Richard Ernst Eurich (1903 - 1992)

20th Jan 1920:

Back to school. Curse! Damn! Blast! Blow! Confound!!

13th Feb 1920:

I went to see Mr Sichel with Father. Said that I had decided talent and ought to go to the art school.

21st Feb 1920:

Began painting Sandsend Ness on a rough day.

22nd Feb 1920:

First time I have painted with a palette knife.

27th Feb 1920:

Mr. Pearson told me there was some very good colour in my painting of Sandsend Ness.

Memoir • 1920:

I entered for a scholarship, being asked to draw a plaster cast of a lion’s head. I was granted the scholarship and so the end of my schooldays was drawing near, much to my satisfaction.

12th Mar 1920:

I was confirmed in St Marks Church by the first Bishop of Bradford.

Memoir • [unknown date]:

Richard became disappointed with the art school.

I had looked forward to mixing with other students having heard stories of their doings from the Pearsons when they talked about their student days. So I was puzzled when I found that there was no other student who wanted to be an artist, i.e. one who paints pictures. They were all studying “commercial art".

Memoir • [unknown date]:

I was most sorry to leave Bradford, I loved it, and when I was told that Big Ben would not be able to come to Ilkley I was furious. One of the very few times, if not the only one, when I nearly lost my reason with fury (and what is more expressed it) was on this occasion. So when the removal took place I took Big Ben in a hamper by train to Ilkley myself.

Memoir • [unknown date]:

The smallness of the house persuaded Father to purchase a second-hand hut to stand in the garden. This he allowed me to use as a studio and bedroom combined. I soon had it fitted up and decided I would almost live in it as far as possible. I may have regretted leaving Bradford but the change had one overwhelming influence on my future.

Richard is referring to the paintings he did of the local moorland landscapes, including a particular tree in their garden, and the bearing they had on his career as an artist.

When it came time in late summer of 1921 for his father to decide if Richard could carry on at the art school, Richard's instructor at first suggested that Richard should really think about becoming a teacher rather than an artist.  

Disappointed, Richard took his instructor to his studio and showed him the pictures he had done throughout the summer.

. . . There was a stunted oak tree in our garden at Ilkley. I bought a canvas and laboured in the open air during that summer on a painting of it. I painted several smaller pictures on the moors and made pastel and pencil drawings of the quarries . . .

On seeing this latest set of pictures, the instructor said to Richard's father:

. . . Well, that knocks teaching on the head." 

Twenty years later, after I had been elected an associate of the Royal Academy of Arts, Father wrote to my old teacher and reminded him of his decision on that fateful afternoon and thanked him for it.

Memoir • [unknown date]:

An art club that Richard attended visited Farnley Hall near Otley which had about 250 Turners.

It was then that I discovered the presence of Farnley Hall which I could see from the moors above our house. I went to see the wonderful collection of Turner watercolours, which had been purchased from the painter, many of them depicting Farnley itself and the surrounding country. Turner became my hero and I bought an old bicycle and explored Wharfedale trying, in many cases, to locate the exact spot where he must have sat to make his drawings.

Memoir • 1921:

I made a visit to Liverpool to see some old relatives at Birkenhead for a day or two. I had never seen docks under winter conditions and when I arrived home I painted a sunset over the docks with a steamer churning up water all emerald green and orange. I must have used many dangerous colours on this work but to-day it still looks as fresh as when it was painted over thirty years ago.

Memoir • 1922:

When the snow came I decided to paint on the moors. I selected a spot high up as I wanted a spacious view. I took a camp stool and painted for a couple of hours, quite engrossed in the effort of recording the bleak landscape under these conditions. When I came to pack up I found I couldn’t move. My legs were quite numb and my hands blue.

I did not often go out like that again without giving some idea of where I was going and it also brought home the impossibility of really constructive work under such conditions, so I made drawings and small oil sketches and embarked on a reconstruction of them in the studio.

