by Trood Sore | Sep 19, 2025 | Colin Moss, Ipswich, Self Portraits
The ‘Inward Looking’ self-portrait was painted in 1966 while Colin was living at 47 Warwick Road, Ipswich with his mother and sister, who had relocated from London to move in with him from about 1960.
The house, the first Colin owned, was a bland, three bedroom semi-detached property with stark aluminium window frames, part of a new development on land which had once been his uncle George Moss’s orchard.
Up to this time Colin (divorced in 1947 after a hasty wartime marriage) had lived an independent bachelor type of life in rented digs, using the art school facilities as studio space. This painting is probably one of the most self-revealing of all his self-portraits, showing the artist aged fifty-two “encased in middle age” as he described himself. The children seen playing outside in the distant garden behind him also reflect his sense of lost youth and freedom.
Colin was able to escape the limitations of Ipswich suburbia when he travelled widely around European cities during college summer holidays. In 1961 he attended Oskar Kokoschka’s summer school in Salzburg.
This had the effect of releasing his previously subdued colour palette into a riot of primary colours applied with emotional and psychological tension, as demonstrated in this defiant self-portrait.
Colin’s understanding of Kokoschka’s methods was also very influential on his own students, some with very clear recollections of their trip to the Tate Gallery with him to see the Kokoschka exhibition in 1962. Oskar Kokoschka 1886–1980 | Tate.
© National Portrait Gallery, London.
NPG number 7168
https://www.npg.org.uk/collections/search/portrait/mw307578
by Trood Sore | Apr 29, 2020 | Drawing, Ipswich, Life Drawing, Self Portraits
Reading Time : 6 minutes
“Colin Moss has always been something of a cultural icon in his native East Anglia. Not only was he one of the nation’s great contemporary artists – his death warranted fulsome obituaries in the national broadsheets – but he was also a passionate teacher.
He was senior lecturer in figure drawing at the highly regarded Ipswich Art School for 33 years. Among his students was Maggi Hambling, who opened a major retrospective of his work”.
Andrew Clarke art critic East Anglian Daily Times (2010)
Social Realism
“He [Colin Moss] shows the unprivileged, indeed underprivileged, members of our society – men and women on the street corner, outside the pubs, marooned on the park bench… Somehow Moss, in his great parade of people and situations is most concerned with the very basic facts of existence – the struggle to survive, to find a degree of comfort, to work, to love, and to discern, hopefully, some light at the end of the tunnel.”
Michael Chase, The Minories Gallery (1983)
L-R : ‘The Mulberry Tree Pub’, ‘Cattle Drovers’, ‘Boy Blue’, ‘Discussing Terms’, ‘The Window Cleaner’ (c1950-1990)
Expressionism
“Colin Moss is that rare being – a happy Expressionist … He slashes and whirls his pigment into thick, ecstatic confections; they sing out from the walls, like rich base baritones, drenching everything in a cascade of boisterous colour; palpitating reds – an almost unbelievably skillful range of violet-mauve-purple vein-shattering blues – and vibrant falsetto greens…”
Mervyn Levy, Arts Review, February 1955
Life Drawing
“An accomplished draughtsman, practitioner and teacher of life drawing since his early training at Plymouth Art School and the Royal College of Art, and master of what he called “the artist’s greatest challenge”
Chloe Bennett – Art Curator, Ipswich Museums (1978 – 1992)
L-R ‘Pastel Nude’, ‘Woman on a Red Drape’, ‘Female Nude’, ‘Rolling Nude’, ‘Bathers’ (c1950-1980)
War
“I made drawings such as The Guardroom in the immediate post-war years, but then I gradually moved out of the war ethos and it wasn’t until very much later indeed that I suddenly had an inclination to do more of these memories of the war. I found that although it was 30 or 40 years after I remember them quite vividly.”
Colin Moss: Life Observed
Although Colin Moss’s work as a camouflage designer for the Ministry of Home Security is now acclaimed, with watercolours in the Imperial War Museum and Leamington Spa Art Gallery & Museum, it was his experiences as a soldier on active duty in north Africa and Palestine during WWII that led to the production of some of his most powerful pieces.
