DAVID BOMBERG. Paintings and drawings from a private collection

Transcription

1 DAVID BOMBERG Paintings and drawings from a private collection

2 All works may be viewed online at and are available for purchase on receipt of this catalogue DAVID BOMBERG Paintings and drawings from a private collection 1st - 24th November 2017 WATERHOUSE & DODD 47 Albemarle Street London W1S 4JW +44 (0) info@waterhousedodd.com Cover image (detail): Study for Reading from the Torah, 1913 Gouache & pencil on paper (illustrated p.15)

3 Jamie Anderson in conversation with the collector: During our recent Beyond Borough exhibition, which featured five paintings and drawings by David Bomberg, we were contacted by a collector who mentioned that he owned a number of works by the artist. Intrigued, I travelled to visit his home and view the paintings and drawings which he had described during our initial conversations. I was astonished by the group, both in terms of their individual quality and how cohesive the collection was. They hung so well together that almost immediately my thoughts turned from working with individual pieces to creating a formal exhibition. Often collections are formed in a slightly haphazard way. The works in such collections, when taken out of the context of a home and placed in the rather more sterile environment of a gallery, can seem full of odd juxtapositions. Often these are illuminating but they can lead to a rather confused viewing experience. The very opposite is true here. In the following conversation between myself and the owner of the works, we examine what drove him to form the collection and his own personal feelings towards the artist: What was your first exposure to Bomberg s work? At work, by chance, I happened across a Modern British art auction brochure. By then I d started to buy a little contemporary art but was completely ignorant of the vast artistic heritage behind that. I was very taken by the breadth of work available. I went to view the auction. From that point on I made a point of viewing every Modern British art auction in London for the next five years plus. You exclusively acquired Bomberg s work for 10 years, amassing a significant collection. What drove you to collect in such a dedicated manner? After the first few auction viewings I found myself being intrigued mostly by the work of one particular artist, someone I d never heard of prior to seeing my first auction - David Bomberg. After more viewings this turned to more of a fascination, specifically regarding the small monochromatic 1919/1920 drawings of angular figures. I had never seen anything like these before, nor had I ever reacted to anything as strongly as I did to these drawings. How did you collect the works? Clearly you have a great expertise in the artist, but was the decision to purchase an individual work based on an instinctive feeling towards it or more thoroughly researched? Both. I started buying at auction and also from the many dealers in Modern British art who were around at the time (this being about 20 years ago). Initially it was instinctive but I m a mathematician and exanalyst and ruthlessly logical. I knew nothing about Bomberg but decided to learn fast. In this I was greatly helped by the knowledge and expertise of one of London s old-school art dealers, Bill Jackson, who became a good friend and guide. Beyond this I devoured Richard Cork s great book(1) and anything else about Bomberg that I could get my hands on. I read them as others might read airport pot-boilers. How did your feelings towards Bomberg s work change over the course of your collecting? In terms of what I most liked, they never really did. My feelings about what I liked became stronger, which is how I account for the sustained focus of the collection. I never stopped being captivated by those 1919 angular figures, and the more I came across the greater depth I found within them. Along with these I also became very taken by his bomb store work - intense, brooding, and ominous. Always under-appreciated, both commercially and critically, I felt. But I never had a particular yen to buy landscapes, portraits, or flower pictures. How much did the mystique around Bomberg s life affect your interest in his work? Were you solely interested in the imagery or driven to find out more about the man? Understanding Bomberg the man strengthened my interest and belief in Bomberg the artist, though I d have still appreciated the work had he been a dilettante. A difficult man to be close to, perhaps, but that was because of his ongoing, driving quest to be true to himself and his art. His life wasn t easy but he refused to bend his principles or the purity of his vision to make that life easier. It is hard not to respect that. What I find interesting is how well curated your collection is, and how distinctive. Obviously the selection is largely figurative, what was it about this aspect of his work that particularly appealed? I liked - and still like - the narrative of them and the questions they posed: who are they? What are they? What are they doing and why? Also, though it s natural when one thinks of Bomberg to think of the heavy impasto of his landscapes and flowers and, indeed, portraits, for me his strength as an artist is at least as well displayed in his drawings. He was a wonderful draughtsman. Look at both the composition and energetic cross-hatching of The Doorway; look at the tenderness of Mother & Child (study for Bargee); look at both the grace and economy of line of The Embrace. For me his ability to create mood and narrative with the most basic of the artist s tools - paper, pencil and ink - has rarely been equalled, never mind bettered. Above: Dancer Series, the first work by Bomberg acquired for the collection (illustrated p.30) (1) David Bomberg Richard Cork, Yale 1987 (ISBN ) Right: detail of The Doorway, 1920 (illustrated p.41)

