Jenna Burlingham Gallery Paintings

Iconography Study IV: Three Figures

Still Life, Red and Yellow Flowers

Lilac Recession

Bay III

Interior with Young Girl

Two Dogs in a Field

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

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)

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...

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)

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)

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...

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...

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 ...

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 ...

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...

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

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...

Sheep and First Blossom of Spring, oil on board by Jo Aylward, 2024 Additional information: Medium: Oil on board 30.5 x 30.5 cm 12 x 12 in Signed Jo Aylward is a British ruralist w...

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...

Black Bird and Sculptural Pebble, oil on board by Jo Aylward, 2024 Additional information: Medium: Oil on board 30.5 x 23 cm 12 x 9 in Signed Jo Aylward is a British ruralist whose...

Waving by Tessa Newcomb, 2024 Additional information: Medium: oil on board 21.5 x 25.5 cm 8 1/2 x 10 in signed with initials and dated; further signed, titled and dated verso Born ...

Nimes, Etching with Aquatint Painting by Julian Trevelyan 1910-1988, 1972 Additional information: Medium: Etching with Aquatint 24 x 30 in 61 x 76.2 cm Signed and titled 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...

Pigeon Perching Above the Dahlias, oil on board by Jo Aylward, 2024 Additional information: Medium: Oil on board 25.5 x 20.5 cm 10 x 8 1/8 in Signed Jo Aylward is a British ruralis...

Mosaic I by Theo Mendez Additional information: Medium: mixed media 69 x 49.5 cm 27 1/8 x 19 1/2 in

Red by Tessa Newcomb, 2024 Additional information: Medium: oil on board 25 x 9.5 cm 9 7/8 x 3 3/4 in signed with initials and dated; further signed, titled and dated verso Born in ...

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

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

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 (Spring Flowers) by Tessa Newcomb, 1989 Additional information: Medium: styrofoam print 22.7 x 17 cm 9 x 6 3/4 in signed and dated Born in Suffolk in 1955, Tessa Newcomb i...

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...

Untitled I by Jon Probert, 2023 Additional information: Medium: pencil on paper 59.5 x 42 cm 23 3/8 x 16 1/2 in signed and dated Having studied Fine Art and Art History at Newcastl...

Broken Circle, Oil on Canvas Painting by Madeleine Strindberg B. 1955 Additional information: Medium: Oil on canvas 35 7/8 x 35 7/8 in 91 x 91 cm Signed verso Provenance Acquired d...

E6, Mixed Media on Board Painting by Peter Joyce, 2021 Additional information: Medium: on Board 12 x 15 cm 4 3/4 x 5 7/8 in Signed and dated; further signed, dated and titled verso...

Untitled (Cornishware Jug) by Tessa Newcomb, 1989 Additional information: Medium: styrofoam print 33.1 x 25.4 cm 13 x 10 in signed with initials and dated Born in Suffolk in 1955, ...

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

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...

Mont St. Michel I, Oil on Board Painting by Peter Greenham Additional information: Medium: Oil on Board 6 1/8 x 12 1/4 in 15.5 x 31.1 cm Signed with initials lower left A larger p...

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

Jo Mossman’s Eggcup, Oil on Board Painting by Stephanie Richards B. 1978, 2024 Additional information: Medium: Oil on board 30 x 36 cm 11 3/4 x 14 ...

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...

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...

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...

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...

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 ...

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...

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...