Religion & Society
Once his teaching duties at Ipswich Art School were finished for the day, Colin Moss would cross the road to The Arboretum pub for a drink. Very much a “fireplace and floorboard” pub, with little in the way of creature comforts, Colin felt at home amongst the working men and the “down at heel” who drank there and the camaraderie of its rough and ready clientele is reflected in many of these works such as The Last Supper and Carrying the Dead Christ. In 1990, an exhibition of this work entitled ‘Paintings, Religious & Profane’ was held at the Chappel Galleries in Essex. The exhibition received a great deal of media attention, including an interview for BBC News.
Colin Moss ‘The Last Supper’ 1950
Flowers
“Retirement in 1979 after 32 years of teaching at the Ipswich School of Art brought Colin greater freedom to paint at a time when he was still at the height of his powers. The 1980s saw him take special pleasure in painting oil studies of his garden and a wonderful series of flowers in vibrant watercolours.”
Chloe Bennett – Art Curator, Ipswich Museums (1978 – 1992)
Colin Moss ‘Irises in a Landscape’ 1986
Self Portraits
“I was very much obsessed with Rembrandt … the fact that he did so many self-portraits from being very young influenced me in the same direction”.
Colin Moss: Life Observed
Art News & Review (now known as ArtReview) began publishing artists’ self-portraits on its front pages in 1949. There was usually a short biography alongside the self-portrait, often written by a friend of the artist. Colin’s was featured on 18th August 1956. In 1982 the Tate Gallery Archive acquired 122 of these original self-portraits, including Colin’s ink & brush self-portrait from the August 1956 edition.
Colin Moss ‘Colin Moss in a Roll Neck’ 1960
“I have always thought of him as the supreme strong man among Suffolk painters. In this he is a constant expressionist, observing and committing swiftly to paper the essentials of a subject.”
Bernard Reynolds – Sculptor
Colin Moss Biography – Bonhams London
Colin Moss was born at 28 Cemetery Road, Ipswich and spent his formative years there. The family moved to Plymouth in 1921, following the death of his father in action during World War One. It was in Devon that he first became absorbed in fine art and drawing, and he attended Plymouth Art School from 1930-1934. A scholarship to study at The Royal College of Art followed, seeing him graduate in 1938. As his style developed, his influences included Degas, Van Gogh and the German Expressionists.
At the outbreak of World War Two Colin was working for the Camouflage Unit of the Air Ministry. Together with one hundred and fifty other artists he was tasked with disguising factories and power stations. After two years he received his papers and joined the Life Guards, spending the remainder of his war in the Middle East. Although never an official war artist he sketched prolifically and was keen to document his experiences; a number of his pictures from this period are represented in The Imperial War Museum. Colin continued to revisit War as a theme in his work throughout his career.
L-R ‘The Big Tower Camouflaged’, Art.IWM ART LD 3025, ‘Water Camouflage’ Art.IWM ART LD 3027, ‘A Camouflage Scheme in Progress’ Art.IWM ART LD 3028 (1943)
Life in Civvy Street saw a return to his Ipswich roots when, in 1947, Colin accepted a post as Senior Lecturer at Ipswich Art School. He was to occupy this position until his retirement in 1979. In the interim years, and long after his retirement, he was increasingly recognised as a leading figure in the Regional Art scene. In 1980 he was elected Chairman of Ipswich Art Society and later became President, a position occupied by many great East Anglian artists before him, including Edward Seago, Alfred Munnings and Anna Airy.
Colin’s decision to pursue a dual career as artist and teacher perhaps illustrates the difficulties facing many professional artists. Though his painting career was never sidelined, there was inevitably some compromise as a result of the financial stability that teaching proffered. When teaching, his army background manifested itself in his disciplined and orderly classes. This approach, together with his firm belief in the importance of sound draughtsmanship and keen observation, influenced a generation of students, including Maggi Hambling and Brian Eno.
Interview with award winning ceramicist Annie Turner, Loewe Craft Prize Finalist 2019 Cavaliero Finn
He also taught by example, with his own work everpresent in the studio alongside that of his students, and would seek opportunities for his own work between classes. In his painting career he was a reluctant self-promoter, however initial forays into the London art scene in the 1950s saw some critical acclaim with representation through The Kensington Art Gallery and later The Zwemmer and Prospect Galleries. He shared exhibitions with the likes of John Bratby, Patrick Heron, Kyffin Williams and John Minton. In 1954, and again in 1956, he took time-off from teaching to concentrate fully on painting, his 1950s social-realism paintings culminating in his ‘big pictures’ of working men and women produced at the height of his artistic powers, as exemplified in the present collection.
