important and special source of inspiration for Eric’s work, and were made use of in many different ways. By now he and Tirzah had moved from Kensington to Hammersmith, but not before Eric had painted an elaborate watercolour of Bonfire Night, as watched from the roof of their house in Stratford Road. †
Eric Ravilious – November 5th, 1933
Below is another good example of Fireworks featured on the Coronation Mug by Ravilious for Wedgwood. The examples show wild fireworks on one side and on the other side firework fountains above the royal heraldic beasts.
A fun fact is that the shop Dunbar Hey were the first to stock the mug and the first customer was Wallis Simpson.
Eric Ravilious – Design for the Coronation Mug of Edward VIII for Wedgwood, 1936
The final of the pictures comes from the book High Street, a series of lithographs by Ravilious with text by J.M.Richards, then husband of Peggy Angus.
Eric Ravilious – Fireworks – from the book High Street, 1938
Given the Second World War was coming I thought the inclusion of Mosley and his Blackshirt’s in the newspaper board highly interesting. If I was penning one of the many books on Ravilious I would say how Mosley and the fireworks were interlinked. That they would predict the horrors of the war to come and the domestic Ajax was a mockery of such views – Thankfully I think posturing after the fact is horse-crap.
† Helen Binyon – Eric Ravilious: Memoir of an Artist, 1983
John Armstrong – Coggeshall Church, Essex, 1940 – Tate – Not on Display
When most people think of artists and where they paint – they think of St
Ives, Cornwall. The new Tate gallery there and its controversial Stirling Prize nominated extension have been both a help and hindrance to locals, but maybe not the 24% of those in St Ives who are Second Home owners †. The same could be said for Margate and the Bilbao effect from the Turner Contemporary Tate Gallery there. The Tate has pushed tourist through Margate’s streets like air into lungs. In the East of England is where many of the country’s best loved artists lived, but sadly the East of England is rather poor when it comes to showing off their artists – so why not a branch of the Tate in Aldeburgh or Southwold or Colchester?
John Constable – Stoke-by-Nayland, 1811 – Tate – Not on Display
The famous East Anglian artists of old are John Crome, Thomas Gainsborough and John Constable. Crome was the most famous of the Norwich School of painters who were inspired by painters like Jacob van Ruisdael and the Dutch style. They painted the vast waterways, windmills and dykes of the fenland and Norfolk Broads. Crome also had many talented pupils. John Sell Cotman, one of the country’s best watercolour artists, was also part of this brew.
Alfred Munnings – From My Bedroom Window, 1930 – Tate, Not on Display
John Constable painted the Dedham Vale in Suffolk and, most famously, Flatford Mill. A brisk walk away is the Museum and former home of Alfred Munnings. Also in Dedham was the original home of Cedric Morris’s East Anglian School of Painting and Drawing, but when it burnt down (John Nash told Ronald Blythe ‡) Munnings drove around the village like Mr Toad shouting ‘Down with modern art’. Cedric Morris then bought Benton End from Alfred Sainsbury in 1939 and continued his art school with his life partner, Arthur Lett-Haines. Lucien Freud, Maggi Hambling, Lucy Harwood, Valerie Thornton and Olive Cook all studied there.
Cedric Morris – Iris Seedlings, 1943 – Tate – Not on Display
In 1940 after his London home suffered bomb damage, the sculptor Henry Moore made his home in Perry Green, just south of Much Hadham. It is now a museum with a collection of his works in the grounds. Moore walked around the local fields picking up pieces of flint thrown aside from ploughing and in his studio he would draw them as pre-made organic sculpture. Moore called them his ‘library of natural forms’ and they would inspire his larger works.
Henry Moore – Seated Woman, 1957 – Tate – Not On Display
John Piper in the 80s made a beautiful series of ruined churches of East Anglia. In 1934, at Ivon Hitchens cottage in Sizewell, Suffolk, Piper met his wife Myfanwy Evens. They married in 1937. Myfanwy worked with Benjamin Britten writing lyrics to his operas including Death in Venice. Britten lived in Aldeburgh with his partner Peter Pears. Piper would design many of the stage sets.