The painting that emerged which I called “The Torrent” was exhibited at the local Arts Club exhibition and brought me my first press notice.

Memoir • [unknown date]:

Accepted at the Slade.

It was a great day for me when I was accepted by the Slade School in London and was awarded a special grant by the Drummond Foundation for the further education of Bradford Grammar School boys. I had never stayed in London before or seen any of the galleries and museums. So in the summer before I was due to join the Slade I went with Mother and some of the family to stay in a flat belonging to some friends who exchanged it for a holiday in our cottage in Ilkley. My lodgings had to be arranged and, after that, I was free to ramble round the galleries.

1st Jan 1925:

Began a small painting (16x10) of hills in snow. Memory of the ride in the car with Father last Sunday up to Windermere and Ambleside, through snow and hail storms.

3rd Jan 1925:

Began a small oil painting of sea and downs etc. (16x10) memory of Weymouth Downs. Experimenting with the contrasts of different kinds of grey, to produce movement of light.

6th Jan 1925:

Went to see Mr Butler and Miss Bolton at the Bradford School of Art. Mr Butler thought I should be slow in developing but that I must go ahead, not to be too keen on exhibiting, and he thought I should go a long way.

Some fine drawings up in the Life Room; Gaudier Breszka, W. Lewis, Kennington, P.& J. Nash etc.

[unknown date]:

Mr. Wilkie gave me some good advice. I must try to draw larger whatever the old professors say. Must also get a stronger style.

13th Jan 1925:

Work all day in the life class. Must try to make my drawing more convincing and searching.

14th Jan 1925:

Morning in the life class:

Tonks quite encouraging. Overheard him saying that the modern French painters did not give volume to their work! This sounds very extraordinary from a man who is supposed to be up in such things.

Afternoon in Bick’s studio and had another tussle with my head of Bach in stone. Wonderful drawings by Archipenko.

15th Jan 1925:

Life class all day. Seems to be a slight improvement. In the evening began a 24x20 of a young man, slightly laid in in monochrome.

18th Jan 1925:

Wrote letter home including a humorous one to Hugh in the manner of Pepys.

19th Jan 1925:

In the evening went on with painting of medieval man. Hope to experiment with colour scheme. Perhaps try red hair!”

[unknown date]:

. . . when I got to the Slade school and mentioned Turner they all looked down their noses. Turner, I discovered, was a dirty word. It was rather strange.
 
I didn’t study his later work which of course now is considered to be his great work, because I thought that really his early work of the ‘Shipwreck’ and ‘Calais Pier’ and things like that were really the clue to how he started and how one should start and go right through a person’s career.

21st Jan 1925:

Life class:

Got some grey paper as the white hurts my eyes. Then Bick’s studio and worked a bit at the stone head (of Bach) which is the Dickens of a mess. Then worked till 10.30 on the ‘young man’ canvas. Laid in all the grounds in flat colour, so as to get a start straight off on smooth tone and surface.

23rd Jan 1925:

Last night began my picture of the Deluge for the Sketch Club on a 30x24 canvas.

24th Jan 1925:

Went on with the painting of the Deluge and after supper I began an organ, orchestra and choir picture. It may be a failure but anyhow it is an adventure.

25th Jan 1925:

Set to work on the Deluge. The trouble is that the figures are so small.

26th Jan 1925:

Sent two of my landscapes in for the criticism of the Sketch Club.

28th Jan 1925:

At 1.30 Tonks criticized what he called one of the worst shows ever given. He said my two landscapes were Gallery pictures, that the larger had a sky one only saw in Galleries and not in nature. (This sky was painted from Nature). He thought they were simply a collection of stuff on the canvas. I am afraid he does not see very far. He also lapsed into sentiment about the sacred walls where pictures by great artists had hung etc.!

29th Jan 1925:

Began some pen and pencil studies for The Deluge. Composition to be in on March 16^th.

