David Jones 1895–1974 - Monnow Valley Arts Centre

3. A Latere Dextro 1943–9Pencil, chalk, watercolour and gouache,61 × 47 cmLiterature: The Maker Unmade, page 261,illustratedThe Paintings of David Jones, plate 64illustratedExhibited: David Jones, Tate Gallery, no 129illustratedDavid Jones, A Map of the Artist’s Mind,National Museum & Galleries of Wales,catalogue no 5, illustrated page 32.THE DAVID JONES ESTATEIn this highly worked painting, Jones depictsthe Mass at the moment the wine is changedinto the Blood of Christ. The title comes fromSt John’s account of the crucifixion whereChrist’s body is pierced on the right side(a latere dextro).35

4. St. David 1947/48Ink and gouache on paper, 38.2 × 28 cmInscribed Dewi Ddyfrwr gweddia dros CymruPRIVATE COLLECTION5. Eclogue IV 1949Pencil and touches of coloured crayon andgouache, 60 × 47 cmSigned and dated lower rightLiterature: The Paintings of David Jones, plate66 (illustrated)Exhibited: David Jones, Arts Council touringexhibition 1954, no 67David Jones, Tate Gallery no 128illustratedPhotograph by kind permission of CeciliaGrayHELEN SUTHERLAND COLLECTION6. Study for Eclogues – 1 1949Pencil, 41 × 33 cmTHE DAVID JONES ESTATE7. Study for Eclogues – 6 194941 × 33 cmTHE DAVID JONES ESTATEIn these drawings an Angel is caughtdescending to earth to shepherds in the field.The title comes from Virgil where a passage inEclogue IV is said to refer to the prophecy ofthe Incarnation.65

6 78. Gwener 1959Watercolour, gouache and pencil, 38 × 57.2 cmLiterature: The Maker Unmade, page 273,illustratedExhibited: David Jones, Tate Gallery 1981, no.138VALERIE WYNNE-WILLIAMSCOLLECTIONIn this painting, originally called the Lee-Shore, Jones’ muse, Valerie Price, is showngazing out to sea surrounded by elementsfrom the Mass and from Welsh folklore87

C H A L I C E PA I N T I N G SJones develops the first Chalice paintings out ofstill life works made at Pigotts in 1932. This themeis re-visited in the early 1950s. In these paintings,which Jones rated highly in his oeuvre, a vase isplaced in the centre of the composition on a tabletop. The table represents an altar and the flowersthe chalice. Usually the central chalice will containbriar roses to represent the crucifixion. Whereother goblets or chalices are present they willrepresent the two thieves crucified with Christ.Objects on the table top will also have significancesuch as a necklace being a metaphor for theRosary.^9. Gwyl Ddewi (Chalice with Daffodils)1950Watercolour, chalk and gouache, 66 × 75 cmSigned and dated lower rightExhibited: David Jones, Arts Council touringshow 1954, no 71David Jones, Tate Gallery 1981, no. 133HELEN SUTHERLAND COLLECTION10. Chalice and Goblets c. 1950Pencil, watercolour and gouache, 56 × 76 cmPRIVATE COLLECTIONAn unfinished study with a similararrangement of objects as in Flora in Calex-Light 1950Illustrated on front cover11. Chalice with Flowers and Pepper Potc. 1954Pencil, crayon and watercolour, 79 × 57.5 cmLiterature: Dai Great Coat, illustrated oppositepage 163Exhibited: David Jones, Tate Gallery 1975.PRIVATE COLLECTIONIllustrated on page 212. Toureen c. 1954Pencil, crayon and watercolour, 77.5 × 56 cmAn unfinished studyPRIVATE COLLECTIONT R E E D R AW I N G SAfter Jones’s second mental breakdown in 1947, hesettled in a room at Northwick Park Lodge inHarrow. As he had done whilst in the nursinghome, Bowden House, Jones drew the trees fromhis room, initially as therapy and later as an act ofengaging again with nature. Many of thesedrawings were exhibited at the Redfern Gallery in1948 and although not immediately appreciated bythe critics, were well received by the public andhave become some of the most iconic images inJones’s post war work.13. Tree at Northwick Park (with PlayingFields) 1948Watercolour, crayon, chalk and pencil,76 × 58 cmLiterature: The Maker Unmade page 200illustratedPRIVATE COLLECTION14. Tree Harrow (April is the CruellestMonth) c. 1948Pencil, crayon and watercolour wash,78 × 57 cmPRIVATE COLLECTION15. Tree with Hen-Coop c. 1948Pencil, watercolour and crayon, 61 × 49 cmPRIVATE COLLECTIONIllustrated on inside front cover89