4 In your collection are two wonderful works depicting the Picos de Europa in the Asturias. I am very glad they are there, but equally I am surprised given their subject and the context of the collection. Why did you acquire these landscapes? As you can imagine I saw, and rejected, dozens and dozens of landscapes prior to acquiring these. The oil came first and as you see it is highly distinctive and unusual within Bomberg s landscape paintings. The very opposite of the heavy impasto style for which he is known. I saw it and thought it the most beautiful painting I d ever seen. I viewed it several times before I bought it. I remember standing in front of it and feeling the pared back beauty of it wash over me in waves (a feeling I ve subsequently experienced in front of Rothkos). After that I had to buy the charcoal as well, a work I found some years later. Exactly the same view but radically different to the oil. Both from his time in the Asturias in Northern Spain. Richard Cork, in his book, thought Bomberg s landscape painting reached its apotheosis in those few months in the Asturias and for the little it s worth I ve always agreed with that assessment. Was there ever a painting you ever regretted not buying, or an aspect of the artist s oeuvre you would have liked to have investigated in more depth? Early on in my auction viewings there was one of the 1919 drawings I liked more than any of the others I had seen up until that point. It was in a pair and I didn t like its twin nearly so much. At that point I d never dealt at auction and was unsure about the whole process. And I had never bought any Modern British pieces anywhere. I viewed them several times but didn t bid. After the sale I rang to find out if the lot had sold, hoping it hadn t, but found it had. Immediately I became deflated, knowing then, too late, that I should have bought them, that the better of the pair would be a work I would never have tired of. Missing that started my relentless quest to collect Bomberg. In the first year or two of collecting him I just wanted to find something I d like as much as that drawing. There s a happy ending - some years later I found it in a London gallery. At that stage I d spend the occasional lunchtime at work simply ringing around Modern British dealers, specifically hunting Bombergs. Once, one gallery said they had two drawings, one being better than the other, though they were being sold separately. Nothing else was said, nor was either described, but I knew, I just knew, that this was my Bomberg. I bought it later that same day. That work, of course, isn t in the exhibition how could it be? Do you have a favourite period or subject within the collection? The collection is tightly focused (broadly early work and bomb store) and, no, I don t really distinguish within this. The very early work is abstract, Vorticist style, the slightly later (of the early) work more figurative, and the bomb store different again. I ve loved them all. What I would say is that I have a pet theory that one day Bomberg will be elevated in to the pantheon of British artists and a key factor within this will be his bomb-store work. No other artist could have produced these. The works were displayed beautifully in your house. How did people respond to them when they visited and saw the collection? Many of the smaller Bombergs were displayed less prominently than some of the bigger works in the collection, hung in more private rooms. This befits their need, given their delicacy, for more attention than would be generated by passing traffic, as it were. The bigger works have more immediate presence. Mainly, big and small, they ve generated great interest. It s distinctive work and generates discussion. Not infrequently, visitors who have arrived completely ignorant of Bomberg have left as enthusiasts. Bomberg s work is often challenging. The bomb store works are, for instance, a powerful reminder of the threat of violence and war. What was it like living with the works for so long? As I mentioned earlier, I believe these works are crucial within Bomberg s artistic legacy. In my view the bomb store work is not often challenging, it s always challenging, and should you not find them so then they re not for you. They re dark and powerful and drip with foreboding. They don t give up their secrets readily and, for me, they have enduring and endless depth. Of the six works I m keeping, three are bomb stores. Above: Picos de Europa, Asturias, 1935 in oil and in charcoal (illustrated p.49 & 47 respectively) Top: Study for Vision of Ezekiel, 1912 (illustrated p.13) Right: Bomb Store, 1942 (illustrated p.51)

