Jenna Burlingham Gallery Paintings

Christmas Card (Dark Grey with Three Painted Cut Outs) Painting by Breon O'casey Additional information: Medium: Gouache and collage 10.2 x 14.2 cm 4 x 5 5/8 in Born in London 1928, Breon O’Casey was the son of the actor Eileen Reynolds and the playwright Sean O'Casey. In 1937 the family moved to Totnes where Breon O'Casey thrived at Dartington Hall School. Dartington was founded by Leonard and Dorothy Elmhirst, who had a vision of a Utopian community which combined the working of the land with the life of the spirit through the arts. The emphasis the school placed on physical activities and skills, considering them equally important to academic skills, was crucial to him. At Dartington O’Casey learnt “to think with my hands as well as my head.” After National Service he attended the Anglo-French Art Centre in St John’s Wood...

Cornish Coast, Gouache Painting by Peter Potworowski, 1952/3 Additional information: Medium: Gouache 20.3 x 33 cm 8 x 13 in Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative painter who lived and exhibited in Paris, Poland, Sweden and England. Potworowski was born in Warsaw in 1898. After serving in the First World War, Potworowski enrolled at the Warsaw University of Technology to study architecture, though his studies were halted by the Bolshevik campaign. After the end of the Polish-Soviet War in 1921, Potworowski returned to Warsaw and began to study art at the school of Konrad Krzyżanowski. By the following year, he had taken a place at the Academy of Fine Arts in Krakow, where he studied under Józef Pankiewicz. It was Pankiewicz who incorporated Potworowski into the Paris Commute, or Kapists, a group of Polish artists who travelled to the French capital in 1924. During his seven years in Paris he became personally acquainted with Pablo Picasso, Pierre Bonnard, Jean Cocteau, Constantin Brancusi and attended for a short time Fernand Léger's studio. It was through this job that he met his first wife Magdalena Mańkowska, a student of anthropology in Paris. After marrying in France, and visiting Britain in 1928, the couple returned to Poland in 1930, where their first son John was born. In 1931, Warsaw was the locale of the first Kapists exhibition, entitled New Generation, which took place at the Artist's Club, Hotel Polonia, and the Institute of Art Propaganda. Here, Potworowski received a prize for his painting Three Women in the Interior. The following year, he held his first solo exhibition at the Makowski Salon in Poznań. This success was sustained through 1937 when the artist received a silver medal at the International Exhibition of Art and Technology in Paris, as well as the award from the Minister of Foreign Affairs. After this strong development, Potworowski had a travelling solo exhibition arranged, held in 1938 at the Institute of Propaganda of Art in Warsaw and then in Lviv. Following the invasion of Poland in 1939, Potworowski escaped to Sweden via Lithuania. It was from here that the artist, with his wife and two young children, made his way to Britain, arriving in 1943. After serving in Scotland, Potworowski settled in London, and in January 1946, an exhibition of 33 of his works was held at the Redfern Gallery. This was followed by regular exhibitions with the Redfern, Gimpel Fils (1948 onwards) and The London Group, to which he was elected a member in 1949. He was also the president of the Association of Polish Artists and published regularly in the monthly magazine "Nowa Polska". Potworowski's teaching career included eight years as Professor of Painting at the Bath Academy of Art, Corsham (1949-57), where he had considerable European influence, specifically on abstraction, and was acknowledged by contemporaries including Peter Lanyon, Bryan Wynter...

Coastal Scene, Gouache Painting by Peter Potworowski, 1950s circa Additional information: Medium: Gouache 17 x 21.5 cm 6 3/4 x 8 1/2 in Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative painter who lived and exhibited in Paris, Poland, Sweden and England. Potworowski was born in Warsaw in 1898. After serving in the First World War, Potworowski enrolled at the Warsaw University of Technology to study architecture, though his studies were halted by the Bolshevik campaign. After the end of the Polish-Soviet War in 1921, Potworowski returned to Warsaw and began to study art at the school of Konrad Krzyżanowski. By the following year, he had taken a place at the Academy of Fine Arts in Krakow, where he studied under Józef Pankiewicz. It was Pankiewicz who incorporated Potworowski into the Paris Commute, or Kapists, a group of Polish artists who travelled to the French capital in 1924. During his seven years in Paris he became personally acquainted with Pablo Picasso, Pierre Bonnard, Jean Cocteau, Constantin Brancusi and attended for a short time Fernand Léger's studio. It was through this job that he met his first wife Magdalena Mańkowska, a student of anthropology in Paris. After marrying in France, and visiting Britain in 1928, the couple returned to Poland in 1930, where their first son John was born. In 1931, Warsaw was the locale of the first Kapists exhibition, entitled New Generation, which took place at the Artist's Club, Hotel Polonia, and the Institute of Art Propaganda. Here, Potworowski received a prize for his painting Three Women in the Interior. The following year, he held his first solo exhibition at the Makowski Salon in Poznań. This success was sustained through 1937 when the artist received a silver medal at the International Exhibition of Art and Technology in Paris, as well as the award from the Minister of Foreign Affairs. After this strong development, Potworowski had a travelling solo exhibition arranged, held in 1938 at the Institute of Propaganda of Art in Warsaw and then in Lviv. Following the invasion of Poland in 1939, Potworowski escaped to Sweden via Lithuania. It was from here that the artist, with his wife and two young children, made his way to Britain, arriving in 1943. After serving in Scotland, Potworowski settled in London, and in January 1946, an exhibition of 33 of his works was held at the Redfern Gallery. This was followed by regular exhibitions with the Redfern, Gimpel Fils (1948 onwards) and The London Group, to which he was elected a member in 1949. He was also the president of the Association of Polish Artists and published regularly in the monthly magazine "Nowa Polska". Potworowski's teaching career included eight years as Professor of Painting at the Bath Academy of Art, Corsham (1949-57), where he had considerable European influence, specifically on abstraction, and was acknowledged by contemporaries including Peter Lanyon, Bryan Wynter...