L-R ‘Man with a Drill’, ‘Over the Garden Fence’, ‘Two Workmen’ ‘The Cattle Drovers’ (1947-1960)
His work is represented in many national collections : The British Museum, The Tate Archive Collection, Norwich Castle Museum, the Ben Uri Art Gallery, Leamington Spa Art Gallery, Nottingham Art Gallery and The Colchester and Ipswich Museums
by Trood Sore | Apr 5, 2020 | Drawing, Still Life
Reading time: 5 mins
In English, we call it Still Life. The Dutch know it as “stilleven”, a phrase that originates from the 1650s. And the French name is “nature morte”. Not necessarily a theme that sets the art world alight but an art genre that has stood the test of time.
The National Gallery’s definition says that “inanimate objects such as fruit, flowers, food and everyday items” are the main focus of interest in a still life work.
And it is the everyday element of still life that has undoubtedly led to its designation as “less than exciting”. Yet few artists have ignored it and many, like Colin Moss, have returned to it throughout their artistic careers.
Colin Moss “Still Life of Fruit and Bottle” Oil on Board
Still Life in the 1930s
Following early training as a teenager at Plymouth Art School, Colin Moss became a student at the Royal College of Art in the mid 1930s. Whilst there, he was taught by the painter and typographer, Barnett Freedman, CBE. Freedman was known for a sharply observed, highly detailed style of still life painting. It was said his work was so realistic that “the fruit could be picked and eaten, and the musical instruments played upon” (JC Trewin).
Certainly this type of ultra-realistic still life painting was very much in vogue in the 1930s. The Welsh painter Alfred Janes, like Freedman, was known for his meticulous still life work. This was much to the despair of fellow Welshman, the poet Dylan Thomas, who lamented Janes’s “apples carved in oil”, “his sulphurously glowing lemons, his infernal kippers!” (Dylan Thomas: A Centenary Celebration by Hannah Ellis).
Like Dylan Thomas (who was a friend in those pre-war days in London), Colin had little patience with this laborious method of working. He often produced his own work in a single, day-long, stream of concentrated activity. He particularly admired the sumptuous nudes and still life compositions of Sir Matthew Smith (1879-1959).
Influence of les Fauves
In the previous decade, Matthew Smith had championed a more personal and intuitive style of painting, inspired by the extravagant colouring of Fauve artists, such as Maurice de Vlaminck. Colin found Smith’s vibrancy and the freedom with which he painted, exciting, inspiring and radically different from anything he had seen by a contemporary British artist. Matthew Smith’s influence extended throughout Colin’s career.
Undergraduates at the Royal College of Art – 1936
Seated, second from the left – Colin Moss, fourth from the left – Mervyn Levy
Colin Moss “Mervyn Levy” (1965) Oil on board
Two decades on from his time at art school, the art critic Mervyn Levy wrote of Colin’s work that colour sang “out from the walls, like rich base baritones, drenching everything in a cascade of boisterous colour; palpitating reds – an almost unbelievably skilful range of the violet-mauve-purple vein-shattering blues – and vibrant falsetto greens.” (Mervyn Levy, Art News & Review, 5.2.1955 – now known as ArtReview)
Inspiration in Unexpected Places
Following his seven years of war service, first as a camoufleur with the Camouflage Directorate and later as a soldier in the Middle East, Colin returned to his home town of Ipswich in 1947 starting work as a lecturer at Ipswich Art School. His teaching schedule was extensive, working five days and three evenings a week, covering Life Drawing, Anatomy, Perspective, Portrait classes and, of course, Still Life.
During this time, inspiration for his own art came from the most unexpected of places:
“I was walking along Norwich Road in Ipswich and there used to be a big fish shop called Rush’s there years ago. They’d got an enormous pike lying on a slab in the window, and it was this wonderful colour, all sparkling … it wasn’t really for sale; it was just there to attract attention. Anyway, I bought it and ran back to the art school with it, laid it out and kept the room cold, and I painted it in a day. I was so taken with painting this fish that afterwards I did every fish in the sea!”
Colin Moss : “Fish” (1958) Gouache
And his fascination with still life didn’t just extend to fish. Pigeons waiting to be plucked on a plate, baskets of vegetables, hogs heads, loaves of bread alongside earthenware jugs, flowers in a jar, lobsters, wine bottles, bowls of fruit. Anything and everything could act as a source of inspiration.
