Until Kenneth Mahood’s recent discovery of his grandmother’s sketchbook, little if anything was known of Maud Mahood. As it is, nobody knows why she spent so much of her life drawing the Bloomsbury Group. D. H. Lawrence said it was because she didn’t know anyone else, but she was much in demand as an artist’s model, and there are photographs in existence of her having a bath with Sigmund Freud, hanging wallpaper with Auguste Rodin and doing Swedish drill with Bernard Shaw. And there have been rumours of a romantic attachment to the almost equally mysterious Saxon Sydney-Turner. Whatever the reason, sketch the Group she did, incessantly from dawn to dusk (often by the light of a glow-worm), and often in their most private and revealing moments. The result is an astonishing close-up view of their quirky goings-on, mingled at times with her own brilliantly surrealist interpretation of their very varied characters and complicated relationships.