1st Feb 1925:

Got to work at laying foundations for The Deluge which is causing me a lot of trouble. In fact I don’t know what to do with it yet. I wish it to be something monumental, not a sensational painting with a lot of exaggerations.

2nd Feb 1925:

Life class:

 . . am doing very tight dull studies as I have no knowledge whatever of form and structure. Anatomy lecture in the evening.

5th Feb 1925:

Got on with my painting of The Deluge. It is not going at all well yet. Ideas are not very plentiful.

8th Feb 1925:

Got to work in real earnest for the first time on the Deluge composition.

8th Feb 1925:

[After listening to Beethoven’s 5th on records]
I wish painting could come up to music. Wish I could paint a 5th Symphony.

10th Feb 1925:

Poor old Tonks is very dissatisfied with the standard of drawing at the Slade, in fact he is raving.

11th Feb 1925:

Tried to make some progress on my sketch for the Deluge. Have got in a fearful mess. I wish I had longer for it. This being only my second ambitious attempt at a figure composition.

12th Feb 1925:

Made a sketch for the Raising of Lazarus in Indian ink and brush.

15th Feb 1925:

Up to 4.30 worked on the Deluge. Did not get on very well. The paint has sunk very much.

19th Feb 1925:

Deluge:

Still in a devil of a mess. Oiled it out the other day and it had all run down and made a beastly mess. In the evening  began a small Nocturne also for the Sketch Club.

22nd Feb 1925:

Deluge:

A faint idea just beginning to come but think I won’t have time to finish it.

25th Feb 1925:

Father wishing me to go home for the weekend to see Mr. Appleyard about my nose. Wrote to say I really could not as I want to get on with my painting and there is 'The Matthew Passion' on Saturday night.

26th Feb 1925:

Tried to get on with the Deluge. I feel very disgusted with it.

27th Feb 1925:

Heard that there were three Archipenko sculptures at the Leicester Galleries. Went straight to Bick [friend and sculptor John Bickerdike] and then the Gallery.
We stood amazed! About the most wonderful things I have ever seen. Without exaggeration he is as great as Michelangelo. The subtleties are infinite, and the purity wonderful. he is without an equal in modern times, in fact makes everything else, including Epstein’s ‘Betty May’ look ridiculous. A most amazing experience, and he is only 36. It is almost unbelievable.

1st Mar 1925:

Deluge is a vile mess.

2nd Mar 1925:

Titivated the Deluge. Worked a bit on a panel of 2 heads.

4th Mar 1925:

With Bick and 3 of my paintings to St George’s Gallery to see Howell.  He was very interested in my work and hoped to have some of mine at the gallery before long.

9th Mar 1925:

My rapid drawings are improving but my slow ones are as bad as ever. The Deluge is a failure.

11th Mar 1925:

Summer Holiday Composition to be “A Play in the Open Air.”

16th Mar 1925:

Took Deluge and Nocturne to Sketch Club.

19th Mar 1925:

Madame Tussauds was burned down in the night.

20th Mar 1925:

J. Wheatley criticized Deluge and others. He said mine was very good and showed very considerable knowledge of design.

29th Mar 1925:

Painted a bit at a sketch for a Deposition.

1st Apr 1925:

Back home [for Easter]. Had a head x-ray… something affecting my nose.

[Went to the Cartwright]
Turner’s ‘Deluge’ is there, but shockingly hung. Duncan Grant’s ‘Still Life’ is very fine. Some fine Constables and a glorious coast scene by old Crome. The Reynolds and Rayburns were not representative. A fine little Hogarth. G.F. Watts well represented.

2nd Apr 1925:

To see Dr Kilp about my eyes, new lenses.

10th Apr 1925:

Began carving a small wooden torso of a youth from a piece of oak that was with the firewood.

12th Apr 1925:

Worked all day at the little torso.

