 |
| Cedric Morris Peregrine Falcons 1942 oil on canvas Tate Gallery |
 |
| Cedric Morris The Eggs 1944 oil on canvas Tate Gallery |
 |
| James Boswell Punch and Judy ca. 1945 ink and gouache on paper Tate Gallery |
Sonnetina: Punch and Judy
This is the play of plays. Come, boys,
Old men, and little girls, and see
The rogue outdone in roguery,
And hear his lovely dreadful noise!
There is a catch in Punch's voice
When he escapes the gallows-tree,
That takes the heart outrageously
And makes the rascal street rejoice.
This is that antic play that made
The mummy laugh (when he had blood),
That shall outlive the tragedy
In time of war with sables played:
The beggar's masque, and gamin's mood;
The first, last laugh of comedy.
– Ernest Rhys (1859-1946)
 |
| Peter Rose Pulham L'Hôtel Sully, Courtyard with Figures ca. 1944-45 oil on canvas Tate Gallery |
 |
| Georges Braque The Billiard Table 1945 oil paint and sand on canvas Tate Gallery |
 |
| André Masson The Red Lands and the Montagne Sainte-Victoire 1948 oil on canvas Tate Gallery |
 |
| David Bomberg Trees in Sun, Cyprus 1948 oil on canvas Tate Gallery |
 |
| Ivon Hitchens Interior, Boy in Bed 1941 oil on canvas Tate Gallery |
 |
| Leslie Hurry Grace Sholto Douglas 1940 oil on cardboard, mounted on panel Tate Gallery |
 |
| Cliff Holden Yellow Seated Figure 1947 oil on board Tate Gallery |
from Commentary on Yellow
Of which an anecdote: We had backed further and further up the steps as the splendors before us continued. Gleaming processions passed this way and that: distantly, along the great Causeway of white marble, and further away, spiralling slowly to the top of the southern mountain, and nearby, back and forth across the columned bridges, along the ramparts rising above the shining bay. None seemed headed in the same direction. The crowds watching, like the one in which we found ourselves, seemed like the passing throngs – in white, in gold, in armor or in many-colored silks – to be filling the wide air, in a full celebration that could not quite be called gratitude. We backed further on up the steps below a statue that rose behind us, perhaps their famous chryselephantine Saturn, golden-scythed. The high sun was far from its reddened setting. But it would only be after that lowering crimson, rhymed in the red fires of the Conquerors come that same evening that, as we fled past the base of the statue, past the stone pedestal on which it rested, we should discern it indeed to have been one of Mars, sword curved in the same flat crescent as scythe, gatherer of red rather than of yellow.
Hilda laid on the gold leaf. The copy she was making of "The Miracle of the Field" flourished and sprouted under her shining care. It was not that it was a copy, nor that it was not even after some lost original. It was that it was hers. This was true plenty.
– John Hollander (1929-2013)
 |
| Édouard Pignon The Miner 1949 oil on canvas Tate Gallery |
 |
| E.Q. Nicholson Still-life with Mirror ca. 1949 graphite, watercolour and gouache on paper Tate Gallery |
 |
| Henry Moore Standing Figures 1940 wax, coloured pencil, graphite, ink and watercolour on paper Tate Gallery |
 |
| Paul Ayshford Methuen, 4th Baron Methuen The Tate Gallery from the Surrey side 1940 watercolour on paper Tate Gallery |