Jankel Adler (b Poland 1895 - d England 1949). Settled in Germany in 1920s establishing himself as a significant figure in the European avant-garde. As both a Jew and a so-called ‘degenerate’ artist, he was forced to flee Germany in 1933 and moved to Paris. Serving in the Polish Army he was evacuated to Scotland in 1940, and became close to Benno Schotz and Josef Herman as well as exercising a profound influence on Scottish-born artists Robert Colquhoun and MacBryde. Adler remained in Britain thereafter, becoming an important figure in the émigré artistic community and beyond.

The Arts Council mounted a memorial exhibition in 1951. Further posthumous exhibitions include a joint exhibition with Mark Gertler and Bernard Meninsky at Ben Uri Gallery in 1957, a major survey exhibition in Wuppertal, Germany (2018), and a survey of his British years at Ben Uri Gallery (2019). Adler's work is held in UK collections including Aberdeen Art Gallery, the Ben Uri Collection, Glasgow Museums Resource Centre, Pallant House Gallery, Swindon Museum and Art Gallery and Tate Britain, as well as in international collections in Australia, Germany, Israel and the USA. Extensive materials relating to his time in Britain are held in the archives of the National Galleries of Scotland, as well as the Tate Archive.

Frank Auebach (b. Germany 1931) Sent to England from Germany by his Jewish parents as a refugee in 1939 (he never saw them again) Auerbach became a British citizen in 1947. He studied in London at St Martin's,1948–52, the Royal College of Art, 1952–5, and at evening classes under David Bomberg, whom he found an inspiring teacher. Auerbach's paintings are notable for their use of extremely heavy impasto, so that the paint at times seems modelled rather than brushed. His favourite subjects include: portrait,- particularly of people he knows well, nudes, townscapes, and the building site.

In 1956, he received his first solo show at Beaux Arts Gallery, and by 1978, had a major retrospective at the Hayward Gallery. He represented Britain at the 1986 Venice Biennale. He is considered one of the leading names in the School of London, alongside Francis Bacon and Lucian Freud

Auerbach is notoriously private. He rarely goes beyond a few miles of his Camden studio and house and does not often consent to interviews. According to his wife, Julia, “he has two haircuts a year, wears his clothes until they disintegrate and is not interested in material possessions. He works seven days and five evenings a week and takes one day off a year.

David Bomberg (b Birmingham 1890 – d London 1957) Although born in England, Bomberg’s family milieu was one of newly arrived Jewish immigrants from Poland. His art education was influenced by another émigré, Walter Sickert, who taught him at the Westminster School of Art from where, with the assistance Jewish Education Aid, he went to the Slade School of Art alongside Stanley Spencer, Mark Gertler and Paul Nash. After a visit to Paris with Jacob Epstein in 2013, he developed a form of radical abstraction for which he was expelled from the Slade. This period in which he was associated with the Vorticists, was a major contribution to British modernism, a direction which changed, however, after his experiences of war led to a distrust of machinery which can cause death and destruction. A new kind of figurative expressionism practised on trips to Spain which he later termed as exploring ‘the spirit of the mass’, led to a new era of influence as a teacher notably of Frank Auerbach and Leon Kossoff in the postwar era. But his reputation was not widely acknowledged until after his death when, in 1988, Tate staged a major retrospective.

Bill Brandt (b. Germany 1904- d. London 1983) was an enormously influential photographer whose legacy lives on through his social documentary images of British life in the 1930s and 1940s, high-contrast, distorted nudes and landscapes

Born in Hamburg, Brandt grew up during World War I. He later disavowed his German heritage and claimed to be born in South London. Brandt began as a photojournalist in the streets of Paris and then in London following his move to England in 1933. He published two books of these sociological studies soon after: The English at Home (1936) and A Night in London (1938). He was a regular contributor to magazines such as Lilliput, Picture Post, and Harper's Bazaar. In 1940, the Ministry of Information commissioned him to document the Underground bomb shelters during the Blitz.

Marking the end of the Second World War in 1945 he began a celebrated series of nudes later publishing Literary Britain (1951), and Perspective of Nudes (1961), followed by a compilation of the best of all areas of his work in Shadow of Light (1966). Brandt became Britain's most internationally admired British photographer of the 20th century, capturing British society and his individual subjects with poetic resonance.

