Jenna Burlingham Gallery

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and at the age of fourteen he was awarded a grant to enter art school which he accepted. From 1947 to 1950 he studied at Luton School of Art, Bedfordshire, and St. Albans School of Art, Hertfordshire. House's contemporaries included Richard Smith and John Plumb with whom he remained close. During the early fifties, after finishing art school, House began work as assistant to the ecclesiastical sculptor Theodore Kern. He also spent time at an advertising studio where he honed his burgeoning skills in typography and graphic design. In 1952 House was offered the position of designer for Imperial Chemical Industries Plastics Division where he stayed until 1959. This was followed by two years spent as graphic designer for the Kynoch Press in London. In 1961 House set out on his own as a self-employed designer and typographer. Initially this was supplemented by part-time teaching at art schools in and around London but by 1964 House was able to devote himself entirely to his design work which freed up valuable time to concentrate on his own artistic output in the studio. In the late fifties, informed by the new art emerging from America and that of his contemporaries in England, House began to create large-scale abstract works which he was invited to show in 1959 at Dennis Bowen's legendary New Vision Centre in Marble Arch. House was an active participant in the vibrant London art scene of the sixties, regularly attending lectures, exhibitions and discussions. In 1960 he exhibited in 'Situation' the key abstract exhibition of the decade held at the RBA Galleries. Other participating artists included Robyn Denny, Bernard and Harold Cohen, Gillian Ayres, John Hoyland, Richard Smith and William Turnbull among others. These artists, united by a common admiration for American Abstract Expressionism, were frustrated by the lack of exposure given to large-scale abstract works in commercial galleries so they organised their own exhibition. The name was derived from the participants' idea that an abstract painting that occupied the whole field of vision would involve the spectator in an 'event' or 'situation'. This exhibition was followed by 'New London Situation' in 1961 and a nationwide touring Arts Council presentation in recognition of the significance of the two earlier shows. In 1961 House began producing his first prints at the Kelpra Studio, run by Chris and Rose Prater, where he made the earliest fine art screenprint ever to be produced in Britain. Artists such as Paolozzi and Hamilton followed in his footsteps and together they started a printmaking revolution in Britain. They cemented the medium of the screenprint in the world of fine art as opposed to the commercial sphere and secured the reputation of Kelpra in the process. Later, together with Cliff White, House set up the White Ink (Ltd.) print studio in London, where he produced etchings and wood engravings on a series of magnificent antique printing presses...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and at the age of fourteen he was awarded a grant to enter art school which he accepted. From 1947 to 1950 he studied at Luton School of Art, Bedfordshire, and St. Albans School of Art, Hertfordshire. House's contemporaries included Richard Smith and John Plumb with whom he remained close. During the early fifties, after finishing art school, House began work as assistant to the ecclesiastical sculptor Theodore Kern. He also spent time at an advertising studio where he honed his burgeoning skills in typography and graphic design. In 1952 House was offered the position of designer for Imperial Chemical Industries Plastics Division where he stayed until 1959. This was followed by two years spent as graphic designer for the Kynoch Press in London. In 1961 House set out on his own as a self-employed designer and typographer. Initially this was supplemented by part-time teaching at art schools in and around London but by 1964 House was able to devote himself entirely to his design work which freed up valuable time to concentrate on his own artistic output in the studio. In the late fifties, informed by the new art emerging from America and that of his contemporaries in England, House began to create large-scale abstract works which he was invited to show in 1959 at Dennis Bowen's legendary New Vision Centre in Marble Arch. House was an active participant in the vibrant London art scene of the sixties, regularly attending lectures, exhibitions and discussions. In 1960 he exhibited in 'Situation' the key abstract exhibition of the decade held at the RBA Galleries. Other participating artists included Robyn Denny, Bernard and Harold Cohen, Gillian Ayres, John Hoyland, Richard Smith and William Turnbull among others. These artists, united by a common admiration for American Abstract Expressionism, were frustrated by the lack of exposure given to large-scale abstract works in commercial galleries so they organised their own exhibition. The name was derived from the participants' idea that an abstract painting that occupied the whole field of vision would involve the spectator in an 'event' or 'situation'. This exhibition was followed by 'New London Situation' in 1961 and a nationwide touring Arts Council presentation in recognition of the significance of the two earlier shows. In 1961 House began producing his first prints at the Kelpra Studio, run by Chris and Rose Prater, where he made the earliest fine art screenprint ever to be produced in Britain. Artists such as Paolozzi and Hamilton followed in his footsteps and together they started a printmaking revolution in Britain. They cemented the medium of the screenprint in the world of fine art as opposed to the commercial sphere and secured the reputation of Kelpra in the process. Later, together with Cliff White, House set up the White Ink (Ltd.) print studio in London, where he produced etchings and wood engravings on a series of magnificent antique printing presses...