5 Given our history of representing and exhibiting Bomberg s pupils, in particular Dorothy Mead, I feel compelled to ask if you were ever encouraged to explore his legacy in any detail? No. For me, there was so much to explore within Bomberg I never felt the interest to go elsewhere. And remember I saw every Modern British auction in London for nigh on a decade, I frequented every gallery that sold Modern British (even galleries that were run out of people s houses), I saw literally thousands of works and within that bought only four non-bombergs (three by Edward Wadsworth and a sole William Roberts). The Wadsworths and Roberts have gone. The first question I expect I will be asked by our collectors and visitors to the gallery is why are you making your collection available for sale now? Making it available with some reservations and no little agonising, as you know... and it s not as if I ve become disenchanted with the work. So why? Though I described myself earlier as relentlessly logical, I m not immune to the idea, expounded by a friend of mine, that sometimes fate gives you a nudge. I had been vaguely fretting about the collection for a little while now, thinking I wasn t really giving it its due. I ve sold some of the more peripheral pieces, leaving me with a hard-core of important work. I initially approached you as I was thinking of selling one piece and I wasn t even sure about that. Now here we are as fate, in the form of you, nudged me. Why had I been fretting about the collection? I ve become conscious that the focus of my collecting has changed over recent years and a bit of me feels that the Bombergs shouldn t be marginalised within this but that they should be revitalised by moving on. I think there s an analogy between collectors/artworks and parents/children - the bond is immensely strong, always, but there comes a time for both of you when the intensity of the relationship should ease. Children are launched into adulthood, paintings find new owners, and it s right that this is the case. But you always love them. Above: Mother & Child, c.1921 (illustrated p.43) Right: detail of Bomb Store, 1942 (illustrated p.55)

6 DAVID BOMBERG: AN INSIGHTFUL VISION Richard Cork Just before entering the Slade School of Art in 1911, the young David Bomberg showed his involvement with tradition by drawing a Classical Composition (p.11). Even here, though, he proclaimed an awareness of modernist simplification by treating the foreground pillar as an almost abstract form. Bomberg s boldness grew apace during his student days, when London was invaded by new avant-garde movements like Cubism and Futurism. Drawing studies for early paintings as ambitious as Vision of Ezekiel (p.13), he reduced human figures to their elemental essence. Soon enough, his fascination with experimental dance, culminating in a series of Russian Ballet lithographs, injected even more vitality into his work. And after suffering a traumatic period of active service in the First World War, he continued to make experimental studies for a major painting of Sappers at Work (p.20 & 21) for the Canadian War Memorials Fund. Tunnelling under a hill towards the enemy lines, these sappers are so simplified that their lean, brave bodies almost merge with the structures they are striving to assemble. By now, however, Bomberg s work was about to undergo a profound change. The post-war world, still struggling to recover from years of carnage, made experimental artists reassess their priorities. Moving away from the machine-age vision which had dominated his pre-war paintings like The Mud Bath, he began to adopt a more figurative approach. In a crayon drawing, The Embrace (p.34), Bomberg emphasizes the crucial importance of love for so many people struggling to recover from the war s devastation. One drawing called Family Group (p.37) shows the figures divided from each other by a series of oppressive partitions. But in another Family Group (p.39), ink and wash are deployed to show parents clutching their children with protective hands. Dancers still appear, to prove that he had not lost his earlier enthusiasms. Yet they seem more vulnerable than before, while the top-hatted men who play such an important role in drawings of Visitors appear ominous and burdened by grave responsibilities. Violence is explored in a dark ink and wash drawing called Lock-up (p.33), where a sprawling figure looks not only imprisoned but injured as well. As for the two drawings called Men & Women (p.25 & 29), they are both dominated by a sense of division. In the pencil drawing, a woman tries to ignore the advancing man who looks somewhat sinister. And an ink and wash Men & Women (the table)(p.29) focuses on a physical struggle between a groping man and a bowed woman who attempts to push him away. No wonder Bomberg himself wanted to escape from the East End, the poverty-ridden area where he had grown up. Metropolitan life felt restrictive, and he now found release in images of people on barges. Based on wartime memories of Flanders as well as a similar scene near London, they culminated in a monumental painting of a maternal woman whom he simply called Bargee. His pencil study (p.43) shows the mother affectionately touching the baby resting on her capacious lap. The simplified structure of the boat around them looks back to Bomberg s earlier work. But this drawing also anticipates his later involvement with rural subjects. By the time he executed two images of Picos de Europa, Asturias (p.49 & 47), in oil and charcoal, he had become enthralled by the Spanish landscape. Settling for a while in the dramatic Asturian mountains, Bomberg became very free and summarised the shadowy, swiftly changing grandeur of the scene. Yet the eruption of civil war forced him to return to London in November Seven years later, he became obsessed by a bomb store near Burton-on-Trent after the War Artists Advisory Committee invited him to visit this disused mine. His exploration of the eerie scene preoccupied Bomberg, who made many powerful drawings and oil studies filled with his awareness of the bombs immense destructive potential. And in 1944, the accidental detonation of one bomb caused a catastrophic chain reaction. This apocalyptic disaster was the largest explosion ever recorded in Britain. Looking back now, we can see just how prophetic Bomberg s insightful vision turned out to be. 9