Rolf Brandt (b. Germany 1906- d. London 1986) was born in Hamburg, Germany and moved to London in 1933 where he remained for the rest of his life, as did his brother, the photographer Bill Brandt.

In the 1920s, Rolf became interested in Dada and Surrealism, and in 1929 was drawn into the orbit of the Bauhaus when he lived in Dessau and visited Paul Klee's studio. His

career as an artist encompassed early surrealist works; haunting drawings and book illustrations, subtle and sophisticated abstract paintings, inventive drawings and collages, and his final series of painted wooden constructions exploring colour theory and optical art.

In London, the Brandt brothers were part of the intellectual and artistic milieu in Hampstead of the late 1930s and '40s. Rolf influenced generations of students when he taught at the London College of Printing from the 1950s to 1970s. The last significant exhibition in his lifetime was at the Lisson Gallery in 1970. A solo memorial exhibition was held at the Royal Festival Hall in 1988. England & Co held a comprehensive retrospective of his work in 2004, and in 2005 exhibited Rolf’s drawings alongside photographs by his brother, Bill Brandt: the first time their work had been shown together.

Horace Ascher Brodzky (Brodsky) (b Australia 1885 – d London 1969) Brodzky moved to London in 1908, where he studied at the City and Guilds Art School in Kennington. In 1914 his work was selected for inclusion in the 'Jewish Section' of the Whitechapel Art Gallery's important exhibition Twentieth Century Art: A Review of Modern Movements. From 1914 he was also involved with the progressive New English Art Club (NEAC) and the London Group, gradually developing a loose amalgam of fauve and post-impressionist painting techniques. Brodzky became a close friend of émigré sculptor, Henri Gaudier-Brzeska and, following his untimely death fighting in the First World War in 1915, he published the artist's biography.

In the postwar period Brodzky worked in New York but in 1923 returned to London, where he showed regularly, including with Ben Uri from 1935 onwards. Throughout his later life Brodzky continued to paint and work with printmaking, exhibiting with London commercial venues including the Belgrave Gallery, Boundary Gallery and the Mercury Gallery, as well as in survey shows of Jewish artists. In 1946 he published a biography of émigré artist, Jules Pascin, associated with L'Ecole de Paris.

His work is held in UK public collections including the Ben Uri Collection, British Museum, Manchester Art Gallery, National Gallery of Scotland, Tate, and Victoria and Albert Museum.

Avinash Chandra. (b India 1931 – d London 1991) came to London in the 1950s after he received a scholarship from St Martin’s School of Art and in 1962 featured in a BBC Monitor documentary. When the famous tenor, Peter Pears bought one of his works, his fame spread far and wide through mass media coverage. In 1965 he became the first British artist of Indian origin to exhibit at Tate. 1989 he was included in The Other Story at the Hayward Gallery. Sadly he died two years later. In 2018 Chandra was remembered in another BBC film, Whoever Heard of a Black Artist? Britain’s Hidden Art History which testified to the new wave of interest in artists of colour that has characterised the art world in recent years.

Magda Cordell McHale ( b Hungary 1921 - d New York 2008) Born Magda Lustigova to a prominent family of grain merchants in Hungary, Magda fled to Egypt and then Palestine as a refugee during World War II to escape Nazi persecution. Here, she found work as a translator for British intelligence and met her first husband, composer Frank Cordell, who was also working for British intelligence, and from there moved to London where, influenced by the art brut of Jean Dubuffet, she became a rare female presence amongst the avant-garde exhibiting at the Hanover Gallery in the 1950s with the likes of Francis Bacon and Lucian Freud, and a core member of the Independent Group of artists which challenged the traditional distinction between high and low culture. Not surprisingly, she was closely involved with the exhibition This is Tomorrow at the Whitechapel Gallery in 1956, a multi-disciplinary show retrospectively credited with launching British Pop art. In 1961 she left the UK for America with her second husband, the artist and ecologist John McHale, where she stayed until her death. Her work is included in the collections of Tate Modern and the Albright-Knox Art Gallery.

Paul Feiler (b. Germany 1918- d. England 2013) Born in Frankfurt, Feiler moved to London with his parents in 1936. He studied at the Slade School of Fine Art 1936-1939, but when war broke out he was classified as 'an enemy alien' and interned on the Isle of Man and later sent to Canada. On his return to England he began teaching at the West of England College of Art in Bristol, where he became head of painting and formed a lasting association with the St Ives School. In 1975 he and his wife, the artist Catharine Armitage, bought a disued chapel in Kerris, just outside Newlyn, where they lived until his death.

