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him to ESH and Gluck, 12 January 1948.

8.

Gluck to George Yeats (copy undated, but probably 2 March 1948).

9.

Dulac to Gluck, 5 March 1948.

COSMIC INJUSTICE

1.

Wilfrid Greene to Gluck, 7 August 1949.

2.

Gluck, Notes on her mother’s illness (undated).

3.

Ibid.

4.

Dr Barnet Solomons to Louis Hallé Gluckstein, 5 May 1950.

5.

Gluck, Notes on her mother’s illness (undated).

6.

G.E. Woodroffe to Gluck, 21 April 1950.

7.

Gluck to her brother, 5 May 1950.

8.

Dr Solomons to Louis Gluckstein, 5 May 1950.

9.

Julia Samson to Gluck, 24May l950.

10.

Gluck to Pierre Jeannerat, The Daily Mail, 2 December 1942.

THE PAINT WAR

1.

Gluck, ‘The Impermanence of Paintings in Relation to Artists’ Materials’, Royal Society of Arts Lecture, 1964.

2.

Gluck, ‘The Dilemma of the Painter and Conservator in the Synthetic Age’, Museum Associations Conference, 21 July 1954.

3.

Ibid.

4.

Ibid.

5.

Ibid.

6.

Nesta Obermer to Gluck, 14 June 1954.

7.

Sir Gerald Kelly to Gluck, 30 January 1951.

8.

Christine Leback Sitwell, ‘The Dilemma of the Painter and Conservator in the Synthetic Age: the Paintings and Correspondence of the Artist, Gluck’, Grant Thornton, Brighton, 1987.

9.

Ibid.

LACUNA

1.

Conversation with Mrs Guy, 26 November 1986.

2.

Conversation with Hermia Priestley, 18 February 1987.

3.

Diary entry, 5 September 1957.

4.

Diary entries, 1955 to 1961.

5.

Diary entry, 1 August 1958.

6.

Diary entry, 26 March 1959.

7.

Diary entries, 24 and 30 March 1959.

8.

Diary entry, 25 March 1959.

9.

Diary entry, 2 April 1959.

10.

Diary entry, 19 March 1959.

11.

Sir Cyril Salmon at the Old Bailey, 15 September 1958.

12.

Diary entry, 12 August 1959.

13.

Cyril Salmon to Gluck, 28 June 1960.

14.

Diary entry, 10 June 1963.

15.

Gluck, Notes (undated).

16.

Ibid.

A RETROSPECTIVE VIEW

1.

Gluck, Notes (undated).

2.

Diary entries, August 1972.

3.

Conversation with Winifred Vye, 7 January 1987.

4.

Nesta Obermer to Gluck, 3 August 1973.

5.

Nesta Obermer to Gluck, July 1973.

6.

Ursula Robertshaw, interview with Gluck, Illustrated London News, May 1973.

7.

Diary entries, 28 May, 17 and 18 June 1970.

8.

Gluck to Nesta, 19 April 1970.

9.

Gluck to Andrew McIntosh Patrick, 24 May 1972.

10.

Lady Jean Rankin to Nesta, 7 May 1973.

11.

Prudence Maufe to Tony Carroll, 21 February 1973.

THE DYING OF THE LIGHT

1.

Diary entries, August and September 1974.

2.

Diary entry, 4 May 1975.

3.

Diary entry, 5 June 1975.

4.

Diary entry, 23 September 1975.

5.

Gluck to Nesta Obermer (undated, April 1976).

6.

Diary entry, 5 November 1976.

7.

Conversation with Julia Samson, 24 February 1947.

8.

Gluck, Notes on painting (undated).

BIBLIOGRAPHY

Agate, James, Ego 2, Gollancz, London, 1936.

Agate, James, Ego 3, Harrap, London, 1938.

Battersby, Martin, The Decorative Twenties, Studio Vista, London, 1969.

Battersby, Martin, The Decorative Thirties, Studio Vista, London, 1969.

Cartland, Barbara, We Danced All Night, Hutchinson, London, 1970.

Cochran, C. B., Cock-A-Doodle-Do, Dent, London, 1941.

Compton, Susan (ed.), British Art in the Twentieth Century, Royal Academy of Arts, London, 1987.

Cooper, Emmanuel, The Sexual Perspective, Routledge, London, 1986.

Coxhead, Elizabeth, Constance Spry, William Luscombe, London, 1975.

Dark, Sidney, Ivan Heald, Hero and Humorist, Pearson, London, 1917.

Delafield, E. M., Diary of a Provincial Lady, Macmillan, London, 1930.

Fisher, Richard, B., Syrie Maugham, Duckworth, London, 1978.