John Piper – Covehithe Church, 1983 – Tate – Not On Display
On the other side of Colchester in 1944, war artist John Nash was restoring the Elizabethan Bottengoms Farm, moving in with his wife Christine Kühlenthal. Christine had studied at the Slade school of art alongside Dora Carrington, Mark Gertler and she worked at the Omega Workshops while John had become famous for his monumental paintings of the First World War alongside his brother Paul. At Bottengoms, John became famous for his landscape paintings and botanical studies. He taught at Colchester School of Art with Richard ‘Dickie’ Chopping, an artist known for his dust jackets for Ian Fleming’s James Bond series. Dickie lived with his lover, another landscape painter, Denis Wirth-Miller. Their life with Francis Bacon has been expertly documented in Jon Lys Turner’s ‘The Visitors’ Book’. Bacon owned a home in Wivenhoe as did Dickie and Denis.
John Nash – Mill Building, Boxted, 1962 – Tate – Not On Display
Also on the staff at Colchester was John o’Connor, a wood-engraver and landscape painter. He was once the pupil of both Edward Bawden and Eric Ravilious at the Royal College of Art. Bawden and Ravilious where renting part of Brick House in Great Bardfield, Essex, when Ravilious moved a few miles away to Castle Hedingham with his painter wife Tirzah. Bawden and his Leach Pottery student wife Charlotte bought Brick House. Both men became war artists and only Bawden returned from the conflict after painting the early war, including Dunkirk. He was also shipwrecked off the coast of Africa, rescued and imprisoned by Vichy French forces, liberated by the Americans and then off again to paint the campaigns in Africa and Iraq. Eric died in 1942 when the aircraft he was in was lost off Iceland. Ravilious used the Essex area profusely in his short life there in
wood-engravings and watercolours.
Eric Ravilious – Tiger Moth, 1942 – Tate – Not on Display
Around the village of Great Bardfield, Bawden was joined by John Aldridge (a landscape painter), Walter Hoyle (one of Bawden’s students who helped Bawden on work at the Festival of Britain) and Michael Rothenstein (the pioneer printmaker and brother to the Director of the Tate Gallery). Other artists in the village were George Chapman, Bernard Cheese, Stanley Clifford-Smith, Audrey Cruddas, Sheila Robinson and Kenneth Rowntree.
John Aldridge – Head and Fruit, 1930 – Tate – Not on Display
In the small hamlet of Landermere – on the coastland of Essex – lived Adrian and Karin Stephen with their daughter Judith. Adrian was the younger brother of Virginia Wolfe and Vanessa Bell. After her parents death Judith lived on in their house with her husband and Independent Group member, Nigel Henderson. Also in Landermere they were joined by Eduardo Paolozzi who owned one of the cottages and set up Hammer Prints Limited, a company for printing limited edition works and designing abstract home wares such as wallpapers and tiles. Neighbours in the hamlet were architect Basil Spence and Festival of Britain artist and Coventry Cathedral glass engraver, John Hutton, as well as his son, children’s book illustrator Warwick.
Eduardo Paolozzi – Cyclops, 1957 – Tate – Not on Display
The Stephens were not the only Bloomsbury members to be in the East. David Garnett, his lover Duncan Grant, and Grants wife Vanessa Bell were all staying at Wissett Lodge, Suffolk in the summer of 1916 as conscientious objectors, working on a farm, though Vanessa is the one who got the most painting done.
With the boom in British publishing many of these artists enjoyed illustration commissions, from the cookery books of Ravilious and Bawden to poetry books decorated by John Piper and gardening books illustrated by John Nash.
Spencer Gore – The Beanfield, Letchworth, 1912 – Tate – Not On Display
Naturally there are names left out but there are too many artists to list. But why are they so poorly represented in the region? In the East there is the Sainsbury Centre for Visual Arts and Kettles Yard but neither of these galleries aim to promote the work of East Anglian artists, but rather the international collections of the Sainsbury family and Jim Ede. They both do a lot of good for the local economy but it’s not the same as championing the area’s artists.
The nearest to it is the Fry Art Gallery in Saffron Walden, but their manifesto only lets them collect work from artists who have lived in North West part of Essex. But for all of Bedfordshire, Cambridgeshire, Essex, Hertfordshire, Norfolk and Suffolk there should be a body to represent them.