7 Classical composition, 1910 Charcoal & crayon on paper Signed & dated 14.5 x 10.5 in / 37.5 x 27.5 cm 11 Anthony D Offay Gallery, London Literature: David Bomberg Richard Cork, Yale 1987 (fig.15 illus.p.18)

8 13 Above: Study for Vision of Ezekiel, 1912 Right: (on verso; study for Moving Vans, 1922) Charcoal on paper (both sides) 20 x 25 in / 51 x 63.5 cm Fischer Fine Art, London Gillian Jason, London Exhibited: David Bomberg; Works on paper, July 1988, Rex Irwin Gallery, Sydney (cat.1) Important paintings & works on paper, June-August 1990, Modernism Gallery, San Francisco

9 Study for Reading from the Torah (double sided), 1913 Gouache & pencil on paper 11 x 7.5 in / 28 x 19 cm 15 Henry Boxer Gallery, London

10 Study for the Russian Ballet (The dancer), 1914 Gouache & pencil on paper 11 x 8 in / 28 x 20 cm 17 Gillian Jason, London

11 Vorticist study (double sided), c.1914 Red & black chalk & ink on paper 7.75 x 10 in / 19.5 x 25.5 cm 19 Connaught Brown Gallery, London Anthony D Offay Gallery, London Exhibited: Modern British Art: Vorticism & the Grosvenor School, , 1993, Hearst Art Gallery, Moraga, California (cat.4)

12 Above: Sappers under hill 60, Ink & watercolour on paper 5 x 7.5 in / 12.5 x 19 cm Fischer Fine Art, London Wilson Stephens Fine Art, London Exhibited: A Tribute to Lilian Bomberg, March-April 1985, Fischer Fine Art, London (cat.33) Right: The sappers under hill 60, 1919 Oil on paper 16.5 x 26.5 in / 42.5 x 67.5 cm Collection of Juliet Lamont Gillian Jason, London

13 23 Study for the Russian Ballet lithograph ( Methodic discord startles ), Pen on paper Monogrammed 4 x 3.75 in / 10 x 9.5 cm Finished lithograph illustrated above (not part of the private collection) Gillian Jason, London

14 Men & Women, c.1919 Pencil on paper 10.5 x 8 in / 26 x 20 cm 25 Gillian Jason, London

15 The Visitors, 1919 Ink & wash on paper 10.5 x 8 in / 26 x 20 cm 27 Gillian Jason, London Exhibited: David Bomberg, March-April 1967, Arts Council Exhibition at Tate Gallery, London (cat. 28) David Bomberg, February-May 1988, Tate Gallery, London (cat.65, illus.p.152) Literature: David Bomberg Richard Cork, Yale 1987 (fig.165 illus.p.129)

16 Men & Women (the table), 1919 Ink & wash on paper 10.5 x 8 in / 26 x 20 cm 29 Gillian Jason, London Exhibited: David Bomberg, February-May 1988, Tate Gallery, London (cat.64, illus.p.152) Literature: David Bomberg Richard Cork, Yale 1987 (fig.162 illus.p.129)

17 31 Above: Dancer series, 1919 Pencil, ink & wash on paper 5 x 7.5 in / 12.5 x 19 cm Right: The Visitors, 1919 Ink & pencil on paper 10.5 x 8 in / 26 x 20 cm Boundary Gallery, London Gillian Jason, London

18 Lock-up, 1919 Ink & wash on paper Signed & dated 10.5 x 8 in / 26 x 20 cm 33

19 35 Above: The Embrace, 1919 Blue crayon on paper 10.5 x 8 in / 26 x 20 cm Fischer Fine Art, London Gillian Jason, London Exhibited: A tribute to Lilian Bomberg, March-April 1985, Fischer Fine Art, London (cat.13) Right: Sappers at work, 1919 Ink & wash on paper 10.5 x 8 in / 26 x 20 cm Gillian Jason, London