Lucian Freud (b. Germany 1922- d. London 2011) was a British painter and draughtsman, specialising in figurative art, and is known as one of the foremost 20th-century English portraitists. He was born in Berlin, the grandson of Sigmund Freud. His family moved to England in 1933, when he was 10 years old, to escape the rise of Nazism. He became a British naturalized citizen in 1939.

His early career as a painter was influenced by surrealism, but by the early 1950s his often stark and alienated paintings tended towards realism. Freud was an intensely private and guarded man, and his paintings, completed over a 60-year career, are mostly of friends and family. They are generally sombre and thickly impastoed, often set in unsettling interiors and urban landscapes. The works are noted for their psychological penetration and often discomforting examination of the relationship between artist and model. Freud worked from life studies and his subjects, who needed to make a very large and uncertain commitment of their time, were often the people in his life; friends, family, fellow painters, lovers, children. He said, "The subject matter is autobiographical, it's all to do with hope and memory and sensuality and involvement, really."

Naum Gabo (b Russia 1890 – d USA 1977) A Russian Jewish avant-garde artist, Gabo travelled Europe from 1910 onwards but in the 1930s escaped from Nazi Germany where he taught at the famous Bauhaus, and left for Paris and then the UK, settling in 1936 in St Ives – where his innovative use of space in reliefs and constructions influenced the direction of British artists John Wells and Peter Lanyon, and the development of British constructivism. After the war he moved to America where he began working in prints, preferring the monoprint (such as the early example exhibited here) to the editioned print. An important retrospective exhibition was staged in 1966 by Tate which holds the largest single collection of Gabo’s work anywhere.

Mark (né Max, also known as Marks) Gertler (b London 1891 – d London 1939) Born to Austrian-Jewish immigrant parents in Spitalfields, London, the family was repatriated the following year to Przemyśl in Galicia and lived in extreme poverty after Gertler's father, Louis, left to search for work in America. In 1896, they were reunited in Whitechapel.

Gertler studied at the Regent School Polytechnic (1906–08) and the Slade School of Fine Art (1908-11) with a loan from the Jewish Education Aid Society, the first and youngest Jewish working-class student of his generation to do so.

In 1914 seven of Gertler’s works were included in David Bomberg and Jacob Epstein’s so-called ‘Jewish Section’, part of a Review of Modern Movements at the Whitechapel Art Gallery.

Following a trip to Paris in 1920, he enjoyed his commercially most successful decade but the failure of his marriage to fellow artist Marjorie Hodgkinson, with whom he had a son, Luke, in 1932, together with financial contributed to his later depression.

Mark Gertler committed suicide in his London studio in 1939. Memorial exhibitions were held at the Leicester Galleries, London (1941), Ben Uri Gallery (1944) and the Whitechapel Art Gallery (1949), with further solo shows at the Minories (and tour, 1971), Ben Uri Gallery (1982, 2002, and 2019), and Piano Nobile (2012), and a Tate spotlight display room in 2018. Gertler is represented in 45 UK collections including the Arts Council, the Ben Uri Collection, the National Portrait Gallery, Southampton City Art Gallery, and Tate.

Josef Herman OBE RA (b. Poland 1911- d. London 200 )was a highly regarded Polish- British painter who influenced contemporary art particularly in the United King dom. He was born in Warsaw Poland in 1911 and died in West London in 2000. He lived largely in the Welsh mining community and mainly painted the working men in the area. His work is represented in public collections across the world including the Tate, the Vand A in London Scotland, New Zealand, Canada and many more.

In 1981 he was awarded an OBE for services to British Art and was elected to the Royal Academy of Arts in 1990

Kurt Hutton, born Kurt Hübschmann (b. France 1893- d. England 1960), was a German-born photographer who pioneered photojournalism in England and was one of the most influential photographer's in twentieth century Britain.

Hutton begun his career with the Dephot agency in Germany before he moved to England in 1934 where he worked for Weekly Illustrated. Hutton was one of the founders of the most famous British pictorial weekly news magazine of the twentieth century, Picture Post. His early features for Picture Post over 1938-39 were a pioneering form of photographic story-telling, which would deeply impact post-war Picture Post photographers such as Bert Hardy, Thurston Hopkins and Grace Robertson.