Fox, Caroline and Greenacre, Francis, Painting in Newlyn, 1800–1930, Barbican Art Gallery, London, 1985.

Gluck, ‘The Dilemma of the Painter and Conservator in the Synthetic Age’, Museum Associations Conference, London, 21 July 1954.

Gluck, ‘The Impermanence of Paintings in Relation to Artists’ Materials’, Royal Society of Arts Lecture, London, 1964.

Gluck, ’On the Quality of Paint’, Tempera, Society of Painters, London, 1969.

Heller, Nancy G., Women Artists: An Illustrated History, Virago, London, 1987.

Hone, Joseph, W. B. Yeats 1865–1939, Macmillan, London, 1962.

Knight, Laura, Oil Paint and Grease Paint, Nicholson & Watson, London, 1936.

Knight, Laura, The Magic of a Line, William Kimber, London, 1965.

Mitchell, Yvonne, The Family, Heinemann, London, 1967.

Orioli, G., Adventures of a Bookseller, Florence, 1937.

Pope, Thomas Michael, The Book of Fleet Street, Cassell, London, 1930.

Secrest, Meryle, Between Me and Life: A Biography of Romaine Brooks, Macdonald & Jane’s, London, 1976.

Spry, Constance, Flower Decoration, Dent, London, 1934.

Spry, Constance, Flowers in House and Garden, Dent, London, 1937.

Tuohy, Frank, Yeats, Macmillan, London, 1976.

Waugh, Evelyn, Vile Bodies, Chapman & Hall, London, 1930.

White, Colin, Edmund Dulac, Studio Vista, London, 1976.

Woolf, Virginia, A Writer’s Diary, Hogarth Press, London, 1954.

WORKS ILLUSTRATED

Most of Gluck’s paintings are in private collections. Dates and sizes are given where known. Measurement is in centimetres and height precedes width. Unless otherwise stated, the works are oil on canvas.

Colour plates following:

Medallion (29.2 × 34.2), 1936

The Three Nifty Nats (50.8 × 40.6), c. 1926

The Vernon Picture (22.5 × 77.4), 1937

The Path to the Lough (51 × 76.2), 1969

Black and white:

The Artist’s Grandfather (49.5 × 34.2), 1915

Portrait of Miss E. M. Craig (17.7 × 12.7), oil on board, 1920

The Jockey (18.4 × 24.1), c. 1924

They’re Off (25A × 36.1), c. 1924

Phoebus Triumphant, c. 1920

Bonfire, c. 1924

A. J. Munnings, Gluck dressed as a gypsy (33 × 41), pencil, 1916

Raindrops (34.2 × 48.8), c. 1924

Beatrice, c. 1920

Teddie Gerard, c. 1920

Girl in Green Hat, c. 1920

Flora, c.l920

Lady in a Mask, 1924

On and Off, the Duke of York’s theatre, c. 1924

The Saxophone Player, (Emmett Baker) c. 1926

The Tumbler, from the C. B. Cochran revue ‘On with the Dance’, c. 1926

Danse Eccentrique, c. 1924

George Reeves, pianist

Portrait of the Son of Sir Reginald Blomfield, R.A.

Mrs Romaine Brooks (unfinished), 1926

Romaine Brooks, Peter, a Young English Girl (91.5 × 62.3), 1926. National Collection of Fine Arts, Smithsonian Institution

Ernest Thesiger (33.6 × 23.4), 1925

Massine Waiting for His Cue (51 × 41), c.1926. Courtesy of the trustees of the Theatre Museum, Victoria & Albert Museum

Sir James Crichton-Browne, c. 1930

Self-portrait with Cigarette (25.4 × 20.3), 1925. Stolen, 1981

Gamine (35.5 × 30.4), oil on board, c. 1932

The Unofficial Jury (24.1 × 34.2)

Baldock versus Bell at the Albert Hall (24.1 × 19), 1927

The Old Stable, Bolton House, Hampstead (24.7 × 19.7), 1930

Miss Margaret Watts (48.2 × 58.6)

The Artist’s Mother (40.6 × 35.5), 1930 86

Lilies

Le Vert et Noir

Chromatic, 1932

Broadlands (75 × 120.7), 1932

Spiritual (39.3 × 39.3)

The Devil’s Altar (135.8 × 74.9). The Royal Pavilion, Art Gallery and Museums, Brighton

Comtesse Govonne, Mariette Lydis. Destroyed by the Artist 100 Pomegranates, 1936

Oscar

Tulips (61 × 51), presented to Queen Mary by Mrs Francesca Gluckstein, 1932. Sandringham House

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