"Ballinger’s images, constructed with often thick impasto paint, interlocking shapes or blocks of colour, a nod to the symbolic style of post-impressionist painters such as Paul Gaug...

After travelling widely throughout the 1980s, Pearce returned to settle and work near Padstow in Cornwall. As a self-taught artist, he sought inspiration from St Ives artists includi...

Peter Joyce was born in Poole, Dorset, and was educated at Bournemouth & Poole College of Art & Design from 1980. He went on to study at Stourbridge College of Technology & Art and q...

“I do not draw in the landscape, I draw from it. It’s taken me inside, to the studio, imagining how it should be ... It's fun for me to make up relative scenarios about my life that ...

Peter Joyce was born in Poole, Dorset, and was educated at Bournemouth & Poole College of Art & Design from 1980. He went on to study at Stourbridge College of Technology & Art and q...

Abstracted Landscape

Flower Study (Calla Lily)

Asphodelus Lutea

Lilium Candidum, July

Gladiolus 'Byzantinus'

Iconography Study IV: Three Figures

Interior with Young Girl

Lily

Marine Parade

Wagons in the Field, Poland

Audrey signed and titled in pencil monoprint 25 x 20 cm 9 7/8 x 7 7/8 in

Composition (Blue, Green, Orange and Red), 1987 signed and dated acrylic and watercolour on paper 69 x 92 cm 27 1/8 x 36 1/4 in

Lilac Recession

Canopy Vase with Abstracts

Bay III

Peanut Butter & Tin Cans

Maria monoprint on Japon nacre 28 x 19.5 cm 11 x 7 5/8 in Elizabeth Spurr (1912–1987) was a British artist celebrated for her contributions as a sculptor, printmaker, and painter. B...

Adytum S III, 1974 signed, dated, titled and numbered 13/75 in pencil screenprint in colours on wove 31 1/8 x 23 1/4 in 79 x 59 cm

Adytum S II, 1973 signed, dated, titled and numbered in pencil screenprint 31 1/2 x 22 7/8 in 80 x 58 cm

Still Life, Red and Yellow Flowers

Winter Grasses, 1972 signed, titled and dated etching 39 x 52 cm 15 3/8 x 20 1/2 in

Two Dogs in a Field

Landscape, acrylic painting by Peter Joyce,1993 Additional information: signed and dated acrylic 21 5/8 x 29 1/8 in 55 x 74 cm (PJ367)

Landscape, oil on canvas painting by Robert Frame,1959 circa Additional information: oil on canvas 20 x 24 in 50.8 x 61 cm (RF002)

Flight, Oil and Sand on Board Painting by Keith Purser b 1944, 2006 Additional information: Oil and sand on board Dimensions: 12 1/4 x 29 7/8 in 31 x 76 cm (KP523)

East Road (Orange), Oil and Sand on Board Painting by Keith Purser b 1944, 2007 Additional information: Oil and sand on board Dimensions: 10 1/4 x 28 1/8 in 26 x 71.5 cm (KP104)

Green Parakeet II, Oil on Paper Painting by Peter Kinley 1926-1988, 1977 Provenance Collection of an American Corporation, Virginia Additional information: Signed Oil on paper Dim...

Scalpay, from Europäische Graphik I, Lithograph by William Scott 1913-1989, 1963 Description/Commentary Printed by Curwen Studio, London. Published by Kestner Gesellschaft, Hanover....

Two Dales, Derbyshire, Oil on Canvas Painting by George Hammond Steel 1900-1960, circa 1950s Provenance P. W. F. Burton esq.; Private Collection, UK Exhibitions London, Leicester G...

Untitled 09 (Dark Stripes), Painting by Barry Daniels 1931-2010, circa 1960 Additional information: Enamel paint on board Dimensions: 23 1/4 x 24 3/4 in 59 x 63 cm (BD009)

Black Sunflower and Distant Meadow, Canvas Painting by John Hitchens b 1940, 1980 Additional information: Signed verso; dated, titled and inscribed ...

Estuary, Collage on Board Painting by Keith Purser b 1944, 2006 Additional information: Oil, sand and collage on board Dimensions: 10 5/8 x 29 7/8 in 27 x 76 cm (KP500)

Raised Landforms Kariba, Oil on Paper Painting by Philip Jones 1933-2008, 2004 Additional information: Signed, titled and dated Oil on paper Dimensions: 24 x 33 in 61 x 83.8 cm (PJO...

Brown Abstract (6), Oil on Canvas Painting by John Armstrong 1893-1973, 1965 Literature/Press Andrew Lambirth, 'John Armstrong: The Complete Paintings, Catalogue Raisonne', London: ...

A Vase of Flowers, Oil on Canvas Painting by Gertrude Harvey 1879-1966, circa 1930 Provenance Bette Moore, the sister of Midge Bruford Exhibitions Fa...