15th Apr 1925:

Back in London. Afternoon in Bick’s studio and worked till 6 o’ clock on the wood torso which Bick seems to think promises well.

18th Apr 1925:

In the afternoon to Bicks and worked at the little wooden statuette. Have got into a rare mess over the neck and shoulders owing to a saw cut far into the wood.

19th Apr 1925:

Began in the morning a painting 24x20 of two men.

20th Apr 1925:

Worked in life class all day. My drawing seems to have been most successful there. In fact I am told Tonks deigned to look at it.

23rd Apr 1925:

Making messes most of the day in the life class.

25th Apr 1925:

Life class in the morning. Wood carving in the afternoon The head of my work is shaping better.

27th Apr 1925:

Carving:

In difficulties but hope to have done with it soon. A large ‘shake’ has come in the neck and head and a peg does not fix it quite.

29th Apr 1925:

Just about finished Torso. Started work on a new piece of oak working till 9.30pm.

30th Apr 1925:

Got to work in earnest at the painting I have in hand. There are possibilities in it.

1st May 1925:

Worked hard all day in life class. Perhaps my drawing is improving a little. Walter Russell was rather helpful.

4th May 1925:

Life class all day. Made a shocking mess. Back to hostel and painted till 7.30.

5th May 1925:

NEAC Show . .

Paul Nash had some wonderful paintings and drawings . . . Sargent’s portraits very uninteresting, a wreath was hung over one of them. One of C.J. Holmes’ landscapes rather fine - and an early portrait of Cunningham Grahame by Bill Rothenstein is miles ahead of what he is doing now. A fine portrait of a dentist by William Roberts.

5th May 1925:

A hell of a mess drawing in life class. Painted in the evening.

7th May 1925:

Howling mess at drawing in life class as usual. I don’t think I shall ever be able to draw. I seem to get worse and worse.

10th May 1925:

Felt very depressed and wretched – decided to go and hunt the Wilkinsons up, found I had arrived for Ted’s 21^stbirthday. Had a topping time though there was rather a crush. Revived me somewhat.

11th May 1925:

Life class in the morning. Tonks said my drawing was quite good up to a point of development, which is rather great words from Tonks.

17th May 1925:

Chaps at the hostel threw 2 rolls of toilet paper over Richardson’s (subwarden) wireless aerial then set fire to them. Just about got the place on fire. Richardson gave us a discourse on lavatories and all details concerning them.

19th May 1925:

Life class in the morning. Tonks told me to paint but I think I shall be too nervous to do so. He spoke as though I should have been painting long ago. Gravell [fellow student and life long friend] has been told to paint too.

In the evening finished painting a head of a woman from memory.

May 1925:

In the afternoon went to see the recently unveiled memorial to Hudson by Epstein. It is a very fine thing indeed. A tremendous amount of controversy…. A little hostile chap has been there doing a non stop talk of abuse for hours.

. . . Some absolutely ridiculous abuse about the Epstein monument in the Daily Mail. They seem to be trying to get it removed. Bickerdike wrote an excellent letter to the editor which we took along to the offices in the evening.

. . . Bick’s letter appeared in the Daily Mail along with 3 bad ones.

. . . Bick had a nasty anonymous letter concerning the Hudson Memorial. We long to hear the end of it.

Memoir • [unknown date]:

. . . our old friend, Fred Jowett of Bradford, was the Minister for Works who had passed the design. John Bickerdike and I went to see Epstein and it was then, by the light of a candle, that we had a preview of the masterpiece known as “The Visitation” which he was working on.

27th May 1925:

Life class in the morning. As usual made a howling mess. Later went on with my carving.

29th May 1925:

[Went to the Zoo] Gaudier Breszka must have studied there a lot.

30th May 1925:

My carved torso will have to be cut off below the knees owing to poor wood. Shall try to make an alabaster base for it. Exciting, what!?'

2nd Jun 1925:

Began carving of a cellist, got in rather a muddle but hope to pull it off.