Henry Inlander. (b Austria 1925 – d London 1983) Inlander’s family fled Nazi Germany in 1935 for Italy and then Great Britain in 1938 enrolling at St Martin’s School of Art in 1939. After the war he became a British subject and continued his art education at various London art schools until 1952. Inlander is predominantly known for his playfully expressionistic landscapes that blur the line between reality and imagination. A member of the London Group, he exhibited regularly with Roland, Browse and Delbanco and the Ben Uri gallery. In 1956, the 300th anniversary of the readmission of Jews to England under Oliver Cromwell, Inlander featured in Jewish Artists in England, 1656–1956, held at the Whitechapel Art Gallery. His paintings are represented in multiple public collections worldwide, including the Arts Council Collection, Government Art Collection, Tate, Yale Center for British Art and the Ben Ui Gallery and Museum. He died of a heart attack after partying vigorously at Camberwell Art School’s 1983 Christmas party.

Peter Kinley, (b Austria 1926 – d 1988) Born Peter Schwarz, Kinley was evacuated by his parents from Vienna to England on Kindertransport aged 12. After serving in the British Army during the war he attended St Martin’s School of Art where he went on to teach under the surname Kinley, before moving to the Bath Academy in 1970. Influenced by Nicolas de Stael who had a major show at the Royal Academy in 1953 he exhibited frequently with Gimpel Fils in London and Paul Rosenberg in New York. In 1982 a retrospective was held at the Museum of Modern Art, Oxford. Artwork by Kinley features in public collections including the Tate, Arts Council, Albright-Knox, Buffalo, and Gallery of New South Wales, Sydney.

Clara Klinghoffer, (b Poland 1900 – d London 1970) Klinghoffer arrived in England as a small child in 1903. At her first exhibition in 1919, her work was compared to Rembrandt, Hals and Raphael, and she went on to exhibit with numerous galleries including Redfern, Leicester and Goupil. She was much admired by luminaries such as Walter Sickert, Jacob Epstein, and J.B Manson, a curator at the Tate, which acquired her work. Her work is also represented in the British Museum, the National Portrait Gallery and the Fitzwilliam Museum, Cambridge.

Leon Kossoff (b. London 1926- d. London 2019) was born in 1926 to Russian-Jewish immigrants in the East End of London. He trained at the Royal College of Art and Saint Martin's School of Art. He took evening classes under David Bomberg between 1950 and 1952, which were also attended by fellow student Frank Auerbach with whom his work has natural affinities. Throughout his career, Kossoff has been drawn to London as his primary subject matter alongside figure paintings of friends and family. Cityscapes of railways, demolition sites, local monuments and Underground stations painted in dense, heavily worked impasto, emphasising light, form and structure are among his most iconic works. Kossoff was elected to the London group in 1962. He represented Britain at the Venice Biennale in 1995 and held major solo exhibitions at the Whitechapel in 1972, the Tate Gallery in 1996, and the National Gallery, London, in 2007.

Jacob Kramer (b Ukraine 1892 – d Leeds 1962) Kramer was born to cultured Jewish parents who moved from Ukraine to St.Petersburg, before emigrating to Leeds in 1900 where they found themselves in impoverished circumstances.

A precocious talent, Kramer studied at the Slade School of Fine Art in London in 1913-14, associating both with the group of young Anglo-Jewish artists known as the Whitechapel Boys and the Vorticist group, centred around Wyndham Lewis. In the postwar period, his work (often on Jewish themes) veered between a strikingly reductive modernism and a relative naturalism. Kramer returned to Leeds for the last three decades of his career, where he remains something of a local hero, dying there in 1962.

A major retrospective of his work was held at Leeds Art Gallery in 1960. Posthumously his work was supported by several commercial galleries in London, including Belgrave and Parkin, and he was included in survey exhibitions of 20th century Jewish artists, in the UK and USA. His works are in UK public collections including the Ben Uri Collection, the Ingram Collection of Modern British and Contemporary Art, Leeds Art Gallery, Manchester Art Gallery, the National Portrait Gallery, Tate, and the University of Leeds.

Meninsky (b. 1891 Ukrain - d. 1950 London) was born in Ukraine and came to England in his teens. He studied at The Royal College of Art and subsequently taught at the Central School of Art. A versatile painter and draftsman he is part of the generation of 20th Century Anglo Jewish artists alongside Bomberg ,Gertler and Kramer working between The Wars.

