Jenna Burlingham Gallery Mixed Media

Peter Joyce b. 1964 Nine Barrow Down, 2025 acrylic, collage on board 31 x 51 cm 12 1/4 x 20 1/8 in signed, titled and dated verso The starting point for this painting was the Purbec...

Jane Skingley b. 1963 Hokusai Covers III, 2025 oil and collage on book cover 27 x 18 cm 11 x 7 1/8 in signed, titled and inscribed on a label attached verso Jane Skingley paints sea...

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 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...

George Dannatt 1915-2009 Marine Motif with two variations, (Dart Point), 1979-1990 mixed media 79 x 43 cm 31 1/8 x 16 7/8 in signed, inscribed and dated verso

Martin Bradley 1931-2023 Schematic View of a Garden, 1958 oil and fibre on canvas 60 x 37 cm 23 5/8 x 14 5/8 in signed and dated; further signed and inscribed by Artist verso Born ...

Jane Skingley b. 1963 Hokusai Indigo VIII, 2025 mixed media on vintage book pages laid onto canvas 100 x 100 cm 39 3/8 x 39 3/8 in signed, titled and dated on reverse Jane Skingley ...

Jane Skingley b. 1963 Hokusai Indigo IV, 2025 mixed media on vintage book pages laid onto canvas 100 x 100 cm 39 3/8 x 39 3/8 in signed, titled and dated on reverse Jane Skingley pa...

Richard Lin 1933-2011 May 2, 1971 screenprint on wove and acetate sheet 50.8 x 50.8 cm 20 x 20 in signed and numbered in pencil edition of 70 Born in Taichung, Taiwan, and brought u...

Martin Bradley 1931-2023 Untitled (Double Happiness), 1965 circa oil on wood diameter, 182.9 cm (72 in) signed Martin Bradley is a 20th-century painter. Born in London in 1931, fro...

Daisy Cook b. 1965 Tree with Circles I, 2024 oil on found book cover 22 x 17 cm 8 5/8 x 6 3/4 in unsigned Daisy Cook is a British painter of landscape and still life. Cook creates...

Peter Joyce b. 1964 Godlingston Hill, 2024 acrylic and collage on paper 112 x 77 cm 44 1/8 x 30 1/4 in signed and dated Peter Joyce was born in Poole, Dorset, and was educated at Bo...

Jane Skingley b. 1963 Hokusai Green II, 2024 mixed media on vintage book pages laid onto canvas 50 x 50 cm 19 3/4 x 19 3/4 in signed verso Jane Skingley paints seascapes and landsca...

Jane Skingley b. 1963 Hokusai Ocean Blue I, 2024 mixed media on vintage book pages laid onto canvas 50 x 50 cm 19 3/4 x 19 3/4 in signed verso Jane Skingley paints seascapes and lan...

Diamonds, 2024 oil and collage on found book cover 21.5 x 15 cm 8 1/2 x 5 7/8 in signed, titled and dated verso Daisy Cook is a British painter of landscape and still life. Cook...

Canopy Vase, 2024 oil on found book cover 20 x 15 cm 7 7/8 x 5 7/8 in signed, titled and dated verso Daisy Cook is a British painter of landscape and still life. Cook creates abs...

Jonas Wood is a contemporary artist based in Los Angeles. Raised in Boston, Wood grew up surrounded by his grandfather's art collection which featured works from Francis Bacon, Al...

Canopy Vase with Abstracts

Peanut Butter & Tin Cans

Canopy Vase (Pink), Collage Painting by Daisy Cook B. 1965, 2024 Additional information: Medium: Collage 16 x 10 cm 6 1/4 x 4 in Daisy Cook is a British...

Florian I by Alastair Morton, 1949 Additional information: Medium: cotton and rayon 137 x 109 cm 42 7/8 x 54 in

Collage with Pink Circle, Collage Painting by Daisy Cook B. 1965, 2024 Additional information: Medium: Collage 16 x 10 cm 6 1/4 x 4 in Daisy Cook is a British painter of landscape...

A Package for a Pilgrim, Paper Collage Painting by Roy Turner Durrant 1925-1998, 1976 Additional information: Medium: Paper collage 9 1/2 x 10 1/8 ...

Florentine 2 by Richard Smith, 1973 Additional information: Medium: lithograph on heavy wove paper, with carbon tracing paper and plastic strings 19 3/4 x 27 1/2 in 50 x 70 cm signed, dated and numbered 46/75 in pencil 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...

Zigzags with Blue, Mixed Media by Theo Mendez Additional information: Medium: Mixed media 22.7 x 22.7 cm 9 x 9 in

Zigzags on Red and Yellow, Mixed Media by Theo Mendez Additional information: Medium: Mixed media 20.2 x 22.6 cm 8 x 8 7/8 in

Orange Dashes, Mixed Media by Theo Mendez Additional information: Medium: Mixed media 29 x 25 cm 11 3/8 x 9 7/8 in

Dots on Red, Mixed Media by Theo Mendez Additional information: Medium: Mixed media 15 x 16 cm 5 7/8 x 6 1/4 in

Lines and Squares, Mixed Media by Theo Mendez Additional information: Medium: Mixed media 25 x 24 cm 9 7/8 x 9 1/2 in

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

Untitled (Four Red Circles), Collage with Ink Painting, 1972 circa Additional information: Medium: Collage with ink 15.2 x 15.2 cm 6 x 6 in Nathaniel Davies was born in Dowlais, Merthyr Tydfil, and studied at the Cardiff School of Art, where he was taught by Ceri Richards. In 1942 his studies were put on hold as he was called up for war service. After demobilisation, Davies completed his studies at Cardiff and, with a letter of recommendation from Ceri Richards, was awarded a teaching post at Newton Abbot Art School. He married in 1958, bought a house with a studio, had four children and made paintings, sculptures, constructions and prints. His studio work and teaching kept him busy in Devon, though a number of artists visited Davies including Terry Frost, Patrick Heron...

Abstract 1, Oil Pastel and Pencil on Paper Painting by Henry Cliffe Additional information: Medium: Oil pastel and pencil on paper 23 1/8 x 20 in 58.5 x 51 cm