There are so many other artists that could be liberated from the Tate and their archives and put on show to support and promote the region where they were created. At the time of publishing, all the artworks in this blog owned by the Tate were not on display.
There is nothing I have found that Bawden said in favour of Norfolk that would make this post become more interesting than me presenting some of his works to you. The works I have found showed that when he visited a place he painted it from various angles. I think all of these works were painted in the late 1960s as Bawden had an exhibition at The Fine Art Society in November of 1968 of paintings from Ireland, the Middle East and Norfolk.
The Church of St Michael The Archangel in Booton, about 10 miles drive from Aylsham is an architectural marvel that you don’t see in Britain. Designed in French Gothic style with pinnacles and two towers it might be a small set from Lord of the Rings.
The Church of St. Michael The Archangel, Booton, Norfolk,
Edward Bawden – Design for The Church of St. Michael The Archangel, Booton, Norfolk, 1966
The painting below I rather like for its bold outline painting, but more for the shade of foliage to the left and white church stone in front, the church is painted in a gradient from white on the left, to black flints on the right.
Edward Bawden – The Church of St. Michael The Archangel, Booton, Norfolk, 1966
Edward Bawden – The Church of St. Michael The Archangel, Booton, Norfolk, 1966
Worstead Church is signed but looks more unfinished. It has the hints of a John Piper in the colour blotting and slight unfinished abstraction, though this may be because it mostly was unfinished.
Edward Bawden – Worstead Church, 1966
Edward Bawden – Worstead Church, 1966
Above a detail section of the Church that makes Bawden’s linocuts so wonderful; He takes a section out of scenes when making them into linocuts (on the Road To Thaxsted is a good example where he has cropped the picture with part of the Cottage roof but did not show the whole scene. If all the cottage was to appear it would look very twee). Bawden has also cut grooved grass, and a wild hacking of the lino made the distress on the building. Its printing in such a dark blue it looks like a negative image from film and to be a little provocative, I have inverted the image as a negative below.. I think it looks more pleasing, more like an Ed Kluz, though Edward wouldn’t thought much to my meddling!
after Edward Bawden – Worstead Church, 1966 (Inverted image)
The following images are Bawden as a good watercolour artist, using a wash on the grass and then a darker series of lines, the sky made up of geometric clouds and the trees inked out in pen and filled in with a broad green wash in a grey of the church and a green.
Edward Bawden – St Mary’s Church, Marlingford, Norfolk.
Edward Bawden – St Mary’s, Marlingford IV, 1968
Edward Bawden – The Churches of All Saints and St Mary’s, Great Melton, Norfolk, 1968
Edward Bawden – Little Melton Church, Norfolk, 1968
Edward Bawden – North Creake Abbey – Interior, Norfolk, 1967
Edward Bawden – Birnham Priory, Norfolk, 1968
Original Advert for the Fine Art Society Exhibition.
I have featured some of the Shell posters in this series on the blog before but I thought it would be more interesting to post as many of them as I could find. I rather though the range of artists was brilliant.
Shell Mex Limited appointed a new Publicity Director in 1932, Jack Beddington. His insight turned the British Shell advertisements of the 1930s into some of the classic campaigns of the twentieth century. The genius was to let artists depict Britain in their own styles, they would paint an image and whatever their style, and it would be framed by text. There would be no need for product placement, for models holding petrol cans, it was a campaign exposing the beauty and wonder of Britain and modern art. It was to inspire people to use their cars to see the nation and so use more petrol.
Plats du Jour by Patience Gray and Primrose Boyd is a book illustrated by a 27-year-old David Gentleman in 1957 used to be everywhere, I would see it in most charity shops and on book stalls, however now if you look online and try to find a copy it is about £30 and up. The Persephone Press reissued it it in 2006 with the original illustrations. However the art of the small illustrated cook book has been lost on a tide of celebrity endorsed cookery books, for a nice cookery book we can only look back or to a private press and hope to get books like Lovely Food – A Cookery Notebook by Ruth Lowinsky, Mediterranean Food by Elizabeth David or such like.