This picture has always been in the same family collection. It is un-lined and in its original frame

Sir William Rothenstein, (b Bradford, Yorkshire 1872 - d Stroud, Gloucestershire 1945.)

Painter, printmaker, draughtsman, teacher and writer on art, Rothenstein was born in into a prosperous Jewish mercantile family which had settled in England in the mid-nineteenth century. Having studied at the Slade and also at Académie Julian in Paris, he established himself as a major figure in the late 19th century British art world and was thus in a position (mainly through the Jewish Education Aid Society) to offer crucial practical and financial support to a younger generation of Jewish artists from an impoverished immigrant background.

His own work ranges widely in subject matter, from portraits, domestic interiors and landscapes to images of orthodox Jewish men at prayer. Influenced by his friendship with Alfred Wolmark in the early part of the 20th century, these were inspired by visits to the East End of London, a very different milieu to the one in which Rothenstein had grown up.

Rothenstein served as Principal at the Royal College of Art from 1920 to 1935 and was knighted in 1931 for his services to art.

Peter Schmidt (b Berlin 1931 – d Spain 1980) was just seven when he fled to England from Germany with his Jewish mother in 1938. After art school education at Goldsmith’s College and the Slade School of Art he was given his first exhibition in 1960 at Helen Lessore’s Beaux Arts Gallery, the launch pad for Frank Auerbach and Leon Kossoff and home to the Kitchen Sink School. In 1961 he was featured in BBC documentary, Cubism and Beyond, but then expanded his repertoire beyond painting into more experimental multimedia art forms with a particular interest in music. His exhibition at the Curwen Gallery in 1966 consisted of abstract paintings inspired by music and in the following year he conducted an electronic music performance at the ICA leading to his becoming musical director of the groundbreaking Cybernetic Serendipity exhibition at the ICA in 1968. He collaborated frequently with artist/musician Brian Eno and Mark Boyle, who created psychedelic light shows for Pink Floyd, as well as artists Dieter Roth and Tom Phillips. Schmidt was one of the first artists to show at the groundbreaking new contemporary art gallery, Lisson, in 1968 and 1970, but by 1975 an exhibition at the Whitechapel showed he had returned to a more figurative style of painting. His work was said to be collected privately by film stars Julie Christie and Terence Stamp and is in the Arts Council, Tate Modern, Victoria & Albert and Government art collections.

Benno Schotz (b Estonia 1891 – d Glasgow 1984) Schotz came to Glasgow in 1912 to study engineering at Glasgow Royal Technical College and took evening classes at the Glasgow School of Art.

His first one-man show took place at the Reid and Lefevre Gallery in Glasgow in 1926, Lefevre giving him his first one-man show in London four years later. He was head of the sculpture and ceramic departments of the Glasgow School of Art from 1938. Schotz was elected RSA in 1937 and appointed HM Sculptor in Ordinary for Scotland. He exhibited widely, including the RA, RSA, Royal Glasgow Institute of the Fine Arts and Walker Art Gallery, Liverpool. Owners of his work include the House of Commons, Kelvingrove Art Gallery, Glasgow, the Scottish National Portrait Gallery, and the Israel Museum, Jerusalem and Tel-Aviv Museum of Art.

A life-long Zionist, Schotz also had the opportunity to model busts of Israeli prime ministers David Ben-Gurion and Golda Meir. During the Second World War, he helped Jewish artists who had escaped to Glasgow from the continent. In 1942, he and Josef Herman organised an exhibition of Jewish art which included work by modernist artists such as Marc Chagall, Ossip Zadkine and Chaim Soutine. He followed this with a Festival of Jewish Arts coinciding with the Festival of Britain in 1951.

Walter Richard Sickert (b. Germany 1860 - d. England 1942) , born in Munich, Germany, was a painter and printmaker who was recognised during his own lifetime as an important artist, and in the years since his death has increasingly gained a reputation as one of the most influential figures in twentieth-century British art.

Starting out his career as a pupil and assistant to James Abbott McNeill Whistler, Sickert later met Edgar Degas whose use of pictorial space and emphasis on drawing would have an influential effect on Sickert's work. Sickert developed a personal version of Impressionism deploying sombre colouration. He was fascinated by urban culture and consequently worked from studios in working-class areas in London. He furthermore was a founding member of the Camden Town Group, a group of British painters influenced by Post-Impressionism and Expressionism, concentrating on drab daily domestic scenes.

