Jenna Burlingham Gallery Drawings and Watercolor Paintings

Jane Skingley b. 1963 Hokusai Covers II, 2025 mixed media on old book cover 26 x 17 cm 10 1/4 x 6 3/4 in signed verso Jane Skingley paints seascapes and landscapes in oils. Her firs...

Jane Skingley b. 1963 Hokusai Covers I, 2025 oil and collage on book cover 28 x 18 cm 11 x 7 1/8 in signed, titled and inscribed on a label attached verso Jane Skingley paints seasc...

Jane Skingley b. 1963 Hokusai Covers VI, 2025 mixed media on old book cover 26 x 17 cm 10 1/4 x 6 3/4 in signed Jane Skingley paints seascapes and landscapes in oils. Her first exhi...

Jane Skingley b. 1963 Hokusai Covers VII, 2025 mixed media on old book cover 27 x 18 cm 10 5/8 x 7 1/8 in signed Jane Skingley paints seascapes and landscapes in oils. Her first exh...

Jane Skingley b. 1963 Hokusai Covers II, 2025 mixed media on old book cover 26 x 17 cm 10 1/4 x 6 3/4 in signed verso Jane Skingley paints seascapes and landscapes in oils. Her firs...

Jon Probert b. 1966 Untitled, 2024 pencil drawing 58.5 x 58.5 cm 23 x 23 in signed verso Having studied Fine Art and Art History at Newcastle University and lived in London for many...

Pamela Burns b. 1938 In the Evening Light, 1999 oil pastel and pencil 25.4 x 33 cm 10 x 13 in signed, titled and dated 'August' on the reverse Pamela Burns is a British painter. ...

Mary Potter 1900-1981 Red House Garden, Aldeburgh, 1955, circa watercolour over pencil 19 x 18 cm 7 1/2 x 7 1/8 in inscribed verso Mary Potter was a painter of still lifes and lands...

Pamela Burns b. 1938 High Tide, North Easterly Wind, 2000 oil pastel with pencil 21 x 26 cm 8 1/4 x 10 1/4 in signed, titled and dated Pamela Burns is a British painter. Burns was...

Peter Potworowski 1898-1962 Untitled (Gates and Pink Path) watercolour with crayon 24 x 32.5 cm 9 1/2 x 12 3/4 in unsigned Tadeusz Piotr (Peter) Potworowski was a Polish abstract a...

Peter Potworowski 1898-1962 Cornwall, 1953/1954, circa watercolour 17.5 x 23 cm 6 7/8 x 9 in Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative painter who lived...

Peter Potworowski 1898-1962 Cornish Beach, 1953/1954, circa watercolour 17 x 22.5 cm 6 3/4 x 8 7/8 in unsigned Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative...

Peter Potworowski 1898-1962 Woodland Scene, 1956, circa gouache and pastel 25.1 x 28.2 cm 9 7/8 x 11 1/8 in unsigned Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figu...

Rowland Suddaby was a painter and illustrator, mainly of landscapes. Suddaby was born in Kimberworth, Yorkshire, and studied at Sheffield College of Art from 1926, winning a scholars...

Painter of imaginative and religious subjects, of landscapes and occasional portraits. Born 30 June 1891 at Cookham, Berkshire, brother of Gilbert Spencer. Studied at the Maidenhead ...

Lloyd was born in Alsager, Cheshire, the son of a policeman who had taken up farming. He had worked on his father's farm until the age of 19, when he too joined the police force. Llo...

1934, circa watercolour 40.6 x 53.8 cm 16 x 21 1/4 in Work on Paper

Estate of Paul Roche, the Artist's partner. Unsigned. Duncan Grant was a British artist, designer and prominent member of the Bloomsbury Group. His father...

Rowland Suddaby was a painter and illustrator, mainly of landscapes. Suddaby was born in Kimberworth, Yorkshire, and studied at Sheffield College of Art from 1926, winning a scholars...

Mary Fedden was a Modern British painter, printmaker and illustrator. Born in Bristol to a family of surgeons, from childhood Fedden had wanted to become a painter. At the age of si...