The Green Bag, Oil on Board Painting by Charles Mccall 1907-1989 Additional information: Medium: Oil on board 21 x 17 cm 8 1/4 x 6 3/4 in Signed; further signed and titled on a labe...

Pink Poppy and Sweet Peas, Oil on Canvas Painting by David Michie 1928-2015, circa 1980 Additional information: Medium: Oil on canvas 92 x 127 cm 36 1/4 x 50 in Signed David Michie was a Scottish painter, known for his still lifes, landscapes and depictions of everyday people. David Michie was born in 1928 in Saint-Raphaël, the south of France. He was born into a family of artists, his mother was the renowned Edinburgh School painter Anne Redpath (1895-1965) and his father the painter and architect, James Beattie Michie (1891-1960), his elder brother, Alastair Michie...

Interior with WIndow, Oil Painting by Peter Kinley 1926-1988, circa 1960 Additional information: Medium: Oil over pencil 30 x 23 cm 11 3/4 x 9 1/8 in Provenance Private Collection,...

The Edge of Myths, Oil on Canvas Painting by Padraig Macmiadhachain 1929-2017, 2006 Additional information: Medium: Oil on canvas 51 x 61 cm 20...

I See a Fishing Boat Leaving Cornwall, Oil on Canvas Painting by Padraig Macmiadhachain 1929-2017 Additional information: Medium: Oil on canvas...

Study for Cambridge, Liqutex on Canvas Painting by Mark Lancaster 1938-2021, 1968 Additional information: Medium: Liqutex on canvas 36 x 36 cm 14 1/8 x 14 1/8 in Signed Mark Lancas...

Vanessa Bell II, Oil on Canvas Painting by Mark Lancaster 1938-2021, 1980 Additional information: Medium: Oil on canvas 91.5 x 61 cm 36 x 24 in Signed Mark Lancaster was born Chris...

House and Trees, Oil on Canvas Painting by Bernard Meninsky, circa 1925 Additional information: Medium: Oil on canvas 61 x 51 cm 24 x 20 1/8 in Signed Provenance Sale; Phillips, Lo...

Intervals (Yellow), Silkscreen Painting by Kim Lim 1936-1997, 1972 Additional information: Medium: Silkscreen on plastic, framed in a perspex box 45 x 45 cm 17 3/4 x 17 3/4 in Signed, dated and numbered Provenance Private Collection, UK Exhibitions London, Pace Gallery, 'Creating Abstraction', Feb 3 - Mar 12 2022 (another ed.) Wakefield, Hepworth, 'Kim Lim', 2023 (another ed.) 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...

Girl Through a Window, Oil on Board Painting by Charles Mccall 1907-1989, circa 1950/53 Additional information: Medium: Oil on board 14 x 8 in 35.6 x 20.3 cm Signed upper left Born...

White, Oil on Canvas Painting by Mark Lancaster 1938-2021, 1974 Additional information: Medium: Oil on canvas 185.5 x 122 cm 73 x 48 in Signed Mark Lancaster was born Christopher R...

Porthleven, Oil on Board Painting by Daphne Mcclure 1930-2023 Additional information: Medium: Oil on board 48 x 47 cm 18 7/8 x 18 1/2 in Signed Daphne...

Still Life with Violin, Oil on Canvas Painting by David Mcclure 1926-1998 Additional information: Medium: Oil on canvas 70 x 90.5 cm 27 1/2 x 35 5/8 in Provenance Estate of the Art...

Study for 22 Forsyth St. No.1, Chalk Pastel Painting by Mark Lancaster 1938-2021, 1972 Additional information: Medium: Chalk pastel 22.9 x 30.5 cm 9 x 12 in Mark Lancaster was born...

Standing Figure, Oil Painting by Peter Kinley 1926-1988, circa 1960s Additional information: Medium: Oil and pencil 24 x 18 cm 9 1/2 x 7 1/8 in Provenance Estate of the Artist Pete...