Scenes of Venice, music halls, theatre scenes and portraits were also important parts of his body work. Sickert was universally acknowledged as a colourful, fascinating and charming artist, who championed progress and modernity in painting, but who remained an independent figure who was difficult to catagorise under the major movements in British art.

Edith Tudor-Hart, née Suschitzky, (b. Austria 1908- d. England 1973) was one of the most significant documentary photographers working in Britain from the early 1930s to the early 1950s.

Born in Vienna, she grew up in radical Jewish circles. Edith married Alex Tudor-Hart, a British doctor, and the pair moved to England. There she worked as a documentary photographer, closely associated with the Communist Party, compiling a remarkable archive of images of working people in London and later, the south of Wales.

Tudor-Hart destroyed most of her photographs and negatives, as a result very few vintage or lifetime prints exist.

Fred Uhlman (b Germany 1901 – d UK 1985) Leaving Germany in 1933 aged 32 with no money, Social Democrat lawyer Uhlman, learned to paint in Paris where he was legally prevented from working as a foreigner. In 1936 he left for London to meet up with and marry wealthy British heiress, Diana Croft (daughter of Lord Croft). Appreciated for a kind of sophisticated naivety characterised by unpopulated, mystical, slightly escapist landscapes, he was given one man shows at the Zwemmer and Redfern galleries in London and retrospectives at Bangor in Wales in 1960 and the Camden Arts Centre in 1973. His work is held by the Fitzwilliam, Victoria & Albert and Imperial War museums and by the Government Art Collection.

Hellmuth Weissenborn (b. Germany 1898- d. London 1982) Born in Leipzig in 1898 into an artistic family, Weissenborn had to leave Germany in 1938 as he was married to a Jewish woman and was no longer employable. He arrived in London but was sent to Hutchinson internment camp on the Isle of Man for six months, along with other refugee artists, including Kurt Schwitters and Fred Uhlman. Returning to London, Hellmuth joined the Auxiliary Fire Service in 1941 and sketched scenes of bomb damage in a small notebook while out on watch duty. These became a series of 16 London Bombsite linocuts – his best known works. After WWII he taught at Ravensbourne School of Art in Bromley for many years, and founded the Acorn Press with his second wife Lesley Macdonald in 1946. For this he supplied many wood engravings and illustrations, making over 60 books in all, ranging from Shakespeare to Enid Blyton.

Karl Weschke (b Germany 1925 – d 2005) Weschke did not arrive in the UK from Germany until 1945 when, aged 20, he was interned as a Prisoner of War. Slowly, after his release, he began to rebuild his life as a painter, though the inhumanity and horrors of the war never quite left him. He made his home in Cornwall not far from the artist’s colony of St Ives, where he stayed for the remaining fifty years of his life, exhibiting his tough, deeply felt expressionist paintings of the Cornish landscape with the Grosvenor, Matthiesen and Redfern galleries in London. Tate bought their first works by Weschke in 1994 and staged a retrospective exhibition for him in St Ives in 2004. Examples of his work are held by Tate Britain , the Museum of Modern Art (New York), the Bristol City Museum and Art Gallery and the Government Art Collection amongst numerous other institutions.

Alfred (né Aaron) Wolmark (b Poland 1877 – d London 1961) Wolmark immigrated with his Jewish family to Devon, England in 1883. The family later moved to the predominantly Jewish area of Spitalfields in London. In 1895 Wolmark enrolled at the Royal Academy Schools in London. In 1911, influenced by French Fauvism, he abandoned his early naturalistic style and mostly Jewish subject matter in favour of strong, non-naturalistic colour and for the most part more mainstream subject matter.

Hailed both as a pioneering painter of orthodox Jewish life in London’s East End and as an early British modernist, Wolmark was the only artist to have work included in both the 1906 Jewish Art and Antiquities exhibition and the ‘Jewish Section’ of the 1914 Twentieth Century Art: A Review of Modern Movements, both held at the Whitechapel Art Gallery. In 1915, he was one of the prime movers in setting up the Ben Uri Art Society.

A gifted portraitist, Wolmark was also active as a graphic designer, producing book illustrations and posters, as well as costume, stage and stained-glass designs.

While his reputation fell into decline long before his death in 1961 it was revived in the 1970s by a new scholarly and critical appreciation of his work.