Judith Yarrow

Glyme Lane - Millennium Wood, Chipping Norton, Landscape, Meadows, Seascape

2023

Cotswolds Landscape X by Rosie Phipps [2021] original and hand signed by the artist Water Colour Paint, Gouache and Pastel on Paper Image size: H:1...

Jo Jenkins Sibton Park III Original Abstract Landscape Painting Oil and Gesso on Canvas Canvas Size: H 84cm x W 84cm Sold Unframed Please note that insitu ima...

The Cotswolds on a fine day Rosie Phipps Water colour, Gouache, Pastel 40 cm x 23 cm Pass into the landscape looking first into the far distance, and then taking one’s gaze to the m...

Woodlands Treasures [2022] Please note that insitu images are purely an indication of how a piece may look Woodlands Treasures is an original landscape painting by Adele Riley. This...

Artist/ School: Jill Jackson (British, contemporary) Title: Vibrant Pastoral Landscape Medium: oil on un stretched canvas, unframed Painting : 26 x 18 inches Provenance: all th...

Title: British Watercolor Woodland Landscape with Bare Trees and Sunlit Clearing By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.25...

Oil on board Image size: 12 1/2 x 15 1/2 inches (31.75 x 40 cm) Contemporary style handmade frame Exhibitions 1952 Royal Academy of Arts Exhibition, Gallery no. VII, no.429. This forest scene invites the viewer into a multi-sensory event where the cool, damp shadows of the foliage can almost be felt and the rich bouquet of the forest floor recalled. Here, Sherlock has chosen a somewhat unusual angle and composition, dissecting each truck and tree form so that only a part can be seen. Furthermore, as we look into the depths of this space it becomes clear that we are stood gazing down into a valley that is in the distance, behind this wooded area. Indeed, instead of giving us an uninterrupted view of this vista, as perhaps would be expected, this view is deliberately blocked and our focus is directed instead towards the organic forms in the foreground. The Artist  Marjorie Sherlock was born at Fir Tree Cottage, George Lane, Wanstead, Essex, on 3 February 1891, the elder child of the civil engineer, Henry Sherlock, and his wife, Alice (née Platts), who was born in Benares, India. By 1901, the family was living at ‘The Limes’, 121 Mill Road, Cambridge, and Marjorie received an education locally. In 1918, she entered into marriage with her cousin, Major Wilfrid Barrett, though this proved unsuccessful and they later divorced (he remarrying in 1941). She then continued to live at the family home until the Second World War. During the First World War, Marjorie Sherlock studied at Westminster Technical Institute under the Camden Town School painters, Walter Sickert and Harold Gilman. She exhibited at the Royal Academy of Arts from 1917, when she showed a powerful view of the interior of Liverpool Street Station (Government Art Collection) (to which the current etching [202] relates). In time, she would exhibit at the International Society, the New English Art Club, the Royal Society of British Artists, the Society of 207 Graphic Art and the Women’s International Art Club (becoming a member of the last two). She also showed work internationally. Developing as a printmaker as well as a painter, Sherlock studied etching under Malcolm Osborne at the Royal College of Art in 1925. She published her etchings in four series, the titles of which indicate her love of travel: ‘English Etchings, ‘Egyptian Etchings’ (both 1925), ‘German Etchings’ (1929) and ‘Indian Etchings’ (1932). During this period, she also visited the united States. More admiring of Continental painters than British ones, she furthered her studies, in 1938, by working in Paris under André L’Hôte and André Dunoyer de Segonzac. During the Second World War, Sherlock moved to East Devon and settled at Oxenways, a Victorian hunting lodge...

Oil on board Image size: 6 x 8 1/2 inches (15 x 21.5 cm) Contemporary hand made float frame We have a considerable collection of Benham's landscape works. Please get in contact if ...