Flower Study (Calla Lily)

Asphodelus Lutea

Lilium Candidum, July

Gladiolus 'Byzantinus'

Lily

Wagons in the Field, Poland

Canopy Vase with Abstracts

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...

Partal Number 7, Alhambra, Charcoal Abstract Painting by John Hubbard, 1987 Additional information: Medium: Charcoal 56.2 x 71.1 cm 22 1/8 x 28 in John Hubbard was an American-born...

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...

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...

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...

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

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

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...

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...

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...

Montrose Harbour Lock Gates (The Dutch Boat) by Douglas Swan, 1950s Circa Additional information: Medium: Gouache, Ink and Pastel 56.5 x 36.5 cm 22 1/4...

Bait Store, Iceland, Watercolour by Leon Underwood, 1923 Additional information: Medium: Watercolour 43.7 x 51.1 cm 17 1/4 x 20 1/8 in Leon Underwood was a British sculptor, wood engraver, painter and writer of the twentieth century. Underwood was born 25 December 1890 in London, and studied at the Regent Street Polytechnic from 1907 to 1910, the R.C.A. from 1910 to 1913, and at the Slade School from 1919 to 1920 after undertaking war service between 1914 and 1918 during which he held the position of Captain in the R.E. Camouflage Section. Underwood was awarded a premium in the Rome Prize competition in 1920 but instead of going to Italy went to Iceland. He started his own school of drawing in 1921, and held his first one-man exhibition at the Chenil Galleries in 1922. He visited Holland in 1911, Russia in 1913, Dalmatia and Italy in 1925; he went to the United States and Canada between 1926 and 1927 during which time he published Animalia; he travelled in Mexico during 1928, studying Mayan and Aztec sculpture, and in Spain studying cave paintings. Underwood reopened his drawing school in 1931 and founded the magazine The Island, to which Henry Moore and C. R. W. Nevinson contributed. He wrote Art for Heaven's Sake in 1934, and served in Civil Defence Camouflage from 1939 to 1942. In 1945 Underwood visited West Africa and wrote several books on African...

Pipes, 20 (Studies for Lighting a Pipe) Pencil Drawing by Keith Vaughan, 1946 Circa Additional information: Medium: Pencil Drawing 10 1/8 x 8 1/8 in 25.7 x 20.5 cm Titled; stamped w...

Death and the Maiden, Oil on Canvas by Carel Weight, 1947 Circa Additional information: Medium: Oil on Canvas 10 7/8 x 8 3/4 in 27.5 x 22.2 cm Si...

May 60 (Duomo Pisa), Watercolour Painting by Ben Nicholson 1894-1982, 1960 Additional information: Medium: Watercolour and pencil on paper, mounted on the Artist's board 46.2 x 60.4...

The Industrial Landscape as it Passes By (From the Train), Pencil Drawing by Mary Newcomb 1922-2008 Additional information: Medium: Pencil 13.3 x 20.6 c...

Dorelia Looking Up, Pencil on Paper Drawing by Augustus John 1878-1961 Additional information: Medium: Pencil on paper 39.4 x 20.3 cm 15 1/2 x 8 in Signed Provenance Arthur Tooth &...

Cottage with Chimney in a Wood, Watercolour Painting by David Jones 1895-1974, circa 1932 Additional information: Medium: Watercolour and pencil 48.5 x 64 cm 19 1/8 x 25 1/4 in Pro...

Composition (Blue, Green, Orange and Red), Acrylic Painting by James Hull 1921-1990, 1987 Additional information: Medium: Acrylic and watercolour on paper ...

Study of Young Girl, Ink and Crayon Painting by Jacob Kramer Additional information: Medium: Ink, pencil and crayon 20.3 x 17.8 cm 8 x 7 in Signed Provenance Private Collection, UK.