3rd Jun 1925:

Began carving a little dancing torso from the base I cut off the male walking torso. This has been done with a peg in the bottom so as to fix it into an alabaster conical base.

8th Jun 1925:

Found a vein of pith running through the wood so had to modify the design considerably. Otherwise it is going quite well.

11th Jun 1925:

Life class in morning, made some sheets of paper dirty!

12th Jun 1925:

Slade school said goodbye to John Wheatley today. He goes to South Africa. He was asked to criticize the Sketch Club so as to make the presentation. I was fortunate enough to get a prize for my comp. of the old man and the “coloured gentleman”.

Memoir • [unknown date]:

The Sketch Club prizes

A criticism was given by Professor Tonks or another instructor and about three prizes of a guinea each were awarded, I contributed regularly to these showings and usually attempted to do one of the compositions set, such as “The Flood”, The Last Supper” etc. I was very astonished when I was awarded first prize for a figure composition. I sent in a landscape or two and one of these called forth the only memorable saying by Professor Tonks “This student is being influenced by painters who have not been dead long enough to be respectable”. I had found Cezanne. Tonks could not understand Cezanne.

17th Jun 1925:

Received £1 for prize in Sketch Club. Bought a fine book on Donatello also one on Indian sculpture, an eye-opener.

18th Jun 1925:

Went with Bick to the Indian section of the V&A specially to look at the red stone Torso a perfectly amazing thing that seems to be unappreciated, standing on no base right down on the floor, no label, and in fact we had to examine it on hands and knees. [Now elevated and labeled “The Sanchi Torso”!]

Memoir • 1925:

During my last term I was awarded a prize every month which was very gratifying,

Memoir • 1926:

I must confess that I played truant a good deal during my second year but I do not regret it as I was employing the time mostly at the British Museum.

I was also going to those wonderful institutions, lunch time organ recitals. The organ works of Bach were being played in their entirety at Christchurch, Westminster, now destroyed.

There was also Shakespeare at the Old Vic where Edith Evans and other now famous actors and actresses were appearing. To see “Anthony and Cleopatra” for a few pence from the gallery was good value indeed.  

. . . There was the young man in the bow tie who in the interval carried about ten cups of tea stacked one above the other to his adoring girlfriends.

The audience was a motley crowd but they had one thing in common and that was that they had come to see Shakespeare.

Memoir • [unknown date]:

He attended concerts and went to exhibitions with his friend Bickerdike, learning a lot about early sculpture and its influence on artists like Mestrovic.

John Bickerdike, the sculptor, and his wife had both come to London before me and, as it was possible to be very lonely in such a large city, their company and greater experience were of untold value to me.

Photo: John and Doris Bickerdike, musicians and puppeteers

1926:

During the Summer I painted at home in Ilkley, and produced what I considered to be my best work to date, but none of the London Exhibitions would take them. They were exhibited in Bradford where they attracted some notice in the press.  

1927:

During these months I had produced quite a number of paintings and it was decided that I should go back to London to try my luck.

I found myself in a kind of storeroom with a skylight. The room was so high that it was pointed out to me that if I could only turn it on one side it would be quite a nice place. It was dark and dirty and infested with mice.

Here I painted two or three quite large canvases and I carried them round to dealers and exhibitions without success.

[unknown date]:

I had now moved to a basement flat in Redcliffe Gardens. It was rather dark but spacious. My few pieces of furniture were quite lost in the great kitchen with its six-foot stone sink. The dark coal cellar and wine cellar and the iron bars outside the windows gave it a dungeon-like atmosphere.

1928:

Richard did not have his paints with him when he went home for Christmas 1927, so he worked on some drawings over the holiday period and into the new year. 

1928:

Richard had a friend in the Treasury who said he should meet a Mr Stocks, also in the Treasury. Apparently he had two Duncan Grant paintings in his office!

