Nor had I! It just sprung to mind seeing your post.

Cf. Malcolm Drummond’s Court Scene, 1920, in the University of Hull Art Collection.

The parallel stories of the revival of mural paintings in churches (due largely to the patronage of Bishop George Bell) and of the great flourishing of murals at the Festival of Britain meet in Hans Feibusch's murals for St John's Waterloo, the 'Festival church'.
stjohnswaterloo.org/projects/han...

50% off if you're in the UK (till 30 November)!

The most prolific, serious artist creating murals in Britain today is Bridget Riley; and it's notable that - apart from her wall painting at St Mary's Hospital, Paddington - almost all her murals have been commissioned by museums or public galleries.

Spot on about the ubiquitous and tiresome Banksy, Richard. The Festival of British aside, the most significant institutional patrons of murals in Britain in the C20th were churches and schools/colleges; it's hard to imagine (m)any future commissions coming from either of those sources.

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Through works by Gwen John, Leon Kossoff, Celia Paul, Kara Walker, Rebecca Warren, Sarah Lucas, Hans Bellmer et al - as well as Rhys’s 1914 house dress - it captures much of her complex identity, chaotic life and fierce spirit.
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I look forward to reading yours, too. At the time I wrote my piece, there was talk of the Public Art Foundation (now Art UK) creating a database of British murals. I don't know what's happened to that proposal.

I wrote an article for The Burlington Magazine in 2013 on twentieth-century British murals - and, how in many cases, they have been destroyed, covered up, lost etc:
www.jstor.org/stable/24240...

There is something of that air about her ... although the sitter was, in fact, a deeply religious spinster (and old family friend). I reveal her identity - and that of several other of Gilman's hitherto unrecognised sitters - in a forthcoming article in The Burlington Magazine.

On view in the Nicholson exhibition opening at Pallant House this weekend.

The exhibition is on show to 30 November.
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The final, and poignant, wall panel - a reminder that it was not just the two Roberts whose lives were sadly truncated, but also those of many of their friends: Peter Watson, Jankel Adler, John Minton.
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I was especially pleased to see their little-known designs for Léonide Massine’s 1951 Scottish ballet Donald of the Burthens - the first, and perhaps last, last occasion on which bagpipes were played at the Royal Opera House (a challenge for @alastaircampbell2.bsky.social?)
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