Hyacinths and Almond Tree, Oil on Canvas Painting by Margaret Mellis 1914-2009, 1951 Additional information: Medium: Oil on canvas 51 x 63 cm 20 1/8 x 24 3/4 in Margaret Mellis was an important figure in the story of St Ives, though her artwork is often overlooked. Known for her collages and constructions in the 1930s and 1940s, the break-up of her marriage to Adrian Stokes and subsequent marriage to Francis Davison with the move to Suffolk in 1948, resulted in a dramatic change in her work: ‘I couldn’t even go on with what I was doing, so I went right back to the beginning of where I left off representational painting. I started over again’. The early 1950s saw a series of still-life compositions in which colour remained central to her working and her former abstract tendencies are still evident. Here, the use of the window obscures the foreground-background distinction and the deliberately arbitrary use of colour allows for Mellis to subtly distort the subject matter. Provenance The Estate of the Artist Exhibitions London, The Redfern Gallery, 'Margaret Mellis: Paintings and Constructions', 2016 Literature 'Margaret Mellis: Paintings and Constructions', The Redfern Gallery, London, 2016, illus., p. 22 Margaret Mellis was one of the early members, and last survivors, of the group of modernists that popularised St Ives as a hub of artistic activity in the 1940s. Mellis was born in Wukingfu, Swatow, China, where her father was a missionary. Her family returned to East Lothian when she was one year old, shortly after the First World War broke out, so her father David Barclay Mellis-Smith could join up. Abandoning an initial interest in music, she studied at Edinburgh College of Art from 1930 to 1934, under colourist Samuel John Peploe...

M. le Clerc's Farm (Rouen), Oil on Paper Painting by Dick Lee 1923-2001, 1988 Additional information: Medium: Oil on paper 23.5 x 33.7 cm 9 1/4 x 13 1/4 in Provenance Acquired from...

Nature Morte (Still life; with Fruit and Flowers), Oil on Canvas Painting by Roger Marcel Limouse 1894-1990 Additional information: Medium: Oil on canvas 46 x 55 cm 18 1/8 x 21 5/8 ...

Still life, Flowers (3), Oil on Canvas Painting by Rodrigo Moynihan 1910-1990, 1939 Additional information: Medium: Oil on canvas 55.9 x 45.7 cm 22 x 18 in Signed and dated; with in...

Landscape near Vezelay, Oil on Canvas Painting by Peter Greenham 1909-1992, 1983 Additional information: Medium: Oil on canvas on board 25.4 x 30.5 cm 10 x 12 in Signed with initials Provenance Acquired from the 1998 exhibition by a private collector, UK. Exhibitions London, New Grafton Gallery, 'Peter Greenham', Dec 1998 Peter Greenham was a distinguished figurative painter of portraits, landscapes and incidents from domestic life. His work was both sensitive and intelligent and like himself, without showiness or pretension. He was keeper of the Royal Academy Schools and a popular figure who taught many well-known artists including Martin Yeoman, Peter Kuhfeld, Edmund Fairfax-Lucy and Jane Corsellis. Greenham was born in Streatham and educated at Dulwich before studying English at Magdalen College, Oxford, followed by Fine Art at the Byam Shaw School of Art in Kensington from 1936-39 under the supervision of Ernest Jackson. After leaving Byam Shaw he became a schoolmaster at Magdalen College School, Oxford and was elected an Associate of the Royal Academy in 1951 and an R.A. in 1960. In 1964 he succeeded Sir Henry Rushbury as Keeper of the Royal Academy Schools, a position he held with distinction until his retirement in 1985. The Keeper has the responsibility of running the RA Schools and Greenham showed himself to have great sympathy and understanding for his students. In retirement he was able to concentrate entirely on his painting and tended to paint places he knew well such as the Norfolk coast, Northumberland, Oxfordshire and Annecy as well as his wife, the painter Jane Dowling...

Flowers, Oil on Canvas Painting by Josef Herman 1915-1997, 1962 Additional information: Medium: Oil on canvas 60.5 x 45.5 cm 23 7/8 x 17 7/8 in Signed, titled and dated verso Josef...

Composition, White and Yellow, Oil on Canvas Painting by Adrian Heath 1920-1992, 1953 Additional information: Medium: Oil on canvas 86.2 x 61.1 cm 34 x 24 in Signed and dated; furth...

Il Pleut Le Dimanche (It Rains on Sunday) Oil on Canvas Painting, 1960 Additional information: Medium: Oil on canvas 55.9 x 45.7 cm 22 x 18 in Signed and dated; further signed and t...