20 Family Group, 1919 Ink & wash on paper Signed & dated 10.5 x 8 in / 26 x 20 cm 37 Fischer Fine Art, London Gillian Jason, London Exhibited: A tribute to Lilian Bomberg, March-April 1985, Fischer Fine Art, London (cat.18, illus.p.12) Towards the restructuring of the universe - one view of the 1920s May-June 1986, Rachel Adler Gallery, New York (cat.3) David Bomberg; Works on paper, July 1988, Rex Irwin Gallery, Sydney (cat.6) Important paintings & works on paper, June-August 1990, Modernism Gallery, San Francisco Literature: David Bomberg Richard Cork, Yale 1987 (fig.163 illus.p.129)

21 Family Group, 1919 Ink & wash on paper 10.5 x 8 in / 26 x 20 cm 39 Fischer Fine Art, London Exhibited: A tribute to Lilian Bomberg, March-April 1985, Fischer Fine Art, London (cat.30, illus.p.46) David Bomberg, February-May 1988, Tate Gallery, London (cat.67, illus.p.152) Literature: David Bomberg Richard Cork, Yale 1987 (fig.158 illus.p.128)

22 The Doorway, 1920 Ink & pencil on paper Signed & dated 13.5 x 10 in / 35 x 26 cm 41 Jason Rhodes Gallery, London

23 Mother & Child (study for Bargee), c.1921 Pencil on paper 10.5 x 8 in / 26 x 20 cm 43 Fischer Fine Art, London Gillian Jason, London Exhibited: A tribute to Lilian Bomberg, March-April 1985, Fischer Fine Art, London (cat.40) Rocks & Flesh: An argument for British drawing, selected by Peter Fuller 1985, Norwich School of Art Gallery and touring (cat.40) David Bomberg; Works on paper, July 1988, Rex Irwin Gallery, Sydney (cat.18) This drawing is a study for the oil painting Bargee (1921) in the Thyssen-Bornemisza Collection, Madrid The oil painting is catalogued in David Bomberg Richard Cork, Yale 1987 (fig.c22 illus.p.142)

24 Figure composition (Stable interior series), 1919 Oil on paper 34 x 16 in / 86 x 41 cm 45 Fischer Fine Art, London Gillian Jason, London

25 Picos de Europa, Asturias, 1935 Charcoal on paper 18 x 25 in / 47 x 63.5 cm 47 Marlborough Gallery, London Fischer Fine Art, London Hirschl & Adler, New York Gillian Jason, London Exhibited: David Bomberg, March 1967, Marlborough Gallery, London (cat.16) David Bomberg; Works on paper, July 1988, Rex Irwin Gallery, Sydney (cat.27)

26 Picos de Europa, Asturias, 1935 Oil on paper laid on canvas 27.5 x 37 in / 70 x 94 cm Gillian Jason, London Bernard Jacobson Gallery, London Exhibited: David Bomberg, February-March 1988, Gillian Jason, London (cat.31)

27 51 Above: Study after Piranesi (Carceri etchings), 1942 Pencil & sepia crayon on paper with collage 9.5 x 12.5 in / 24 x 32 cm Exhibited: David Bomberg, February-March 1988, Gillian Jason, London (cat.32) Literature: David Bomberg Richard Cork, Yale 1987 (fig.301 illus.p only top left quadrant shown) Right: Bomb Store, 1942 Charcoal on paper 23 x 27.5 in / 58.5 x 68.5 cm Connaught Brown Gallery, London Exhibited: Bomberg: The later years, September-October 1979, Whitechapel Gallery, London (cat.3) Bomberg: The later years, January-February 1980, Fruit Market Gallery, Edinburgh (cat.23)

28 Bomb Store, 1942 Oil on paper laid on canvas 37 x 25 in / 95.5 x 64 cm 53 Fischer Fine Art, London L.A. Louver Gallery, Venice, California Exhibited: A tribute to Lilian Bomberg, March-April 1985, Fischer Fine Art, London (cat.74)

29 Bomb Store (Study for the Memorial Panel), 1942 Oil on paper 47 x 60 in / 118 x 150 cm Fischer Fine Art, London Exhibited: David Bomberg, February-May 1988, Tate Gallery, London (cat.152, illus.p.162) (incorrectly labelled by Tate as cat.151 on verso of frame) Literature: David Bomberg Richard Cork, Yale 1987 (fig.c49 illus.p.243)

