Raymond Sheppard showed an early interest in both art and nature and aged 15 enrolled in the Elementary Course of John Hassall's Correspondence Art School where he was complimented on "his remarkable understanding of the correctness of drawing". Sheppard's talent for drawing wildlife gained recognition with the success of the first of his three books for The Studio Publications How to Draw Series. How to Draw Birds, published in 1940, not only ran to four reprints during WW2 but a further two reprints afterwards in 1948 and 1955 - a remarkable feat for a 27 year old artist. This not only provided Sheppard with a secure, if modest, financial income but put him on a stage alongside the highly regarded draughtsman of this genre John Skeaping (How to Draw Horses) and C.F. Tunnicliffe (How to Draw Farm Animals) both of whom were 12 years his senior. In parallel to his work as an illustrator of wildlife, Sheppard, along with Jack Merriott as President, became a founding member of the Wapping Group. Limited to 25 members, The Wappers, as they were known, comprised artists from the Langham Sketching Club, (which did not meet in the summer months,) who convened along the river between Westminster and Gravesend, in the East End of London, to paint scenes along the Thames. If Raymond Sheppard's drawings are to been seen as something more than illustrations the key is here: "An outlook at once poetic and intimate, whose technique was developed from a habit of contemplation".

Raymond Sheppard: Master Illustrator

Arts & Photography

Liss, Paul

LLEWELLYN, SACHA

History & Criticism

Liss Llewellyn Fine Art

This catalogue presents a view of the First World War through a multifarious record of two and three dimensional works of art: paintings, drawings, prints, sculpture, reliefs, posters, postcards, photographs, silhouettes and ceramics appear in the following pages. The material has been grouped into 14 subsections under the general headings of Combat, The Home Front and The Aftermath. These groupings highlight the themes that inspired both the fine and popular arts, although some are looser in association than others, and none are mutually exclusive. The introduction gives a more general survey of the underlying factors that influenced or determined the visual responses to the First World War.

The Great War: As Recorded through the Fine and Popular Arts

During his lifetime Brangwyn made large donations of his works to museums in the United Kingdom and abroad, including the Victoria & Albert Museum, the British Museum, the William Morris Gallery, the Albertina in Vienna and the Gruuthuse in Bruges. As a result of this munificence, substantial drawings by Brangwyn, especially his celebrated large sheets in red and black chalk, only rarely appear on the market. Milestones in the collecting of Brangwyn drawings include the Christie's sale of William de Belleroche's collection (1961), and Edgar Horn's sale of Edgar Peacock's collection (2000). The recent discovery of works belonging to Brangwyn's admirer, Father Jerome Esser, presented in this catalogue, marks a further watershed for collectors. The drawings that became Esser's collection, which have lain hidden for over half a century, were made up of works that Brangwyn, with characteristic modesty, had left in his studio with a written instruction, 'most of this lot destroy'. Never intended for presentation, they explore and resolve alternative compositions and the relation of figures to each other and to the space they occupy. Esser, himself a gifted artist, would have appreciated these sheets, complete with folds, scuffs and splodges of paint, as true working drawings. Brangwyn himself believed that 'sketches show the most intimate side of an artist's career ...[studies] are usually the best thing an artist does.'

Frank Brangwyn: Drawings from the Collection of Father Jerome Esser

Individual Artists

Kenneth Rowntree has always been highly regarded by those familiar with his work. The essays in this catalog, which embrace new research and scholarship, reveal him to be an artist of great scope and variety. His early work reflects the inspiration and creative dialogue that came out of his friendship with Eric Ravilious (1903-1942) on account of whom Rowntree moved to Great Bardfield during the 1940s. During this period he was particularly preoccupied with Kenneth Clark's Recording Britain project. At the end of the war he joined the teaching staff at the Royal College of Art. In 1951 he was commissioned to undertake murals for the Lion and Unicorn Pavilion for the Festival of Britain. As Professor of Fine Art in Newcastle (1959-1980) he was at the epicenter of an important northern school of modernism that revolved around his friends Victor Pasmore (1908-1988) and Richard Hamilton (1922-2011). Even in retirement, his work, in its return to figuration from abstraction, displays his consistent qualities of humor and inventiveness. Rowntree's oeuvre is both influenced by and anticipates a wide variety of artistic styles, from Ravilious to David Hockney, from the Euston Road School to the Dadaism of Kurt Schwitters. His work, however, remains unmistakably his own. This catalogue is published on the occasion of the centenary of Rowntree's birth, and accompanies exhibitions at The Fry Art Gallery, Saffron Walden and Pallant House, Chichester. This is the first substantial reassessment of Rowntree's work since John Milner's monograph (2002). It is hoped that this current initiative will contribute further to ensuring Rowntree the significant place he deserves within the history of 20th century British art.