Iconography Study IV: Three Figures, Gouache Painting by Victoria Crowe, 1967/8 Additional information: Medium: Gouache 5 3/4 x 4 3/4 in 14.5 x 12 cm

Banon, Provence, Oil on Canvas Painting by William Crozier, 2002 Additional information: Medium: Oil on canvas 40 x 49.5 cm 15 3/4 x 19 1/2 in Signed, dated and titled verso

Gardens at Night, Greenwich, Oil on Board Painting by John Christopherson, 1972 Additional information: Medium: Oil on board 32 x 27.5 cm 12 5/8 x 10 7/8 in Signed with initials, signed again verso, further signed on the Artist's label John Christopherson was a painter of small dreamlike townscapes and abstract paintings that combine an almost naïve intensity with great sophistication. Born in Blackheath, London in 1921, Christopherson began his working life at Shell-Mex House in 1938, the period when Jack Beddington, the manager of the publicity department was pioneering the use of modern art in advertising. After a wartime illness, Christopherson worked at County Hall in London, choosing for his office wall a print of Paul Nash's Wood on the Downs and Nash's primeval landscapes and magical moons were later to have a lasting influence on Christopherson's own paintings. In 1950, while working as a civil servant at the Geological Museum in South Kensington, he became interested in the French Art Brut movement and corresponded with Jean Dubuffet, who offered encouragement when Christopherson himself began to paint. John Christopherson felt that his life in art did not really begin until 1950, when he met Jacob Epstein and started to visit West End galleries - he said that it was a revelation that 'such a magical world co-existed on the same level and at the same time as the boring, prosaic one of rationing, coupons and the civil service', and he determined to enter it. He said that his annus mirabilis was 1951, the year of the Festival of Britain. This was the time when his tastes and interests were moulded and when he found his vocation. In 1959, he resigned from his appointment in the civil service at the Geological Museum and became a full-time painter. From boyhood he was fascinated by the idea of antiquity. He was always interested in ancient stones, pavements, mosaics, archaeological sites, walls and buildings which had gradually changed and been eroded by time. Walls with faded posters and graffiti particularly attracted him - he treasured and identified himself with what he described as the 'forlorn poetry of the unregarded'. Christopherson's pictures linger in the memory. His image world is a distillation of cultural debris sifted with poetic intensity. His pictures are a microcosm of his tastes and obsessions. Each small painting is haunted by a sense of déjà vu, the ordinary becomes extraordinary. The subtle depths of layers of glazes are incised with the mysterious markings of a private language. Terence Mullaly once described how his works 'convey the impression of a world frozen in a dream'. George Melly...

Wharfedale After Rain, Oil on Canvas Painting by John Albert Cooper, 1932 Additional information: Medium: Oil on canvas 55 x 63 cm 21 5/8 x 24 3/4 in Signed

Landscape, House in the Woods, Oil on Canvas Painting by Peter Greenham 1909-1992 Additional information: Medium: Oil on canvas-board 20 x 26 cm 7 7/8 x 10 1/4 in Signed with initials lower right; also signed verso Provenance Estate of the Artist Peter Greenham was a distinguished figurative painter of portraits, landscapes and incidents from domestic life. His work was both sensitive and intelligent and like himself, without showiness or pretension. He was keeper of the Royal Academy Schools and a popular figure who taught many well-known artists including Martin Yeoman, Peter Kuhfeld, Edmund Fairfax-Lucy and Jane Corsellis. Greenham was born in Streatham and educated at Dulwich before studying English at Magdalen College, Oxford, followed by Fine Art at the Byam Shaw School of Art in Kensington from 1936-39 under the supervision of Ernest Jackson. After leaving Byam Shaw he became a schoolmaster at Magdalen College School, Oxford and was elected an Associate of the Royal Academy in 1951 and an R.A. in 1960. In 1964 he succeeded Sir Henry Rushbury as Keeper of the Royal Academy Schools, a position he held with distinction until his retirement in 1985. The Keeper has the responsibility of running the RA Schools and Greenham showed himself to have great sympathy and understanding for his students. In retirement he was able to concentrate entirely on his painting and tended to paint places he knew well such as the Norfolk coast, Northumberland, Oxfordshire and Annecy as well as his wife, the painter Jane Dowling...

Shapes Falling, Oil on Canvas Painting by John Eaves, 1968 Additional information: Medium: Oil on canvas 40.5 x 30.5 cm 16 x 12 in Signed, titled and dated

Cloud Shadows IV, Oil on Board Painting by Lindy Guinness 1941-2020, 2017 Additional information: Medium: Oil on board 10 x 12 in 25.4 x 30.5 cm Signed with initials Lindy Guinness, The Marchioness of Dufferin and Ava 1959 Met Duncan Grant and worked with him at Charleston for the next ten years 1960 Byam Shaw School of Art 1961-64 Chelsea School of Art 1962-63 Summer School, Salzburg - wins Kokoschka Watercolour Scholarship 1965 Scholarship to Slade School of Art 1970 Worked under Sir William Coldstream, Jeffrey Camp and Sir Lawrence Gowing Exhibitions 1971 Harvane Gallery, London 1972 Hole in the Wall Gallery, Belfast 1976 Gordon Gallery, Derry 1978 Maclean Gallery, London 1981 Soloman Gallery, Dublin 1982 Gordon Gallery, Derry 1984 Hartnoll & Eyre, London 1986 Browse & Darby, London 1986 Browse & Darby, London 1995 Mushroom Watercolour...