Tower, 5 from Europäische Graphik VI, Lithograph on Arches Paper (Unframed) Painting by Reg Butler, 1968-9 Additional information: Medium: Lithograph on Arches paper (unframed) 70 x...

A large Aldermaston Pottery Bowl, Earthenware by Aldermaston Pottery, 1997 Circa Additional information: Medium: Earthenware with painted ruby lustre over tin-glaze Diameter 36 cm (...

Untitled (blue squares) by Stephen Buckley, 1977 Additional information: Medium: etching with aquatint 65 x 49.5 cm 25 5/8 x 19 1/2 in signed, titled, dated and numbered 7/50 in pen...

Girl, 4 from Europäische Graphik VI, Lithograph on Arches Paper (Unframed) Painting by Reg Butler, 1968-9 Additional information: Medium: Lithograph on Arches paper (unframed) 54 x ...

French Landscape with Sign, Oil on Canvas Painting by Robin Wallace 1897-1952, circa 1937 Additional information: Medium: Oil on canvas (unframed) 16 x 20 in 40.6 x 50.8 cm

Hokusai Green V, Oil and Ink Painting by Jane Skingley B. 1963, 2023 Additional information: Medium: Oil and ink on an old book sheet 26 x 18 cm 10 1/4 x 7 1/8 in Signed and dated ...

A Wild Spring Day, Woodcut Painting by Lizzie Wheeler B. 1996, 2023 Additional information: Medium: Woodcut 35 x 52.2 cm 13 3/4 x 20 1/2 in Signed, titled, and numbered 7/50 in pencil Lizzie studied Graphic Communications at Bath Spa...

Autumn Flowers, Oil on Board Painting by Jane Skingley B. 1963 Additional information: Medium: Oil on board 30 x 30 cm 11 3/4 x 11 3/4 in Jane Skingley paints seascapes and landsca...

Hokusai Green X, Oil and Ink Painting by Jane Skingley B. 1963, 2023 Additional information: Medium: Oil and ink on an old book sheet 26 x 18 cm 10 1/4 x 7 1/8 in Signed and dated ...

Receding Tide, Rye, Oil Pastel with Pencil Painting by Pamela Burns B. 1938, 1998 Additional information: Medium: Oil pastel with pencil 25 x 31 cm 9 7/8 x 12 1/4 in signed, dated, and titled; further inscribed verso Pamela Burns is a British painter. Burns was born in London and now lives in Pembrokeshire. She studied at the Royal Academy Schools until 1963 and later taught at St Martins and Chelsea College of Art, London. The technique Burns uses is engrossing and it is hard not to wonder at how these paintings are made. The marks, as if enchased, in their repeated lines, have an almost hallucinogenic quality - one is fixated by their minute scale. Some have been painstakingly created in reverse, with the background colour revealing the contrasting lines. It is a technique with its own mystery, delicately matching the mysteries of her compositions. Burns paintings from the 1970s and '80s were inspired by the neolithic landscapes of the South West and the deep-rutted fields that lie in the shadows of the Malvern Hills, drenched in the warm greys, endlessly variant greens and deep browns of England's mud-bound cores. In particular, she looked to Maiden Castle, Dorset, and Cherhill in Wiltshire, both sites where the chalky soil had slipped to form narrow parallel ridges along the contours of the landscape. More recently Burns paintings have recorded the changing of the tides, first in Deal, Kent and now in Pembrokeshire. Unlike most coastal painters who tend to look across the surface of the water to the far horizon, Pamela's eye is always drawn back to the shore, to the point where the land melts into the sea. Her paintings record the changing of the tides, as the shore reclaims itself from the water, the parallel striations in the silt holding within their curved lines the imprint of the waves. The tidemarks themselves become a metonym for the process of erosion, a slow revelation of the bones of the land. She has exhibited at the Cairn Gallery in Nailsworth (1990), a formative centre for Land Artists such as Richard Long and Hamish Fulton...

Islands by Tania Kovats, 2001 Additional information: Medium: ink on layered matte acetate 41 x 29 cm 16 1/8 x 11 3/8 in

Untitled (Abstract), Aquatint Painting by Johnny Friedlaender, 1960 Additional information: Medium: 76.2 x 57.1 cm 30 x 22 1/2 in Signed and numbered 92/95 in pencil

Islands, Ink on Layered Matte Acetate, Painting by Tania Kovats, 2001 Additional information: Medium: Ink on Board 41 x 29 cm 16 1/8 x 11 3/8 in Provenance: Asprey Jacques, London...

Islands, Ink on Layered Matte Acetate, Painting by Tania Kovats, 2001 Additional information: Medium: Ink on Board 41 x 29 cm 16 1/8 x 11 3/8 in Provenance: Asprey Jacques, London...