Colin Moss : “Pigeons” (1954) Oil on board
Is it easy to master Still Life?
Throughout the centuries, still life has very much been the “poor relation” of the art genres, subordinate to the “higher form” of art where “man was the measure of all things” according to the French Royal Academy in the 17th Century. As still life did not involve a human subject, it was regarded as a lower form of painting.
Some artists certainly disagreed with this. Édouard Manet once called still life “the touchstone of painting”. However, there is certainly a dismissive complacency around the genre. Still life is seen as undemanding, something amateurs and professionals can dabble with for light relief from the serious business of creating “proper” art.
As so often happens, pride does indeed come before a fall. Damien Hirst, possibly the most well-known and most notorious of the Young British Artists of the 1990s, decided to venture into the still life sphere in 2009.
His exhibition at the Wallace Collection was very poorly received by critics. Art critic Adrian Searle in the Guardian described Hirst’s work as “positively amateurish”.
A further exhibition in 2012 was also panned. “Hirst, it turns out, is trying to become a master of still-life painting. He has been hard at work, alone and unaided, on canvases of fruit and foetuses, flowers and skulls” Jonathan Jones wrote in the Guardian, following it up with:
‘If Hirst did not try to paint an orange accurately, no one would know he can’t do it. But he has tried, at least I think it’s an orange, and the poor sphere seems to float in mid-air because of the clumsy circle of shadow below it.”
Colin Moss, from an older generation of artists, brought up in a tradition of sound draughtsmanship and keen observation, found still life a rewarding and stretching genre of work. He returned to it again and again throughout his career, using every medium from oil paint to watercolour to charcoal and pencil.
Colin Moss “Fruit on a Spanish Plate” (1954) Oil on Board
A solo exhibition of Colin’s vibrant flower paintings in 1989 at Christchurch Mansion in Ipswich, showed a more relaxed, almost reflective, side to an artist more widely known for his gritty social realism and sumptuous nudes.
And with age came enjoyment of the “stillness” that can, sometimes, be found in [still] life.
Colin Moss “Lilies” and “A Pot Plant” c1980s
Endnote – just what is the plural of Still Life?
An interesting question – you’re not pluralizing lives, but works of art.
In fact, even though it ends in life, still life takes a regular –s plural: still lifes according to publisher Merriam-Webster (of dictionaries and reference book fame).
Possibly the easiest way to think of it is that the term is an abbreviation for “a still life painting” so “one still life painting”, “two still life paintings”; “one still life”, “two still lifes”.
Another colourful, eccentricity of the English language perhaps. Rather like the allure of still life itself.
Colin Moss “Lawrence Self’s Gardening Boots” Oil on Board
by Trood Sore | Feb 22, 2020 | Camoufleur
Hiding in Plain Sight – Camoufleurs of the 21st Century
Photo Credit:
https://i-d.vice.com/en_uk/article/jge5jg/dazzle-club-surveillance-activists-makeup-marches-london-interview
The Big Tower, Camouflaged, Colin Moss 1943
Of the top ten most surveilled cities in the world, only two cities are outside China – Atlanta and London1. With an estimated 420,000 CCTV cameras operating in our capital city, we are “on camera” for much of the time – often unwittingly.
London based group The Dazzle Club2 brings together art, politics and activism to question and explore this “normalisation” of surveillance in our public spaces, through the use of dazzle camouflage techniques.
Since August 2019, the group has staged silent hour-long walks through different various parts of the city with each member decorating their face with anti-facial recognition patterns. Their ideas echo methods first developed by the camoufleurs of World War I and II and, more recently, CV Dazzle created by Adam Harvey3, an artist whose work explores the impacts of surveillance technologies.
Camoufleurs Hiding in Plain Sight
Colin Moss was part of the Camouflage Directorate from 1939 – 1943. Recruited solely from the foremost artists of their generation, the aim of the camoufleurs was the concealment of civilian installations, confusing “a pilot at a minimum of five miles distant and 5,000 feet up throughout daylight” using techniques such as dazzle.
“We’re hiding in plain sight,”
Emily Roderick “The Dazzle Club” 4
During his service in the Camouflage Directorate, Colin designed a number of camouflage schemes for installations such as Stonebridge Park Power Station, London. The key to “dazzling” is to break up the surface of the object whether it’s a power station or a face:
“You’re trying to obscure the natural highlights and shadows on your face. Cameras will reduce you down to pixels. They’ll pick up the bridge of your nose, your forehead, your cheekbones, your mouth and chin. So you have to flatten your face and obscure it.”