Cottages at Bibury, Oil on Canvas-Board Painting by Peter Greenham Additional information: Medium: Oil on canvas-board 15.2 x 22.9 cm 6 x 9 in Signed with initials Peter Greenham was a distinguished figurative painter of portraits, landscapes and incidents from domestic life. His work was both sensitive and intelligent and like himself, without showiness or pretension. He was keeper of the Royal Academy Schools and a popular figure who taught many well-known artists including Martin Yeoman, Peter Kuhfeld, Edmund Fairfax-Lucy and Jane Corsellis. Greenham was born in Streatham and educated at Dulwich before studying English at Magdalen College, Oxford, followed by Fine Art at the Byam Shaw School of Art in Kensington from 1936-39 under the supervision of Ernest Jackson. After leaving Byam Shaw he became a schoolmaster at Magdalen College School, Oxford and was elected an Associate of the Royal Academy in 1951 and an R.A. in 1960. In 1964 he succeeded Sir Henry Rushbury as Keeper of the Royal Academy Schools, a position he held with distinction until his retirement in 1985. The Keeper has the responsibility of running the RA Schools and Greenham showed himself to have great sympathy and understanding for his students. In retirement he was able to concentrate entirely on his painting and tended to paint places he knew well such as the Norfolk coast, Northumberland, Oxfordshire and Annecy as well as his wife, the painter Jane Dowling...

Quiet Waters, Oil on Panel Painting by William Alfred Gibson, 1919 Additional information: Medium: Oil on panel 33 x 25 cm 13 x 9 7/8 in Signed and dated ‘1-1’

Still Life with Shell and Feathers, Oil Board Painting by William George Gillies Additional information: Medium: Oil on board 34.5 x 48 cm 13 5/8 x 18 7/8 in Signed The sumptuous f...

Rain Over Arran, Oil on Canvas Painting by William George Gillies, 1950s Additional information: Medium: Oil on canvas 72 x 113 cm 28 3/8 x 44 1/2 in Signed William George Gillies ...

Bouquet Red-Black on White, Oil on Canvas Painting by Derrick Greaves, 1960 Additional information: Medium: Oil on canvas 71 x 95.5 cm 28 x 37 5/8 in Signed and dated 'derrick Greav...

Wind and Water, Oil on Canvas Painting by William Alfred Gibson Additional information: Medium: Oil on canvas 89 x 70 cm 35 x 27 1/2 in Signed

White Painting (Large Square) Oil on Canvas by Richard Allen Additional information: Medium: Oil on canvas 105 x 105 cm 41 3/8 x 41 3/8 in Richard Allen was an Abstract artist of t...

VIII (White Painting ENW17), Oil on Canvas by Richard Allen, 1995 circa Additional information: Medium: Oil on canvas 24 1/8 x 24 1/8 in 61 x 61 cm With Estate stamp on overlap 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’s pottery course. Allen took national service in 1952 during the Korean War, serving as an engineer. He returned to Worcester in 1954 to study for his A levels and NDD, after which he attended Bath Academy of Art, Corsham, in 1957. He embraced Bath's unconventional teaching of that time and developed a keen interest in abstract painting. In 1959, his last year at Bath, he was commissioned to make a 15 x 9 foot abstract mosaic for a Wiltshire college, in which the first signs of Allen's grid construction, and blocks of colour within a grid, are seen to appear. In 1960 he won an Italian Government Scholarship in Art to study in Ravenna. After only three months in Ravenna, working on restoration of Byzantine mosaics, he moved to the more lively city of Milan in which he worked with large-scale mosaic production. These commercialised mosaics informed his later works, and Allen considers his time in Milan to be one of fruitful cultural interaction. He married fellow Bath Academy of Art student Eve Laurens the next year, and began teaching part time. He taught at Croydon College of Art for eight years, during which time he began working on his Op Art paintings and was awarded the title of Commonwealth Scholar in Art and Architecture. The scholarship gave him the opportunity to study in the Indian Institute for Advanced Studies in Shimla for a year, during which he was able to travel India extensively. During his time in London Allen worked alongside such figures as Bridget Riley and Bruce McLean, their commitment to artistic professionalism informing his own identity as an artist. Allen started experimenting with line, colour, optical effects and the relationship between art and science. His Op Art works relied upon Interferometry, allowing him to lay grid lines over paintings to create visual manipulations. In 1967 he had his first solo exhibition at the University of Sussex. In 1971 he was invited by Malcolm Hughes to join the Matrix group of artists, whose exhibition opened at the Arnolfini Gallery that year which led to a further exhibition at the Whitechapel gallery the following year. The Matrix group was concerned with Systematic painting, which worked to create images that consciously reveal their own methods of construction. This led to his involvement with the Systems movement in music, with performances often accompanying the openings of System exhibitions. Concern with systems informed Allen’s work throughout his life. In 1972 Allen returned to graphic works, namely making large-scale charcoal pieces on canvas. His work at this time was still very much based on the grid and cross. His work was included in the Hayward gallery British painting Exhibition in the mid 1970s, and was also displayed in a solo exhibition at the London Institute of Contemporary Arts. Allen moved to Jersey in 1977, where he continued working with charcoal and exhibiting internationally. The minimalist exhibition ‘Fundamental Painting’ in Amsterdam, 1975, inspired Allen to put together a similar English exhibition. His position on the Committee of the Art Information Registry/Air and Space, enabled him to work on this. The exhibition was held in the Air Gallery in Charing Cross and led to his curation of Fundamental Painting exhibitions in Holland, Belgium, France and Italy. In 1991 he returned to England and began working on his "white paintings", having not worked with colour for twenty years, which were to be his last works. Shortly after his wife Eve died in 1997 he was diagnosed with Motor Neuron Disease. Allen began working with specially adapted computer software...