However I thought Plats Du Jour was worth looking at in close up for the beautiful covers, letter work and illustration inside. They are so beautiful it is almost aspirational. It sold 50,000 copies in its first year, far outstripping Elizabeth David who was the cookery writer of that age.
Although Gentleman has designed almost everything it could be imagined from Coins and Stamps to Underground Station Artwork and Anti War propaganda he is known most of either his wood-engravings or his lithographs but his drawings and watercolours need a modern retrospective.
The Phoney War was an eight-month period at the start of World War II in 1939 during which there was only one limited military land operation on the Western Front, when French troops invaded Germany’s Saar district. During this time the Nazi’s had invaded Czech Republic, Poland and Slovakia. On 10 May 1940, eight months after Britain and France had declared war on Germany, Nazi troops marched into Belgium, the Netherlands and Luxembourg, marking the end of the Phoney War and the start of Germany being an advancing danger to the British. Some months later the Germans took control of Guernsey and Jersey. The British activities in the war were mostly at sea with the Navy disabling German shipping in an economic blockade and the troops on the mainland of Europe were drawn back to the retreat in Dunkirk.
Trafalgar Square, October 1941
It was around this time that the National Gallery collection of paintings was to be evacuated out of London as from September 1940 to May 1941 the Blitz happened, by mistake.
The first German attack on London actually occurred by accident. On the night of August 24, 1940, Luftwaffe bombers aiming for military targets on the outskirts of London drifted off course and instead dropped their bombs on the centre of London destroying several homes and killing civilians. Amid the public outrage that followed, Prime Minister Winston Churchill, believing it was a deliberate attack, ordered Berlin to be bombed the next evening.
About 40 British bombers managed to reach Berlin and inflicted minimal property damage. However, the Germans were utterly stunned by the British air-attack on Hitler’s capital. It was the first time bombs had ever fallen on Berlin. Making matters worse, they had been repeatedly assured by Luftwaffe Chief, Hermann Göring, that it could never happen. A second British bombing raid on the night of August 28/29 resulted in Germans killed on the ground. Two nights later, a third attack occurred. German nerves were frayed. The Nazis were outraged. In a speech delivered on September 4, Hitler threatened, “When the British Air Force drops two or three or four thousand kilograms of bombs, then we will in one night drop 150-, 230-, 300- or 400,000 kilograms. When they declare that they will increase their attacks on our cities, then we will raze their cities to the ground. We will stop the handiwork of those night air pirates, so help us God!”
Beginning on September 7, 1940, and for a total of 57 consecutive nights, London was bombed. The decision to wage a massive bombing campaign against London and other English cities would prove to be one of the most fateful of the war. Up to that point, the Luftwaffe had targeted Royal Air Force airfields and support installations and had nearly destroyed the entire British air defence system. Switching to an all-out attack on British cities gave RAF Fighter Command a desperately needed break and the opportunity to rebuild damaged airfields, train new pilots and repair aircraft. “It was,” Churchill later wrote, “therefore with a sense of relief that Fighter Command felt the German attack turn on to London”. †
The feeling was it was unwise to have the National Galleries collection separate in locations as one location would save on guarding the works and help keep the location more secret and avoid any potential losses of work in transportation or admin. The curators could also monitor the condition of the paintings too.
One serious proposal was for the paintings to be evacuated by ship to Canada. But the vulnerability of the ships to U-boat attack worried the Gallery’s director, Kenneth Clark. He went to see Winston Churchill who immediately vetoed the idea: ‘Hide them in caves and cellars, but not one picture shall leave this island’.
The danger of shipping was just as worrying as the dangers on the dockland. One chance bomb could wipe out the whole collection in a dockland warehouse while waiting to be loaded.
Martin Pritchard – Manod Quarry, 2008
Manod Quarry, 1940s
The Welsh quarry of Manod was chosen as the best location. After the quarries entrance was widened with explosive blasts so that trucks could drive inside, the next task was to build man structure inside to house the collection.
Lee McGrath – Inside Manod Quarry, 2018
These brick buildings (like bungalows) were built inside the cave quarry with roofs and picture racks. There were thermostat and humidity controllers to stop the paintings becoming damp or suffering changes in temperature. By the end of the Blitz the whole collection was now housed in the cave.
Manod Quarry – Inside the Art Bungalows housing the National Collection.
