Jenna Burlingham Gallery Art

Paintings and Drawings, by Agnes Martin 1974-1990 (Stedelijk), 1991 Additional information: Medium: complete set of ten lithographs on transparent vellum paper each, 30 x 30 cm 11 3/4 x 11 3/4 in Agnes Martin was an American painter who was born in Macklin, Saskatchewan, Canada, in 1912, and became a US citizen in 1940. Martin is perhaps most recognised for her evocative paintings marked out in subtle pencil lines and pale colour washes. Although restrained, her style was underpinned by her deep conviction in the emotive and expressive power of art. Martin believed that spiritual inspiration and not intellect created great work. ‘Without awareness of beauty, innocence and happiness’ Martin wrote ‘one cannot make works of art’. In a career spanning five decades, Martin became known for her square canvasses, meticulously rendered grids and repeat stripes, though her lesser-known early works consist of experiments with mixed media and works on paper. Martin thought of her works as studies in the pursuit of perfection. Martin spent many years working in New York, where she was part of a contemporary of artists such as Sol LeWitt, Ann Truitt, Donald Judd and Ad Reinhardt – with whom she was close friends. In 1967, shortly after Reinhardt died and just as Martin’s art was gaining acclaim, she left the city and continued her investigations into Buddhism and meditation. She wished to experience true solitude and used this period of quiet reflection to produce some of her most significant writing, whilst situated in sparsely populated and remote areas of the United States and Canada. In 1968 Martin resettled in New Mexico and began building an adobe and log house in a remote mesa. She lived there alone and without modern conveniences for several years. In 1973 she began creating work again. Agnes Martin’s influence reaches globally and plays a hugely significant role in 20th Century art history. Whilst known as a pioneer of abstract painting, her work as well as her reclusive lifestyle have served as an inspiration to creative practitioners in diverse disciplines. Painters, photographers, writers – and many devotees from the words of fashion, architecture and graphic design revisit and rephrase her perspectival studies and fascination with geometry, the legacy of which can be seen in investigations into brevity of line and muted colour palettes. Artists such as Richard Tuttle, Ellen Gallagher...

Summer, from The Four Seasons by Richard Lin, 1966 Additional information: Medium: screenprint on TH Saunders paper 68.5 x 91 cm 27 x 35 7/8 in signed, dated twice, titled and inscr...

Indian View G by Howard Hodgkin, 1971 Additional information: Medium: screenprint in colours on J Green, printed to the edges 22 7/8 x 30 1/2 in 58 x 77.5 cm signed, dated and numbered 46/75 in pencil Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1995–96 Hodgkin had an exhibition at the Metropolitan Museum of Art, New York, which travelled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural...

Here We Are In Croydon by Howard Hodgkin, 1979 Additional information: Medium: lithograph with hand-colouring on Moulin d'Auvergne handmade paper, the full sheet printed to the edges 56 x 76 cm 22 1/8 x 29 7/8 in signed, dated and numbered 30/100 in blue crayon Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1995–96 Hodgkin had an exhibition at the Metropolitan Museum of Art, New York, which travelled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural...

Minaret IV by Tess Jaray, 1984 Additional information: Medium:etching with aquatint 49 x 42 cm 19 1/4 x 16 1/2 in signed and numbered 7/15 in pencil Tess Jaray RA is a painter and ...

Truth, from Encounter Suite by Tess Jaray, 1971 Additional information: Medium: etching 50 x 50 cm 19 3/4 x 19 3/4 in signed, dated and numbered in pencil Tess Jaray RA is a painte...

Betwixt and Between by John Hoyland, 1982 Additional information: Medium: screenprint 55 1/2 x 40 7/8 in 141 x 103.8 cm signed and dated in pencil

Six in Light Orange with Red in Yellow : April by Patrick Heron, 1970 Additional information: Medium: screenprint 71 x 101 cm 28 x 39 3/4 in signed, dat...