Stocks visited Richard’s basement flat to look at his work and suggested that Eddie Marsh should see his drawings and paintings too. Edward Marsh was well known as a patron to the arts in addition to being with the Treasury and Private Secretary to Winston Churchill who was Chancellor of the Exchequer at the time.

Eddie Marsh duly arrived

with kid gloves on and top hat etc, colliding with dustbins and wiping off cobwebs. He seemed a bit disappointed but bought a small painting for £5 ['The Broken Tree' (1926)]

1928:

A few days after visiting Richard, Marsh wrote to him and said he had seen some of his drawings in the St George’s Gallery in Hanover Square which he thought were far ahead of what he’d seen in his studio. He had bought 'The Bedroom' and another connoisseur, A E Anderson, had purchased 'Resting'.

Of 'Bedroom Interior' Marsh wrote to Richard:

It is very delightful and has the added charm of colour. I snatched it away from an old gentleman who asked for it a minute after I had told Howell [the gallery owner] I would have it! I only hope he will have bought another instead.

I should like to tell you how much I enjoyed your drawings - an achievment.

Memoir • [unknown date]:

Father came down to London for a meeting and saw the place where I was living for the first time. He didn’t like it no doubt having Mother’s illness in mind, and suggested I should move.

Memoir • [unknown date]:

Richard was still finding it hard to to make art pay.

I got in touch with the Goupil Gallery, as they had sold some of my work. I was rather surprised after the director [Cicely Marchant] had been to see me, to hear that Eric Gill was coming along to give his opinion regarding my work.

The strange figure in beard and knickerbockers arrived and was quite affable. I was very shy. At length he said he didn’t like my paintings and asked some questions about them which surprised me as they were the sort of questions a layman might ask, such as “Why is that man wearing a hat?” and “What is he doing?” So I was disappointed after his visit but a few days later the director wrote saying they would give me a one-man exhibition in 1929 . . . of drawings.

[... more in Memoir]

Memoir • [unknown date]:

Mother suggested it might be a good idea if I came home and shut up my ‘flat’ so that I could be looked after properly.

I succumbed to the invitation to go home. It really was rather nice to be looked after again and the sight of the moors and wild life after London was restful and I had so few distractions that I could get on with my work.

Memoir • [unknown date]:

But now I found that it was almost impossible to talk with either Mother or Father about painting. I spoke a language they did not understand and they thought the paintings I admired were done by lunatics and vagabonds.

. . . I then remembered a remark made to me by Mr. Pearson when he found out that painting was going to be my life: “You will have to paint now and disappoint your friends”.

Memoir • [unknown date]:

Richard had to deliver thirty drawings to the Goupil by October:

I had about six months in which to prepare the work and this was going to be tough going as I had to allow a week for each drawing and no allowance for failures.

I had always been given to understand by students that a commissioned work didn’t stand any chance of being a success because the artist had to please the person or group of persons who had ordered it. But most of the great works of art were commissions and had to conform to restrictions and yet the artist responded to the challenge and gave his finest work.

Ever since that year [1929] I have stuck to this working plan. That is that painting must have ‘office hours’ like any other job. A visitor is not welcomed as an excuse to down tools and any domestic job that requires attention must wait.

Memoir • [unknown date]:

I arrived back in London in the autumn and as a final fling drew two large drawings, one of them must have been about four feet high , a single figure of a woman [Lady with a Bird]. The other was of two figures in which the shapes made by crossed limbs was explored.

11th Oct 1929:

The Lovelocks [Queenie and Prior, friends of the Eurich family] seem gratified at my having sent them the old (little) painting of head of a fat man.

14th Oct 1929:

[Giant Airship R101 flew over London]
It looked amazing with the midgets of aeroplanes circling round it. When it got into the distance it looked like some huge fish in an aquarium. But what a ghastly waste of money. The damn thing is no earthly or heavenly use whatever!