Kenneth Rowntree: A Centenary Exhibition

Moore-Gwyn Fine Art & Liss Llewllyn Fine Art

Winifred Knights (1899-1947) is one of the outstanding, but until recently neglected, British women painters of the first half of the 20th century. Copiously illustrated in color throughout, this book provides the first full account of her life and work, examining Knights’ art in the context of interwar Modernism and assessing her contribution to the revival in this period of both Decorative Painting and religious imagery. Author Sacha Llewellyn traces the artist’s career from her years at the Slade School of Art and her First World War evacuation to rural Worcestershire through to the time she spent at the British School at Rome in the early 1920s and the many commissions she completed between 1926 and 1939. Presenting the artist as the central protagonist, and with models selected from her inner circle, Knights’ paintings were deeply autobiographical. She consistently re-wrote fairy-tale and legend, Biblical narrative and Pagan mythology to explore women’s relationship to war, the natural world, working communities, marriage, motherhood and death. Drawing on previously unpublished documentary material, including letters, diaries, sketchbooks and photographs, Sacha Llewellyn makes a strong case for recognizing Knights as one of the most talented artists of her generation. The book reproduces all of Knights’ major works, including her masterpiece, The Deluge.

Winifred Knights 1899-1947

Lund Humphries

In January 2013, Dunbar's painting 'Autumn and the Poet' (1960) appeared on the BBC Antiques Roadshow, leading Ro Dunbar, a relative of the artist, to explore the extraordinary hoard of over 500 paintings, drawings and studies hidden in the attic of her Kent home. The unrecorded works were identified with the help of the artist's nephew Christopher Campbell-Howes, who had been tracking contents of the 'lost studio' - dismantled in its entirety after Dunbar's death in 1960 - for over 20 years. The discovery doubled the known body of Dunbar's work overnight. The book highlights a selection of these unrecorded works and examines them in the context of Dunbar's life and work as a whole.

Evelyn Dunbar: The Lost Works

British Surrealism

Haycock, David Boyd

Meehan, Kirstie

Dulwich Picture Gallery

Mouvement provocateur et dynamique, le Surréalisme déclenche au 20ème siècle un renouvellement esthétique et éthique. Les hommes ne sont pas les seuls à avoir rendu vivants ce courant et ses transgressions : de nombreuses femmes en furent des actrices majeures mais néanmoins mésestimées par les musées et minorées par le marché de l'art. Le Surréalisme offrit à celles-ci un cadre d'expression et de créativité qui n'eut sans doute pas d'équivalent dans les autres mouvements d'avant-garde. Pourtant, c'est souvent en s'appropriant et en étendant des thèmes initiés par les « leaders » du mouvement qu'elles exprimèrent leur liberté. C'est aussi en se dégageant de ce qui devint parfois une doxa surréaliste qu'elles s'affirmèrent. « Tout contre » le Surréalisme, c'est ainsi que l'on pourrait définir leurs positions diversifiées et complexes à l'égard du mouvement. Des années trente aux années soixante-dix, le "surréalisme féminin" forme des constellations éphémères, au gré de ralliements au mouvement souvent temporaires mais aussi d'amitiés qui se nouent hors de ce cadre. L'imaginaire de ces artistes n'est pas aligné sur celui des figures masculines du mouvement. Leurs pratiques, fréquemment interdisciplinaires - picturales, photographiques, sculpturales, cinématographiques, littéraires... - expriment leur volonté d'échappées belles au-delà des normes hétérosexuelles et des frontières géographiques. C'est une cartographie d'un mouvement éclaté et mondialisé que l'exposition esquisse en évoquant les foyers belge, mexicain, britannique, américain, praguois et français du Surréalisme que ces femmes ont enrichis, passant parfois de l'un à l'autre.

SURRÉALISME AU FÉMININ ?

DUROZOI, GÉRARD

SARRÉ, MARIE

Draguet, Michel

PAÏNI, DOMINIQUE

CHÉNIEUX-GENDRON, JACQUELINE

MORANDO, CAMILLE

AGRET, ALIX

Ooms, Saskia

FLAHUTEZ, FABRICE

IN FINE

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