L.P. IV (Blue on Red + Green), Oil & Cryla on Board Painting by Wilhelmina Barns-Graham, 1968 Additional information: Medium: Oil and cryla on board 40.4 x 40.4 cm 15 7/8 x 15 7/8 i...

Coastal Composition, Gouache and Ink Painting, by Trevor Bell, 1955 Additional information: Medium: Gouache and ink 18.5 x 9 cm 7 1/4 x 3 1/2 in Trevor Bell was an abstract painter...

Still Life with Earthenware Jug, Oil on Canvas Laid on Board Painting, 1998 Additional information: Medium: Oil on canvas laid on board 25.5 x 38 cm 10 x 15 in Signed and dated; als...

Ladder Series I, Oil Stick on Paper Painting by Basil Beattie, 2017 Additional information: Medium: Oil stick on paper 36 x 28 cm 14 1/8 x 11 1/8 in Beattie is best known for his e...

ENMXI (White Painting), Oil on Canvas by Richard Allen, 1995 circa Additional information: Medium: Oil on canvas 61 x 61 cm 24 x 24 in With Estate stamp on the overlap 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...

Bound Up, Oil and Wax on Canvas Painting by Basil Beattie, 2000 Additional information: Medium: Oil and wax on canvas 84 1/8 x 78 1/8 in 213.7 x 198.4 cm Signed, titled and dated; i...

Di-symo, Pen and Ink on Paper, Laid on Paper Painting by Richard Allen, 1970 Additional information: Medium: Pen and ink on paper, laid on paper 56.5 x 56.5 cm 22 1/4 x 22 1/4 in Signed, dated and titled 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’s pottery course. Allen took national service in 1952 during the Korean War, serving as an engineer. He returned to Worcester in 1954 to study for his A levels and NDD, after which he attended Bath Academy of Art, Corsham, in 1957. He embraced Bath's unconventional teaching of that time and developed a keen interest in abstract painting. In 1959, his last year at Bath, he was commissioned to make a 15 x 9 foot abstract mosaic for a Wiltshire college, in which the first signs of Allen's grid construction, and blocks of colour within a grid, are seen to appear. In 1960 he won an Italian Government Scholarship in Art to study in Ravenna. After only three months in Ravenna, working on restoration of Byzantine mosaics, he moved to the more lively city of Milan in which he worked with large-scale mosaic production. These commercialised mosaics informed his later works, and Allen considers his time in Milan to be one of fruitful cultural interaction. He married fellow Bath Academy of Art student Eve Laurens the next year, and began teaching part time. He taught at Croydon College of Art for eight years, during which time he began working on his Op Art paintings and was awarded the title of Commonwealth Scholar in Art and Architecture. The scholarship gave him the opportunity to study in the Indian Institute for Advanced Studies in Shimla for a year, during which he was able to travel India extensively. During his time in London Allen worked alongside such figures as Bridget Riley and Bruce McLean, their commitment to artistic professionalism informing his own identity as an artist. Allen started experimenting with line, colour, optical effects and the relationship between art and science. His Op Art works relied upon Interferometry, allowing him to lay grid lines over paintings to create visual manipulations. In 1967 he had his first solo exhibition at the University of Sussex. In 1971 he was invited by Malcolm Hughes to join the Matrix group of artists, whose exhibition opened at the Arnolfini Gallery that year which led to a further exhibition at the Whitechapel gallery the following year. The Matrix group was concerned with Systematic painting, which worked to create images that consciously reveal their own methods of construction. This led to his involvement with the Systems movement in music, with performances often accompanying the openings of System exhibitions. Concern with systems informed Allen’s work throughout his life. In 1972 Allen returned to graphic works, namely making large-scale charcoal pieces on canvas. His work at this time was still very much based on the grid and cross. His work was included in the Hayward gallery British painting Exhibition in the mid 1970s, and was also displayed in a solo exhibition at the London Institute of Contemporary Arts. Allen moved to Jersey in 1977, where he continued working with charcoal and exhibiting internationally. The minimalist exhibition ‘Fundamental Painting’ in Amsterdam, 1975, inspired Allen to put together a similar English exhibition. His position on the Committee of the Art Information Registry/Air and Space, enabled him to work on this. The exhibition was held in the Air Gallery in Charing Cross and led to his curation of Fundamental Painting exhibitions in Holland, Belgium, France and Italy. In 1991 he returned to England and began working on his "white paintings", having not worked with colour for twenty years, which were to be his last works. Shortly after his wife Eve died in 1997 he was diagnosed with Motor Neuron Disease. Allen began working with specially adapted computer software...