14th Oct 1929:

Mr Stocks and Dr Jane Walker to look at drawings. Jane concerned that the fat man playing the Viol da Gamba in the family group drawing was not gripping the instrument with his knees and that it should have a spike!  But they are both fighting over wanting to buy the drawing! Mr Stocks bought The Screen for £10, and Boy with Indian Head Dress for £8. He wants to buy Betty and Paul (drawing).

29th Oct 1929:

Wall Street Crash

3rd Dec 1929:

Mother had to go to a sanatorium last Saturday; I wish Father would get a rest. 

[unknown date]:

I feel very nervous about my exhibition. Nobody seems to be selling at all. All the Galleries I have visited are the same. So what chance do I stand, I don’t know.

Memoir • [unknown date]:

When Richard visited his mother, she described a ‘bonny' Mrs. Green who was dying of TB. She wanted to meet Richard and ask about painting. He did go to see her and struck up a correspondence.

The room was very different from Mother’s. It was light and airy . . .  But it was rather like a pet canary’s cage and the wounded bird was lying in the bed her thin arms stretched out over the bedspread ending with hands that looked rather large and long. But her face, though emaciated and her hair cut short like a boy’s, was certainly bonny.

In one of my latest letters to her I told her I was painting a small portrait of her from memory [Mrs Green (1930)]. I wasn’t at all sure what her reactions would be but she seemed to feel nothing but pleasure at the idea . . . She perfectly understood my feelings about it as she must have known that we would not meet again. Not long after this I had a letter from Mother, who had gone home again, telling me she had heard from another patient that Mrs, Green had been removed from the sanatorium as she was an ‘obstreperous patient’ to a nursing home where she died shortly afterwards.

[unknown date]:

Preview Day

My drawings were to be hung in the first room through which everyone had to go to get to the other galleries.

I strolled in in the afternoon at 2.30 to find the place empty . . .

I was just going out to get the paper [with a review in it] when Bill Wilkinson and wife came in. He was much impressed with the show and said he expected I should get rid of half of it! ... if only I could . . .

People began coming in thick and fast after 3 o’ clock. Mostly for the other two shows in the Gallery . . .

Lady Lavery wished to be introduced to me. She was wearing a black velvet shapely jacket with a most astonishing flower pinned to it, a luxury that must have cost something. She had come to see the other shows but found mine much more interesting! A number of people said the same thing . . .

One lady who I was told to be affable to . . . said she thought (her false teeth clicking) that people wanted coloured pictures at this time of the year!

A Miss Julia Bower was the first to purchase. I wish her the best of thanks. She selected ‘The Girl with Large Eyes’.

The show happened just a couple of months after the Wall Street Crash, but Richard’s turned out to be one of the best-selling in London at that time.

He met Christopher Wood there for the first and only time. This meeting left a great impression on him.

Memoir • [unknown date]:

I turned to the young man with great interest as I had much admired recently some water colours and drawings by Kit Wood which showed a vision of almost child-like clarity combined with draughtsmanship of undoubted mastery. So I asked if he was Christopher Wood and he replied that he was. We talked for some time about each other’s work and then he too left the gallery which became less populated as the afternoon was nearly over. In less than a year he was dead.

12th Dec 1929:

Last night I had a note from the Goupil asking me to call round as they had an offer for a drawing or two. The little cockney doorkeeper greeted me with a grin saying that his favourite: ‘The Charlady Bows’ was not sold yet! But otherwise they had been selling like hot cakes yesterday!

18th Dec 1929:

Concert by the Oriana Madrigal Society… Bax’s ‘Mater Ora Filium

Bax himself was there with that creature Harriet Cohen who was made up like a clown. Freda Swain the composer, wife of Alexander (pianist), a magnificent specimen of humanity, huge and delightfully fresh-looking and quite unaffected. Sir William Rothenstein also there. The English Folk Dance Society’s team gave a splendid performance of the Northumberland Sword Dance.