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PA I N T E D I N S C R I P T I O N SAlthough Jones is recorded as having made hisfirst painted inscription in 1932, it is clear that hisapproach to lettering had developed much earlier.Some of the wood engravings from the Ditchlingdays incorporate lettering as did the copperengravings of the late 1920s. However Jonesabondoned engraving in 1930 and this form ofexpression gave way to painting his own sepecialform of letters in watercolour. Letters areirregularly spaced and sized. Colour is used toemphasise certain words and languages are mixedup. The two dimensional space appears to pushand pull at the spaces between the letters, creatinga rhythmic flow that enchants the eye.Most of these works were made as personalgifts to friends. Texts are drawn from the Bible orother sources that have particular resonance forthe event being celebrated or the intendedrecipient. The exercise of making the inscriptionshowever was laborious. Many drafts andexperiments were carried out for each as Jones wasessentially inventing the art form as he went along.Jones preferred non English texts as this helpsthe viewer concentrate on the visual impact of thework and not on the meaning of the words whichcomes later.16. Ut Tua Gratia Largiente 1947Black and red watercolour, 30.5 × 39 cmLiterature: The Painted Inscriptions of DavidJones, No. 10, page 28HELEN SUTHERLAND COLLECTION17. Veni Pater Pauperum 1949Watercolour, 19 × 32 cmInscribed For Louis from David Jones Whitsun1949 on reversePRIVATE COLLECTION1017

18. Regis Insulae 1955Three watercolour inscriptions mountedtogether, 18 × 32.5 cm, 17 × 20 cm and 13 ×32.5 cmLiterature: The Painted Inscriptions of DavidJones, ref. viii, ix, x, page 95PRIVATE COLLECTION19. Chris Ein Pasq c. 1950–5Watercolour, 17.5 × 31 cmLiterature: The Painted Inscriptions of DavidJones, No. 35, illustrated page 68Exhibited: David Jones, Tate Gallery 1981, no152PRIVATE COLLECTION1920. Dewi Wynfydedig 1959Watercolour, 15.2 × 24 cmSigned and dated 1 March 1959Literature: The Painted Inscriptions of DavidJones, ref. no 48, illustrated page 84VALERIE WYNNE-WILLIAMS COLLECTIONIllustrated on back cover21. Dyma Arwr Mawr 1960Watercolour, 13 × 19 cmSigned and datedLiterature: The Painted Inscriptions of DavidJones, ref xvii, page 96VALERIE WYNNE-WILLIAMS COLLECTION2111

G I R L SJones was engaged to Eric and Mary’s Gill’sdaughter, Petra, from 1924–28. Petra was his firstmuse, Prudence Pelham his second and ValerieWynne-Williams the last. Jones loved women butnever married and in his later life poured out hisfrustrations in numerous drawings of imaginarygirls based on his muses.Most of these drawings were hastily done with afew being worked up into more finished workswith colour being added either in coloured crayonor watercolour and gouache. They do not seemever to have been exhibited and were intended asgifts or were left in the estate when he died.They represent a significant aspect of Jones’work which has not been properly researched asyet.25. Woman Warden During the Blitz 1941Watercolour and pencil, 32 × 20 cmLiterature: The Maker Unmade, page 257illustratedPRIVATE COLLECTIONWhen the Blitz started Jones was “stirred ...bybeautiful girls wearing steel helmets at jauntyangels” (Maker Unmade page 257).Illustrated on page 326. Girl Putting on her Glove c. 1948Pencil and coloured crayon, 32 × 20 cmPRIVATE COLLECTIONIllustrated on page 143113

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27. Woman Looking Right c. 1948Pencil and watercolour, 51 × 37 cmTHE DAVID JONES ESTATE28. Woman Looking Left c. 1948Pencil and watercolour, 56 × 36 cmTHE DAVID JONES ESTATE29. Woman Looking Out c. 1948Pencil and watercolour, 50 × 36 cmTHE DAVID JONES ESTATEIn these drawings of girls observed at Mass,the profiles remind one of Petra Gill who hadmarried Denis Tegetmeier in 1930.30. Girl Tying a Bow c. 1950Pencil and coloured crayon, 31 × 19.5 cmPRIVATE COLLECTION31. Girl Sitting by a Stream 1950sPencil and watercolour, 32 × 20 cmLiterature: The Paintings of David Jones, no.60 (illustrated)PRIVATE COLLECTIONIllustrated on page 133232. Girl with a Bonnet 1950sPencil and coloured crayon, 32 × 20 cmPRIVATE COLLECTION33. Woman and Child at Mass c. 1958Pencil, 37 × 27 cmExhibited: David Jones, Arts Council 1989, no.61THE DAVID JONES ESTATE3434. Two Girl Chaps c. 1959Pencil, pastel and gouache, 32 × 20 cmSigned lower rightVALERIE WYNNE-WILLIAMS COLLECTION15

35. The Three Graces 1959Gouache, pastel and pencil on paper laidon board, 33 × 20 cmSigned, titled and dated on reverseTHE DAVID JONES ESTATEThe title may refer to Jones’ three muses.36. Girl Asleep with Bows 1959Gouache, pastel and pencil, 32 × 19.5 cmIllustrated: The Maker Unmade page 273The subject is Valerie Wynne-WilliamsTHE DAVID JONES ESTATE37. Standing Girl, Back c. 1960Ink and crayon, 32 × 20 cmTHE DAVID JONES ESTATE38. Standing Girl, Head Bowed c. 1955Pencil and watercolour 32 × 20 cmTHE DAVID JONES ESTATE39. Girl Walking c. 1955Pencil and watercolour, 32 × 20 cmTHE DAVID JONES ESTATE40. Girl on Sofa c. 1960Pencil and watercolour, 32 x 20 cmTHE DAVID JONES ESTATE3541. Girl Standing with a Bouquet ofFlowers c. 1960Pencil and watercolour, 32 x 20 cmTHE DAVID JONES ESTATE1636

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