Untitled, Mixed Media on Rag Paper Painting, by Trevor Bell, 1998 Additional information: Medium: Gouache 35 x 45.5 cm 13 3/4 x 17 7/8 in Signed and dated; further signed, dated and...

Still Life, Oil on Board Painting by John Armstrong, 1960 Additional information: Medium: Oil on board 11 1/4 x 15 1/8 in 28.5 x 38.5 cm Signed and dated This painting shows Armstrong's earlier career as a theatre designer, with its subjects arranged on a window sill as if actors in a play; the leaf and muntin, painted in a similar tone of green, act as a mid-ground to the autumnal trees outside the Artist's London home. Painted after Armstrong had returned to the city from Lamorna, Cornwall, as a struggling artist, models were too expensive and so he resorted to using fruits and vegetables from his local market. Showing a Cycladic vessel that appears in other works from 1957 onwards, as illustrated in Lambirth's book, including Still life with Mushrooms from 1961. The distinctive brick-like pattern of Armstrong's brushstrokes shines through here. John Armstrong was a painter of imaginative subjects, designer of film and stage sets, mural painter and book illustrator. Born in Hastings, Sussex, John Rutherford Armstrong attended St Paul's School, London, and studied law at St John's College, Oxford, before taking up art at St John's Wood School of Art (1913-14). He served in the Royal Field Artillery (1914-19) before returning to St John's Wood School for a short period after the war. His first one-man exhibition was at the Leicester Galleries in 1928, where he first met members of the Unit One group, joining them for their 1933 exhibition. It was after this that Armstrong's work began to develop a Surrealist character. Much of Armstrong's oeuvre has its foundation in classical legend, landscape, or imagery, surely understandable given his classical education and WW1 service in the Near East. Varied Greek vase forms regularly make an appearance in his work from the mid-1930s, notably in his GPO poster...

Out of the Thicket, Oil on Board Painting by Mary Adshead Additional information: Medium: Oil on board 179.5 x 75.5 cm 70 5/8 x 29 3/4 in Signed English mural painter and designer ...

XXV (White Painting ENW9), Oil on Canvas by Richard Allen, 1995 circa Additional information: Medium: Oil on canvas 24 1/8 x 24 1/8 in 61 x 61 cm With Estate stamp on overlap 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’s pottery course. Allen took national service in 1952 during the Korean War, serving as an engineer. He returned to Worcester in 1954 to study for his A levels and NDD, after which he attended Bath Academy of Art, Corsham, in 1957. He embraced Bath's unconventional teaching of that time and developed a keen interest in abstract painting. In 1959, his last year at Bath, he was commissioned to make a 15 x 9 foot abstract mosaic for a Wiltshire college, in which the first signs of Allen's grid construction, and blocks of colour within a grid, are seen to appear. In 1960 he won an Italian Government Scholarship in Art to study in Ravenna. After only three months in Ravenna, working on restoration of Byzantine mosaics, he moved to the more lively city of Milan in which he worked with large-scale mosaic production. These commercialised mosaics informed his later works, and Allen considers his time in Milan to be one of fruitful cultural interaction. He married fellow Bath Academy of Art student Eve Laurens the next year, and began teaching part time. He taught at Croydon College of Art for eight years, during which time he began working on his Op Art paintings and was awarded the title of Commonwealth Scholar in Art and Architecture. The scholarship gave him the opportunity to study in the Indian Institute for Advanced Studies in Shimla for a year, during which he was able to travel India extensively. During his time in London Allen worked alongside such figures as Bridget Riley and Bruce McLean, their commitment to artistic professionalism informing his own identity as an artist. Allen started experimenting with line, colour, optical effects and the relationship between art and science. His Op Art works relied upon Interferometry, allowing him to lay grid lines over paintings to create visual manipulations. In 1967 he had his first solo exhibition at the University of Sussex. In 1971 he was invited by Malcolm Hughes to join the Matrix group of artists, whose exhibition opened at the Arnolfini Gallery that year which led to a further exhibition at the Whitechapel gallery the following year. The Matrix group was concerned with Systematic painting, which worked to create images that consciously reveal their own methods of construction. This led to his involvement with the Systems movement in music, with performances often accompanying the openings of System exhibitions. Concern with systems informed Allen’s work throughout his life. In 1972 Allen returned to graphic works, namely making large-scale charcoal pieces on canvas. His work at this time was still very much based on the grid and cross. His work was included in the Hayward gallery British painting Exhibition in the mid 1970s, and was also displayed in a solo exhibition at the London Institute of Contemporary Arts. Allen moved to Jersey in 1977, where he continued working with charcoal and exhibiting internationally. The minimalist exhibition ‘Fundamental Painting’ in Amsterdam, 1975, inspired Allen to put together a similar English exhibition. His position on the Committee of the Art Information Registry/Air and Space, enabled him to work on this. The exhibition was held in the Air Gallery in Charing Cross and led to his curation of Fundamental Painting exhibitions in Holland, Belgium, France and Italy. In 1991 he returned to England and began working on his "white paintings", having not worked with colour for twenty years, which were to be his last works. Shortly after his wife Eve died in 1997 he was diagnosed with Motor Neuron Disease. Allen began working with specially adapted computer software...