Georgina Rowlands “The Dazzle Club”5
The camoufleurs had similar aims, creating designs that featured disruptive patterns, in a range of colours, painted onto buildings. Their aim too was to break up forms and outlines, so objects were difficult to locate and detect even against a shifting background (ie when looking down from a plane).
The patterns consisted of a mixture of dark and light colours being painted next to each other. At power stations like Stonebridge (where The Cooling Tower was painted), the fuel was even changed to produce darker smoke that would contrast with its surroundings for “disruptive colouration”.
Stonebridge Power Station
21st Century Camouflage
Ultimately the Dazzle Club’s aim is not to fool the cameras and other surveillance technology in use on our streets. It’s about highlighting, through art, the creeping normalisation of surveillance in our towns and cities – to start a debate and make us aware of how ubiquitous this tech is.
“If someone steals your credit card, you can cancel it and get a new one … [but] most of us are not going to do plastic surgery to rearrange our identity.”
Scott Urban, designer of anti-facial recognition glasses “Reflectacles”
The Dazzle Club – Exploring surveillance in public spaces. Sign up to Dazzle Club’s newsletter if you’d like to receive details of the Club’s upcoming walks eepurl.com/gEGvnb.
References:
- https://www.comparitech.com/vpn-privacy/the-worlds-most-surveilled-cities/
- https://www.instagram.com/thedazzleclub/?hl=en
- https://cvdazzle.com/
- https://www.theguardian.com/world/2020/feb/01/privacy-campaigners-dazzle-camouflage-met-police-surveillance
- https://i-d.vice.com/en_uk/article/jge5jg/dazzle-club-surveillance-activists-makeup-marches-london-interview
by Josh Cole | Nov 9, 2019 | Camoufleur, World War II
Painter, draughtsman, camoufleur, printmaker, teacher and soldier
Colin Moss served as a camoufleur from 1939 – 1943, working on the concealment of civilian installations. During his service he designed a number of camouflage schemes for installations such as Stonebridge Park Power Station, London.
At the beginning of the war, the Germans already knew where several of Britain’s vital industrial targets were located. Recruited solely from the foremost artists of their generation, the aim of the Leamington-based camouflage officers (“camoufleurs”) was to guard Britain’s civil installations by confusing “a pilot at a minimum of five miles distant and 5,000 feet up throughout daylight.”
Camouflaged Cooling-Towers, 1943, Watercolour, 36.8cm x 54.6cm, (War Artists Advisory Committee purchase © Imperial War Museum)
Why Artists?
The camoufleurs of the Camouflage Directorate were theatre set designers, practicing artists, sculptors, architects. All were recruited as “there was a natural partnership based on their aptitude for good visual recall, and their understanding of scale, colour and tone”.
Their designs featured strident patterns, in an array of colours, painted onto buildings. The aim was to break up forms and outlines so that objects on the ground were difficult to spot, even against a shifting background (ie looking down from a plane).
The camouflage schemes they designed either hid the target, so it merged into its surroundings, or deceived the eye as to its size and placement.
More surreal techniques included adding road markers to roofs or standing concrete cows on them, to fool Luftwaffe bomb aimers or, at the very least, to make them to hesitate and so miss their target.
Smoke and Mirrors
The patterns were designed to break up and disrupt the objects outline and consisted of a mix of dark and light colours, painted next to each other. At power stations like Stonebridge, where Colin’s “The Big Tower” (below) was painted, the power station’s fuel was modified to emit darker smoke that would contrast with its surroundings for “disruptive colouration”.
(L-R) Stonebridge Park Power Station with camouflage scheme in place 1941 (B&W photo), Camouflaged Factory Buildings, 1941, Watercolour, Leamington Spa Art Gallery & Museum, The Big Tower, Camouflaged, 1943, Watercolour 63.5 cm x 45.3cm, (War Artists Advisory Committee purchase © Imperial War Museum)
As the war went on, and the threat from the German air force decreased, the UK Government scaled back its commitment to civil camouflage. Inevitably, this meant that the work of the camoufleur unit was wound down. However, before the camoufleurs were reassigned to new war work, “the Ministry decided it wanted a pictorial record of aspects of camouflage and all the artists were given about a month’s paid leave to do paintings of whatever jobs they had designed.” Colin Moss : Life Observed.