Cheuelere Assigne, from Witness by Gerald Laing, 1968 Additional information: Medium: screenprint in colours with Mylar collage on wove paper 23 1/8 x 29 in 58.5 x 73.5 cm signed, d...

Nature morte a la théière (Still life with a Teapot) by Henri Hayden, 1970 Additional information: Medium: lithograph 55.9 x 76.2 cm 22 x 30 in signed and numbered 103/175 in pencil...

Put Out More Flags by Howard Hodgkin, 1992 Additional information: Medium: etching with aquatint, printed to the edges 42 x 52.5 cm 16 1/2 x 20 5/8 in signed with initials, dated and inscribed 'For Dave' in pencil Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1995–96 Hodgkin had an exhibition at the Metropolitan Museum of Art, New York, which travelled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural...

Untitled by Mark Lancaster, 1967 Additional information: Medium: lithograph 73 x 63.5 cm 28 3/4 x 25 in signed Mark Lancaster was born Christopher Ronald Mark Lancaster, but early in life he decided that "Mark" was his favorite of the three names. Educated at Holme Valley Grammar School, 1949–52, and Bootham School, York, from 1952 to 55, after which he worked in a family textile business and studied textile technology for six years, painting in his own time, before going to King's College, Newcastle in 1961 to study Fine Art. From 1961 to 1965 Mark Lancaster studied under Richard Hamilton at the University of Newcastle upon Tyne, where he also taught from 1965–66, and then at the Bath Academy of Art, Corsham, Wiltshire, 1966–68, while living in London. He first visited New York City in 1964, where he worked briefly as an assistant to Andy Warhol, appeared in several Warhol movies, and met Jasper Johns, Ray Johnson, Ellsworth Kelly, Roy Lichtenstein, Frank Stella, James Rosenquist, Larry Rivers, Frank O'Hara, Robert Motherwell, Helen Frankenthaler, Norman Mailer and many others. In New York he photographed extensively, and started a series of paintings related to the imagery of the Howard Johnson...

Relief by Kim Lim, 1993 Additional information: Medium: lithograph 51.3 x 76 cm 20 1/4 x 29 7/8 in signed, dated and numbered in pencil Kim Lim was born in Singapore and spent much of her early childhood in Penang and Malacca. After her schooling in Singapore, Lim knew that she wanted to become an artist, and at eighteen, she enrolled at St. Martin's in London, where she spent two years concentrating mainly on wood carving. She then transferred to the Slade, where taught by the etcher Anthony Gross and lithographer Stanley Jones, she developed a strong commitment to print making. On journeys back to Singapore she stopped off in Europe and India, soaking up the art 'like a sponge'. These were the experiences that confirmed in her a lifelong predilection for things archaic, and for the flow and rhythm of Indian and South East Asian sculpture: " I found that I always responded to things that were done in earlier civilizations that seemed to have less elaboration and more strength." In Greece she was entranced by Cycladic sculpture. Of Chinese art she was moved most by early Shang bronzes, Han sculpture, Sung pottery...

Abstract Form by John Mclean, 1995 Additional information: Medium: screenprint 56 x 75 cm 22 x 29 1/2 in signed and dated in pencil British abstract painter, born in Liverpool to S...

Bouteille et fruits by Henri Hayden, 1968 Additional information: Medium: lithograph in colours on wove 13 3/4 x 19 3/4 in 35 x 50 cm signed, dated and numbered 45/75 in pencil Hen...

Squares and Circles, from Twelve Lithographs by Barbara Hepworth, 1969 Additional information: Medium: lithograph 58 x 80 cm 22 7/8 x 31 1/2 in signed and numbered in pencil Barbar...

Indian View E by Howard Hodgkin, 1971 Additional information: Medium: screenprint in colours on J Green, printed to the edges 22 3/4 x 30 1/2 in 57.7 x 77.5 cm signed, dated and numbered 8/75 in pencil Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1995–96 Hodgkin had an exhibition at the Metropolitan Museum of Art, New York, which travelled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural...