It had long been known that paintings were happiest in conditions of stable humidity and temperature. But it had never been possible to monitor a whole collection in such controlled circumstances before. Valuable discoveries were made during this time which were to influence the way the collection was displayed and cared for once back in London after the war.
It was also an opportunity for Martin Davies, the Assistant Keeper in charge of the paintings in Wales, to complete his research for new editions of the National Gallery’s permanent collection catalogues. ‡
Manod Quarry – Inside the Art Bungalows housing the National Collection.
The precautions were wise as the National Gallery was hit by nine bombs between October 1940 and April 1941.
The collection returned to London by the end of 1945 but the caves were held as government property in case they were needed during the Cold War.
The curious thing about the nations art during wartime was it didn’t all get put together. The National Gallery had the quarry in Manod but the National Portrait Gallery moved their collection to Mentmore House, in Buckinghamshire. The Gallery evacuated its portraits to Mentmore’s outbuildings.
The Tate Gallery had moved their works, to a disused stations on the Piccadilly London Underground network.
Photograph of a letter to Robin Ironside with the key to the Piccadilly Underground storeroom from Neil MacLaren.
Here is a brief bit of information and some photographs from the church in Kingston, Cambridgeshire. It’s within cycling distance from my home so I went and took some photos of the church and surroundings.
The most interesting features of Kingston Church is the wall paintings with-in. Many didn’t survive the reformation and ‘whitewashing’ of churches and fewer still the later Victorian fashion of stripping plaster from walls in favour of stonework and totally refitting the woodwork.
Above is a wall painting of the Crucifixion, with unusual iconography. On a red ochre ground decorated with a brocade pattern there are three silhouettes, of a crucifix and two figures. On either side of the crucifix is a kneeling angel holding a cup which catches Christ’s blood; beyond these a pair of angels playing musical instruments and a pair censing. The censers, with their chains, were probably appliqué wood or metal. Above the rood are two faint circles, representing the sun, to the left, and the crescent moon, to the right, symbolising life and death.
One of the paintings on the walls is of the Devil standing on a tree. He has bat wings, a tale and horns.
The Seven Acts of Mercy – Wheel of Mercy.
Six of the seven acts, intended to counter-balance the Seven Deadly Sins, were derived from the gospel of St Matthew, Chapter XXV:
feeding the hungry;
giving drink to the thirsty;
offering hospitality to the stranger;
clothing the naked;
visiting the sick;
visiting prisoners.
burying the dead – this one comes from the Book of Tobit, Chapter I.
The wheel is turned by two angels with outstretched arms, one to the lower left, the other to the lower right.
The University College London and the Slade School of Fine Art are linked and in the UCL art archives are many painting from the Slade’s past. Many are nudes and it turns out, they are the winners of the Slade School of Art prize for Figure Painting. I have not included all the paintings – some are un-named and un-dated but must fit in the missing spaces. I have put them in order of date and many of the names listed are surprisingly famous.
Frederick Brown was appointed as Slade Professor in 1892 and introduced new prizes for the 1893-4 session. The prizes for life painting and drawing, anatomical drawing and new figure composition. The prizes were abandoned in 1965 and in 1966 students could choose what they presented. I don’t know what the prizes were for Figure Drawing but I do know Stanley Spencer won the Slade Summer Composition Prize in 1912 and it was £25, today with inflation that is £2,800.