30 DAVID BOMBERG A brief biographical note Born in Birmingham to a Polish Jewish family on the 5th December 1890, Bomberg s education began in earnest with a move to London in 1905 and evening classes under Walter Bayes at the City & Guilds. He studied under Walter Sickert at the Central School of Art and Westminster College, before joining the ranks of the golden generation at the Slade School. Before the First World War he worked for a period at Roger Fry s Omega Workshop (although this ended acrimoniously) and he travelled to Paris, meeting Picasso, Derain and Modigliani. It was during this time that he attracted the attention of Wyndham Lewis who invited him into the Vorticist fold. Bomberg exhibited alongside the Vorticists at the Dore Gallery in London but never became a formal member of the group. Bomberg also exhibited with the Camden Town Group and was a founding member of the London Group. During the First World War Bomberg served first in the Royal Engineers before transfering to the King s Royal Rifle Corps on the Western Front. His experience of war had a profound effect on him as it did on many of his contemporaries. After the cessation of violence he pulled back from the near abstraction of his early work to a more figurative and expressive style. This move alienated some of his existing patrons and peers and precipitated a particularly challenging period commercially. Bomberg was a keen traveller, often more at home with foreign subject matter, and the 1920s also saw his first trips to Spain and Palestine where he was to paint some of his greatest landscapes. His reluctant return to London came as Spain descended into civil war. He completed only a few oil paintings during this period although he did produce a series of haunting and powerful self-portraits. Although he struggled for official acceptance and his unorthodox teaching methods made him unsuitable for mainstream art schools, he took a series of teaching posts in and around London where he became an inspirational figure for a new generation of representational painters. Bomberg s charismatic teaching led to the formation of the Borough Group in 1946 where the artist was first a figurehead and then a formal president. The Borough Group consisted of students taught by Bomberg at the Borough Polytechnic, including Dorothy Mead, Dennis Creffield, Cliff Holden, Miles Richmond and Leslie Marr. Leon Kossoff and Frank Auerbach regularly attended Bomberg s classes while also studying at St Martin s School of Art. Despite never formally joining the Borough Group, they both have acknowledged Bomberg s influence during their formative years, particulary in terms of allowing them the freedom to experiment and develop their own individual styles. Bomberg returned to Spain in 1954 with the idea of setting up an art school in Ronda with Miles Richmond. The project never reached fruition, but many of his former students travelled to Spain to paint alongside him. He fell ill in Spain in 1957 and was ushered back to Gibraltar by Richmond and then onto London, only to pass away two days later at St Thomas s hospital on the 19th August. Despite some significant exhibitions during the late 1950s and 1960s, and the best efforts of Lillian Bomberg (his second wife), Bomberg s reputation and legacy was woefully neglected until the late 1980s when Richard Cork s authoritative monograph on the artist was published (1987) and a major retrospective was mounted at the Tate Gallery (1988). A second important retrospective followed at the Abbot Hall Art Gallery in Kendal in Bomberg was the subject of a major BBC4 documentary in 2011 as part of their British Master series. The 60th anniversary of his passing will be marked by a new monograph and touring exhibition, opening at the Pallant House Gallery on the 21st October We feel sure that these exhibitions and events will help cement Bomberg s reputation as one of the finest British artists of the 20th century. Works by David Bomberg form part of many important public collections, including; Abbot Hall Art Gallery Arts Council Collection, Southbank Centre Ben Uri, London Bristol Museum & Art Gallery Ferens Art Gallery, Hull Government Art Collection Imperial War Museum, London Jerwood Gallery, Hastings Laing Art Gallery, Newcastle Leeds Art Gallery London South Bank University (The Sarah Rose Collection) Manchester Art Gallery Middlesbrough Institute of Modern Art National Galleries of Scotland National Museum Wales National Portrait Gallery, London Nottingham Castle Museum and Art Gallery Pallant House Gallery, Chichester Royal Albert Memorial Museum Southampton City Art Gallery Tate Collections, London The Ashmolean Museum of Art and Archaeology, Oxford The Fitzwilliam Museum, Cambridge Hepworth Wakefield The Whitworth, Manchester Towner, Eastbourne Victoria and Albert Museum, London Walker Art Gallery, Liverpool Outside UK Israel Museum, Jerusalem The Jewish Museum, New York Museum of Modern Art, New York National Gallery of Victoria, Melbourne Thyssen-Bornemisza Collection, Madrid Yale Center for British Art, New Haven Back cover image: Study for the Russian Ballet lithograph Pen on paper (illustrated p.23) Catalogue written and published by Waterhouse & Dodd Additional text by Richard Cork ( of the author) Printed by ArtQuarters Press Photography by Todd White

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