X (ENG7) by Richard Allen, 1971 Additional information: Medium: screenprint 56 x 56 cm 22 x 22 in signed, dated, titled and numbered 8/35 in pencil Richard Allen was an Abstract ar...

Orchestration by André Bicât, 1965 Additional information: Medium: etching on wove paper 29 1/8 x 22 1/2 in 74 x 57 cm signed and numbered 3/25 in pencil ...

Open Bowl with Speckle, Stoneware with Dry Glazes by Paul Philp Additional information: Medium: Stoneware with Dry Glazes Diameter 23 cm (9 in) Height 13.6 (5 3/8 in) Signed by impr...

Armoured Head by André Bicât Additional information: Medium: etching 58 x 39.5 cm 22 7/8 x 15 1/2 in titled and inscribed in pencil Born in Essex to Fren...

Churn with Lugs, Stoneware with Dry Glazes by Paul Philp Additional information: Medium: Stoneware with Dry Glazes Diameter 22 cm (8 5/8 in) Height 15 cm (5 8/9 in ) Signed by impre...

Thrown Open Bowl (Four Circles), Stoneware by William Plumptre, 2019 Additional information: Medium: Stoneware with blue, white and brown slip under a wood-ash glaze Diameter 38 cm ...

Marine Parade by Edward Bawden Additional information: Medium: etching, from a plate 1927-29 27.9 x 33 cm 11 x 13 in signed, titled and numbered in pencil English printmaker, graph...

Five-sided Vessel, Stoneware with Dry Glazes by Paul Philp Additional information: Medium: Stoneware with Dry Glazes Height 52 cm (20 1/2 in) Width 29 cm (11 4/1in) Signed by impres...

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 in pencil ...

The Round Trip by Edward Bawden Additional information: Medium: etching, from a plate 1927-29 27.9 x 33 cm 11 x 13 in signed, titled and numbered in pencil English printmaker, grap...

Bathers by André Bicât Additional information: Medium: etching, unframed 10.5 x 11.5 cm 4 1/8 x 4 1/2 in signed, titled and numbered in pencil Born in Es...

Bubble Wrapped by Basil Beattie, 2001 Additional information: Medium: screenprint 45 x 59 cm 17 3/4 x 23 1/4 in signed, numbered 34/50, titled and dated in pencil English painter a...

Liverpool Street Station by Edward Bawden Additional information: Medium: etching, from a plate 1927-29 38.1 x 38.1 cm 15 x 15 in signed, titled and numbered in pencil English prin...

Large Tile with Two Circles, Stoneware by William Plumptre, 2019 Additional information: Medium: Stoneware with blue, white and brown slip under a wood-ash glaze width 30.5 cm (12 i...

Amphora with Lugs, Stoneware with Dry Glazes by Paul Philp Additional information: Medium: Stoneware with Dry Glazes Height 27 cm (10 5/8 in) Diameter 19 cm (7 4/8) Signed by impres...

Time Differences by Basil Beattie, 2001 Additional information: Medium: screenprint 58.4 x 78.7 cm 23 x 31 in signed, dated, titled and numbered 28/35 in pencil English painter and...

Cosmic Signals No.5 by Alan Davie, 2001 Additional information: Medium: screenprint 88.5 x 74.5 cm (unframed) 34 7/8 x 29 3/8 in signed, dated and numbered in pencil Alan Davie is ...