Augustus Edwin John – Figure Painting, Second Prize (Equal), 1898
Evelyn Cheston – Figure Painting, Second Prize (Equal), 1898
William Orpen – Figure Painting, First Prize, 1899
Albert Rutherston – Figure Painting, First Prize (Equal), 1901
Elinor Proby Adams – Figure Painting, Second Prize (Equal), 1906
Maxwell Gordon Lightfoot – Figure Painting, First Prize, 1909
Maxwell Gordon Lightfoot – Figure Painting, First Prize (Equal), 1909
Elsie McNaught – Figure Painting, First Prize (Equal), 1910
Edward Alexander Wadsworth – Figure Painting, First Prize (Equal), 1911
Thomas Saunders Nash – Figure Painting, First Prize, 1912
Dora Carrington – Figure Painting, Second Prize, 1912
Eileen Lambton – Figure Painting, Third Prize, 1912
Dora Carrington – Figure Painting, First Prize (Equal), 1913
Thomas Tennant Baxter – Figure Painting, First Prize (Equal), 1914
Thomas Tennant Baxter – Figure Painting, First Prize (Equal), 1914
Arthur Outlaw – Figure Painting, Second Prize (Equal), 1914
Grace English – Figure Painting, First Prize (Equal), 1916
Neville Lewis – Figure Painting, First Prize (Equal), 1916
Helen G. Young – Figure Painting, First Prize (Equal), 1916
Enid M. Fearnside – Figure Painting, First Prize (Equal), 1917
Rita Nahabedian – Figure Painting, First Prize (Equal), 1917
Henry Charles Bevan-Petman – Figure Painting, First Prize (Equal), 1917
Alice Joyce-Smith – Figure Painting, First Prize (Equal), 1918
Dorothy Josephine Coke – Figure Painting, First Prize (Equal), 1918
L. A. (Ida) Knox – Figure Painting, First Prize (Equal), 1918
Mabel Greenberg – Figure Painting, Second Prize (Equal), 1919
Ralph Nicholas Chubb – Figure Painting, Second Prize (Equal), 1919
Amy Nimr – Figure Painting, First Prize, 1919
Robin Guthrie – Figure Painting, First Prize (Equal), 1920
C. E. Roberts – Figure Painting, First Prize (Equal), 1920
Rodney Joseph Burn – Figure Painting, Second Prize (Equal), 1920
Daphne Pollen – Figure Painting, Second Prize (Equal), 1920
Daphne Pollen – Figure Painting, Second Prize (Equal), 1920
Rodney Joseph Burn – Figure Painting, First Prize (Equal), 1921
Walter Thomas Monnington – Figure Painting, First Prize (Equal), 1921
Muriel Holinger Hope – Figure Painting, First Prize (Equal), 1921
Allan Gwynne-Jones – Figure Painting, First Prize, 1922
Theodora Meares – Figure Painting, Second Prize, 1922
Robert Boyd Morrison – Figure Painting, First Prize (Equal), 1923
John Hookham – Figure Painting, First Prize (Equal), 1923
William D. Dring – Figure Painting, First Prize (Equal), 1924
Rex Whistler – Figure Painting, First Prize (Equal), 1924
Robin Bartlett – Figure Painting, First Prize (Equal), 1925
Leila Faithfull – Figure Painting, First Prize, 1925
Jesse Dale Cast – Figure Painting, First Prize (Equal), 1925
Alice van den Bergh – Figure Painting, First Prize (Equal), 1926
Francis E. Hopkinson – Figure Painting, First Prize (Equal), 1926
Glynn O. Jones – Figure Painting, First Prize (Equal), 1926
Kathleen Hartnell – Figure Painting, First Prize (Equal), 1926
Ena Muriel Russell Higson – Figure Painting, First Prize (Equal), 1927
Helen Lessore – Figure Painting, First Prize (Equal), 1927
Joseph H. Rogozen – Figure Painting, First Prize (Equal), 1928
Dorothy I. Reid – Figure Painting, First Prize (Equal), 1928
Bryan William Bodington – Figure Painting, First Prize,
1930
Olga Lehmann – Figure Painting, First Prize (Equal), 1931
Elizabeth Brown – Figure Painting, First Prize (Equal), 1931
Margaret A. Berry – Figure Painting, First Prize (Equal), 1932
Thelma Carstensen – Figure Painting, First Prize, 1933
Guy Anthony William Burn – Figure Painting, First Prize,
1937
Mary Kent Harrison – Figure Painting, First Prize, 1938
Nora B. Braham – Figure Painting, First Prize, 1939
William D. W. Paynter – Figure Painting, First Prize (Equal), 1940
Jean Muriel Brett – Figure Painting, Second Prize, 1943
Nancy Mellor – Figure Painting, First Prize (Equal), 1948
This week, Robjn discusses six things which he thinks should be better known. Each week, a guest makes a series of recommendations of things which they think should be better known. Our recommendations include interesting people, places, objects, stories, experiences and ideas which our guest feels haven’t had the exposure that they deserve.