Colin spent his month’s leave painting watercolours of the various camouflage schemes he had designed, before joining the Life Guards (part of the Household Cavalry) on active service in the Middle East. A number of those watercolours are in the ownership of the Imperial War Museum in London, others are housed by Leamington Spa Museum & Art Gallery.
Military Service
Once the aerial threat from the German Airforce was over, Colin went on active service. He was initially deployed to North Africa (in 1943) and later, once the war was over, Palestine, as part of the effort to establish the state of Israel.
The images below are from a number of Colin’s sketchbooks, now kept in the Tate Archive in London. This is the first time they have been published.
(L-R) North African Refugees Pen, ink, gouache & wash, 24.8cm x 27.5cm, Two Soldiers Talking Pastel, 59.5cm x 42cm, Middle East Battle School Pencil, ink, gouache & wash, 37.7cm x 25.2cm
L-R North Palestine 1946, Lithograph, 37.5cm x 47.8cm, Portrait of an Officer, Seated, Palestine, 1946, Pencil, 51cm x 36.7cm
For his final for 6 months of military service (in 1947), he taught in the Army Education Corps (now the Educational & Training Services – ETS) gaining invaluable experience before commencing his post-war career, lecturing at the Ipswich Art School.
On the Tube 1947 Watercolour & ink, 24.5cm x 30.8cm
Post-War Memories
As Colin’s career at the Ipswich Art School came to an end in 1979, his war-time experiences bubbled to the surface. Over the next decade, he generated a series of sketches, drawings, paintings, linoprints and watercolours, reflective of his experiences, memories and opinions on “war and the pity of war”.
(L-R) Exodus, 1985, Charcoal and pastel, 48cm x 40.5cm, “Anatomical Casts on a Battlefield” 1978 Pencil 76.5 cm x 56 cm (Colchester & Ipswich Museums)
(L-R) Playing Soldiers, Oil & collage on board 99 x 120.5 cm Colchester & Ipswich Museum Service, Sentry Under Red Sun, Oil on board 91.8cm x 71.5cm
One of his most haunting paintings from this era is “Moonlight over the Third Reich”. The influence that camouflage dazzle techniques, and art movements such as cubism and surrealism, had on camoufleurs like Colin throughout their artistic careers, can be seen vividly throughout this work. The painting “Moonlight over the Third Reich” was donated to the Ben Uri Gallery & Museum, London by Colin’s widow Pat in 2009.
Moonlight over the Third Reich, 1974-1982 Ben Uri Gallery & Museum, London, (L-R) Linocut, 50cm x 40.5cm, Oil on canvas, 91cm x 75.8cm, Pencil, 69.9cm x 51.8cm
The Camoufleur Alumni
At its peak, the Camouflage Directorate numbered over 230 staff, including a number who, post-war, went on to become some of the most significant and illustrious artists and designers of their generation.
Members of the group included:
- Christopher Ironside (designer of the UK’s decimal coinage)
- Janey Ironside (professor of fashion at the Royal College of Art)
- Richard Guyatt (professor of graphic design at the Royal College of Art)
- Eric Schilsky (head of the School of Sculpture at Edinburgh College of Art)
- leading lights of the English Surrealist movement Julian Trevelyan and Roland Penrose
- set designer, painter and sculptor Victorine Foot
- Robert Goodden (professor of silver smithing at the Royal College of Art)
- Robert Darwin (principal of the Royal College of Art)
and, of course, Colin Moss.
Camouflage Exhibitions
In 2007, the Imperial War Museum in London put together a wide-ranging and extensive exhibition on camouflage. It was the first one of its kind in showing the history of camouflage and its use in wildlife, popular culture and, of course, how camouflage had been used in warfare. The exhibition featured the work of the Leamington Spa camoufleurs including four of the watercolours that Colin painted in 1943 of the camouflage schemes he worked on.
In 2016, the Imperial War Museum loaned these watercolours to Leamington Spa Art Gallery & Museum for its 2016 exhibition “Concealment & Deception”. The book accompanying the exhibition can be accessed online here .
(L-R) Captain Colin William Moss – Life Guards, 1943, Poster for the Leamington Spa Art Gallery & Museum 2016 Exhibition “Concealment & Deception” featuring Colin’s 1941 watercolour Camouflaged Factory Buildings