Untitled (Pink and Black) by Stephen Buckley, 1999 Additional information: Medium: etching with aquatint 64.5 x 49.5 cm 25 3/8 x 19 1/2 in signed, dated and numbered in pencil Stephen Buckley is a British abstract artist. Buckley was born in Leicester. He studied Fine Art under Richard Hamilton at Kings College, Durham University (1962-1967), where he was involved in the reconstruction of Marcel Duchamp's "Large Glass", and then at the University of Reading (1967-1979) under Terry Frost and Claude Rodgers. A group of notable commissions in the early 1970s, from clients including Leith's Restaurant, gave Buckley a strong start to his career. These were followed by a solo exhibtion in Milan in 1973 and another at Kettle's Yard the following year. Solo shows were subsequently held at the Museum of Modern Art, Oxford (1975), Waddington Galleries (1976), Arnolfini Gallery, Bristol (1977), and Arts Council of Northern Ireland (1985) among many others. His teaching career began at Canterbury College of Art (1969-70), before heading to Leeds, The Royal College of Art, and nine years at the Chelsea School of Art (1971-80). He was Artist in Residence at Kings College, Cambridge from 1972-74. In 1994, Buckley was appointed Professor of Fine Art at the University of Reading and Professor Emeritus in 2009. A monograph on Buckley was published in 1989, written by Marco Livingstone. His work has been compared to that of Richard Smith. The work of Buckley is part of public collections and museums worldwide, including the British Council, Government Art, Kettle's Yard, Aberdeen Gallery, Berwick-upon-Tweed Borough Museum and Art Gallery, BUPA House, City Art Gallery, Bristol, City Art Gallery, Huddersfield, Derby Museum and Art Gallery, Leicester Museum, National Art Gallery of Wales, Cardiff, Reading Museum, Southampton City Art Gallery, Swindon Museum and Art Gallery, Tate Britain, London, Victoria and Albert Museum, London, Walker Art Gallery, Liverpool, Whitworth Art Gallery, Manchester. His work is also part of international collections including The Metropolitan Museum of Art, New York, Miami Art Museum, Miami, Florida, Yale Center for British Art, New Haven, Connecticut; Museo de la Solidaridad Salvador Allende...

Diacross (Purple and Green) by Richard Allen, 1971 Additional information: Medium: screenprint 58 x 56 cm 22 7/8 x 22 1/8 in signed, dated and numbered 3/35 in pencil Richard Allen was an Abstract artist of the 20th century who worked across painting, graphic and technological media. Allen was born in Worcester in 1933. Influenced by his father, he attended Shropshire Institute of Agriculture where he studied for a National Diploma. From there he became aware of what he considered his “irrational” yet unshakeable interest in art, since the College shared buildings with Worcester School of Art. Upon the advice of his window-cleaner Bob, Allen decided to apply to the School. Whilst in Worcester he attended Geoffrey Whiting...

Untitled (Coloured Squares) by Stephen Buckley, 1999 Additional information: Medium: etching with aquatint 70 x 49.5 cm 27 1/2 x 19 1/2 in signed, dated and numbered in pnecil Stephen Buckley is a British abstract artist. Buckley was born in Leicester. He studied Fine Art under Richard Hamilton at Kings College, Durham University (1962-1967), where he was involved in the reconstruction of Marcel Duchamp's "Large Glass", and then at the University of Reading (1967-1979) under Terry Frost and Claude Rodgers. A group of notable commissions in the early 1970s, from clients including Leith's Restaurant, gave Buckley a strong start to his career. These were followed by a solo exhibtion in Milan in 1973 and another at Kettle's Yard the following year. Solo shows were subsequently held at the Museum of Modern Art, Oxford (1975), Waddington Galleries (1976), Arnolfini Gallery, Bristol (1977), and Arts Council of Northern Ireland (1985) among many others. His teaching career began at Canterbury College of Art (1969-70), before heading to Leeds, The Royal College of Art, and nine years at the Chelsea School of Art (1971-80). He was Artist in Residence at Kings College, Cambridge from 1972-74. In 1994, Buckley was appointed Professor of Fine Art at the University of Reading and Professor Emeritus in 2009. A monograph on Buckley was published in 1989, written by Marco Livingstone. His work has been compared to that of Richard Smith. The work of Buckley is part of public collections and museums worldwide, including the British Council, Government Art, Kettle's Yard, Aberdeen Gallery, Berwick-upon-Tweed Borough Museum and Art Gallery, BUPA House, City Art Gallery, Bristol, City Art Gallery, Huddersfield, Derby Museum and Art Gallery, Leicester Museum, National Art Gallery of Wales, Cardiff, Reading Museum, Southampton City Art Gallery, Swindon Museum and Art Gallery, Tate Britain, London, Victoria and Albert Museum, London, Walker Art Gallery, Liverpool, Whitworth Art Gallery, Manchester. His work is also part of international collections including The Metropolitan Museum of Art, New York, Miami Art Museum, Miami, Florida, Yale Center for British Art, New Haven, Connecticut; Museo de la Solidaridad Salvador Allende...