No.12, from 100 Series, Watercolour Painting by Gwyther Irwin 1931-2008, circa 1981 Additional information: Medium: Watercolour 66 x 81.3 cm 26 x 32 in signed and titled Gwyther Irwin was a British abstract artist, known for his large paper collages. David Gwyther Broome Irwin was born in Basingstoke, Hampshire, but grew up at Foredore House in Trebetherick, on the north coast of Cornwall. He was educated at Bryanston School in Dorset, where Roger Hilton was his art master. The artist chose to continue his studies in London, moving to Bloomsbury and studying at Goldsmith's Art School (1951-1952) and the Central School of Art, Holborn (1952-1955). During the '50s Irwin was experimenting with European avant-garde styles such as art brut, graffiti, and the use of found images. This all fed into a style which is all his own, a form of 'three-dimensional collage', half-way between painting and sculpture. It was in 1957 that his work first came to prominence, with a solo exhibition at Gallery One, his inclusion in the celebrated exhibition 'Metavisual, Tachiste, Abstract' at the Redfern Gallery, as well as exhibiting at the AIA Gallery, Rome New York Art Foundation and 'Dimensions' at the O'Hana Gallery. He showed in Australia, Paris and New York. His first solo exhibition with Gimpel Fils in 1959 was critically acclaimed. The artist was part of the 'Situation' group in 1961 when Sylvia Sleigh...

Italian Landscape with Pylons, Watercolour and Charcoal Painting, 1950s Additional information: Medium: Watercolour and charcoal 23.4 x 32.3 cm 9 1/4 x 12 3/4 in Tadeusz Piotr (Pet...

The Tramp, Watercolour and Pencil Painting by William Roberts, 1945 circa Additional information: Medium: Watercolour and pencil 35 x 53 cm 13 3/4 x 20 7/8 in William Roberts was a British artist, sometimes known as the 'English Cubist'. Born in London Fields, Hackney in 1895, Roberts's artistic ability was evident from an early age, the teachers at his primary school allowed him to devote class time to drawing and eventually his art mistress suggested he be transferred to a school with greater art resources. Upon leaving school Roberts was apprenticed to a commercial art firm and he attended evening classes run by William P. Robins at St Martins School of Art. At fifteen years old, Roberts won a London County Council Scholarship to study at the Slade School of Art where his fellow students included Dora...

Pastoral Landscape, Gouache and Watercolour Painting by Alan Reynolds, 1953 Additional information: Medium: Gouache and watercolour 19.5 x 27.5 cm 7 5/8...

Woodland Scene with Red Apple, Watercolour Painting by Peter Potworowski Additional information: Medium: Watercolour 22 x 16.5 cm 8 5/8 x 6 1/2 in Tadeusz Piotr (Peter) Potworowski...

Roof Garden in Snow (Holland Park Road), Painting by Guy Malet 1900-1973, circa 1950 Additional information: Medium: Watercolour 48.3 x 34.5 cm 19 x 13 5/8 in Provenance Estate of ...

137, Pencil Drawing by Richard Lin 1933-2011, 1960 Additional information: Medium: Pencil 30 1/4 x 35 1/8 in 77 x 89 cm signed, dated and titled Executed in pencil against stark wh...

144, Pencil Drawing by Richard Lin 1933-2011, 1960 Additional information: Medium: Pencil 29 7/8 x 33 7/8 in 76 x 86 cm signed, dated and titled Emanating minimalist purity and cha...

Red, Green, Orange and Purple, Chalk Pastel Painting by Mark Lancaster 1938-2021, circa 1960s Additional information: Medium: Chalk pastel 22.9 x 30.5 cm 9 x 12 in Mark Lancaster w...

Street Scene, Pencil Drawing by Edward Burra, 1930s circa Additional information: Medium: Pencil drawing 49.5 x 61 cm 19 1/2 x 24 1/8 in With Estate stamp Painter in watercolour (f...

Untitled, Gouache & Watercolour on Paper Painting by Martin Bradley, 1962 Additional information: Medium: Gouache and watercolour on paper 65.3 x 88.9 cm 25 3/4 x 35 in Martin Brad...

Abstract 2, Oil Pastel and Pencil on Paper Painting by Henry Cliffe Additional information: Medium: Oil pastel and pencil on paper 15 x 19 1/2 in 38 x 49.5 cm