Stairing by Basil Beattie, 2001 Additional information: Medium: screenprint 45 x 58 cm 17 3/4 x 22 7/8 in signed, titled, dated and numbered 34/50 in pencil English painter and pri...

A large Aldermaston Pottery Bowl, Earthenware by Aldermaston Pottery, 1980s Circa Additional information: Medium: Earthenware with painted design over tin-glaze Diameter 31 cm (12 2...

Still life with Fruit and Flowers, Oil on Canvas by Matthew Smith, 1950s Circa Additional information: Medium: Oil on Canvas 25.5 x 31 cm 10 1/8 x 1...

North Sea Port, Oil on Canvas by Douglas Swan, 1963 Additional information: Medium: Oil on Canvas 66 x 77 cm 26 x 30 1/4 in Signed and dated Douglas Li...

Study for Reclining Form (The Wildenstein Hermitage) Watercolour by William Tillyer, 1991 Additional information: Medium: Watercolour 25.4 x 76.2 cm 10 x 30 in Signed

Paultons Square, Chelsea, Oil on Canvas Painting by Laurence Scarfe, 1947 Additional information: Medium: Oil on canvas 14 x 20 in 35.6 x 50.8 cm Signed and dated; titled on overlap...

Mosaic, Oil on Board Painting by Laurence Scarfe, 1960 Additional information: Medium: Oil on board 50.8 x 111.8 cm 20 x 44 in Signed with initials; signed again, dated and titled v...

Haystacks, Oil on Canvas Board by John Guthrie Spence Smith Additional information: Medium: Oil on Canvas Board 32 x 42 cm 12 5/8 x 16 1/2 in Signed

Untitled 34, Oil on Board Painting by Laurence Scarfe, 1969 Additional information: Medium: Oil on board 8 x 10 in 20.3 x 25.4 cm Signed with initials; further signed and dated vers...

Still Life with Jugs, Oil on Canvas by Stella Steyn, 1951 Additional information: Medium: Oil on Canvas 61 x 91 cm 24 1/8 x 35 7/8 in Dated and titled verso Stella Steyn trained in Dublin, Berlin and Paris in the 1920s, meeting Samuel Beckett and James Joyce for whom she undertook the illustrations for ‘Finnegan’s Wake...

Abstract Composition, Charcoal Painting by William Scott, 1959-1960 circa Additional information: Medium: Charcoal 63.5 x 77.5 cm 25 x 30 1/2 in Signed William Scott was a British ...

Student Life, Morning (Gunter Grove, Chelsea), Watercolour Painting, 1941 Additional information: Medium: Watercolour over pen and ink 12 x 15 in 30.5 x 38.1 cm Signed and dated; si...

Spring Flowers, Oil on Board by Dorothea Sharp Additional information: Medium: Oil on Board 50.8 x 40.6 cm 20 x 16 in Signed Dorothea Sharp was born in Kent and is best known for h...

Study for Going to Bed Drawing, Pencil on Paper by Stanley Spencer, 1935 Additional information: Medium: Drawing, Pencil on Paper 54.6 x 63.5 cm 21 1/2 x 25 in This is a study for a painting featured in Spencer’s nine picture series, ‘Domestic Scenes’ (1935), throughout which the artist nostalgically reflected on and reimagined the marriage to his then-wife, Hilda Carline, following their separation after ten years together. Indeed, letters show that Hilda began divorce proceedings while the series was being produced, in part owing to Spencer’s infatuation with young artist Patricia Preece, who lived in Cookham alongside her partner Dorothy Hepworth. Spencer married Preece a week after the divorce was finalized, but the marriage was disastrous and his subsequent endeavors to reconcile with Hilda were also unsuccessful, although he did continue to visit her regularly until her death in 1950. Spencer saw the Domestic Scenes series as preparation for his 1953 painting ‘The Marriage of Cana’, a depiction of Christ’s first miracle, the turning of water into wine as described in St John’s Gospel, with the bride and groom reimagined as Stanley and Hilda. This study has been exhibited widely, including at the opening exhibition of the Stanley Spencer Gallery, Cookham in 1962 and in the Royal Academy’s 1980 retrospective ‘Stanley Spencer: RA’. The completed painting, ‘Domestic Scenes: Going to Bed’ (1936) was included in the Barbican Art Gallery’s 1991 exhibition ‘Stanley Spencer: The Apotheosis of Love’, curated by John Toole...

Putney Road, Winter, Oil on Canvas by Carel Weight, 1949 Circa Additional information: Medium: Oil on Canvas 52.1 x 69.8 cm 20 1/2 x 27 1/2 in Closely related to the Ingram Collecti...

Butterfly Collage, Ink and Collage by Colin Self, 2013 Additional information: Medium: Ink and Collage 25 x 14.5 cm 9 7/8 x 5 3/4 in Signed Colin Self is a British artist, known for his Pop Art affiliations and themes of Cold War culture in his work. Born in Norfolk in 1941, Self studied first at Wymondham College, followed by Norwich School of Art where he was taught by Jeffrey Camp...

Red Net, Oil on Canvas by Douglas Swan, 1959 Additional information: Medium: Oil on Canvas 105 x 48 cm 41 3/8 x 18 7/8 in Signed, titled and dated vers...

Houses in Crescent Grove, Clapham, Oil on Canvas Painting by Gordon Scott, 1967 Additional information: Medium: Oil on canvas 40.6 x 50.8 cm 16 x 20 in

Drawing (Green with Three Tongues), Pastel on CutOut Paper by Richard Smith, 1970 Additional information: Medium: Pastel on Cut-out Paper with Staples 99 x 143 cm 39 x 56 1/4 in Signed and dated Smith was a key figure in the British development of Pop Art. By 1970 when this work was executed, Smith was primarily concerned with the examination of the two-dimensional nature of painting and was experimenting in both his oils and his works on paper with extending the paint surface out into a three-dimensional space. In this work we see the added extensions in collage (the ‘three tongues’) to the normal rectangular format. The large scale is testament to the influence of advertising in Smith's late 60s and early 70s works. This work was made in the same year that Richard Smith represented Great Britain at the XXXV Venice Biennale, with a solo show in the British Pavilion. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. It was a hugely defining period in Smith's career, including the creation of his sculpture-cum-paintings 'Waterfall', 'Triangular' (both in the collection of Tate, London) and Sphinx Series (British Council), before he began developments towards his Kite Series in 1971. Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...

Barcos Rabelos, Oporto, Portugal, Laid on Board by Hans Tisdall, 1936 Additional information: Medium: Oil on Canvas, Laid on Board 43 x 51 cm 16 7/8 x 20 1/8 in Signed using natal n...

Woman in Interior (Washing by the Fireplace) by Philip Wilson Steer, 1895 Circa Additional information: Medium: Oil on Canvas-board 30.5 x 20.3 cm 12 x 8 in Numbered '#156' verso; w...

Student Life, The Artist-Orientalist Having Tea, Chelsea, Painting, 1941 Additional information: Medium: Watercolour over pen and ink 10 x 15 in 25.4 x 38.1 cm Signed and dated; fur...

The Lake Isle of Innisfree 11, Watercolour on Paper by William Tillyer, 1992 Additional information: Medium: Watercolour on Paper 55.9 x 76...