Summer Sultry Day, Oil on Board Painting by Frank Archer Additional information: Medium: Oil on board 61 x 76.2 cm 24 x 30 in Signed

XXVIII (White Painting ENW5), Oil on Canvas by Richard Allen, 1995 circa Additional information: Medium: Oil on canvas 61 x 61 cm 24 1/8 x 24 1/8 in With Estate stamp on overlap 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...

XXIX / ENW27 (White Painting), Oil on Canvas by Richard Allen, 1995 circa Additional information: Medium: Oil on canvas 61 x 61 cm 24 x 24 in Signed and titled on the overlap 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’s pottery course. Allen took national service in 1952 during the Korean War, serving as an engineer. He returned to Worcester in 1954 to study for his A levels and NDD, after which he attended Bath Academy of Art, Corsham, in 1957. He embraced Bath's unconventional teaching of that time and developed a keen interest in abstract painting. In 1959, his last year at Bath, he was commissioned to make a 15 x 9 foot abstract mosaic for a Wiltshire college, in which the first signs of Allen's grid construction, and blocks of colour within a grid, are seen to appear. In 1960 he won an Italian Government Scholarship in Art to study in Ravenna. After only three months in Ravenna, working on restoration of Byzantine mosaics, he moved to the more lively city of Milan in which he worked with large-scale mosaic production. These commercialised mosaics informed his later works, and Allen considers his time in Milan to be one of fruitful cultural interaction. He married fellow Bath Academy of Art student Eve Laurens the next year, and began teaching part time. He taught at Croydon College of Art for eight years, during which time he began working on his Op Art paintings and was awarded the title of Commonwealth Scholar in Art and Architecture. The scholarship gave him the opportunity to study in the Indian Institute for Advanced Studies in Shimla for a year, during which he was able to travel India extensively. During his time in London Allen worked alongside such figures as Bridget Riley and Bruce McLean, their commitment to artistic professionalism informing his own identity as an artist. Allen started experimenting with line, colour, optical effects and the relationship between art and science. His Op Art works relied upon Interferometry, allowing him to lay grid lines over paintings to create visual manipulations. In 1967 he had his first solo exhibition at the University of Sussex. In 1971 he was invited by Malcolm Hughes to join the Matrix group of artists, whose exhibition opened at the Arnolfini Gallery that year which led to a further exhibition at the Whitechapel gallery the following year. The Matrix group was concerned with Systematic painting, which worked to create images that consciously reveal their own methods of construction. This led to his involvement with the Systems movement in music, with performances often accompanying the openings of System exhibitions. Concern with systems informed Allen’s work throughout his life. In 1972 Allen returned to graphic works, namely making large-scale charcoal pieces on canvas. His work at this time was still very much based on the grid and cross. His work was included in the Hayward gallery British painting Exhibition in the mid 1970s, and was also displayed in a solo exhibition at the London Institute of Contemporary Arts. Allen moved to Jersey in 1977, where he continued working with charcoal and exhibiting internationally. The minimalist exhibition ‘Fundamental Painting’ in Amsterdam, 1975, inspired Allen to put together a similar English exhibition. His position on the Committee of the Art Information Registry/Air and Space, enabled him to work on this. The exhibition was held in the Air Gallery in Charing Cross and led to his curation of Fundamental Painting exhibitions in Holland, Belgium, France and Italy. In 1991 he returned to England and began working on his "white paintings", having not worked with colour for twenty years, which were to be his last works. Shortly after his wife Eve died in 1997 he was diagnosed with Motor Neuron Disease. Allen began working with specially adapted computer software...

Still Life (with Book), Oil on Canvas Painting by Mildred Bendall, 1925 circa Additional information: Medium: Oil on canvas 46 x 38 cm 18 1/8 x 15 in Signed Known for her brightly ...

EN24, Oil on Canvas Abstract Painting by Richard Allen Additional information: Medium: Oil on canvas 78.5 x 78.5 cm 30 7/8 x 30 7/8 in Richard Allen was an Abstract artist of the 2...

Lilac Recession, Acrylic Painting by Thomas Nathaniel Davies, 1976 Additional information: Medium: Acrylic 50.8 x 50.8 cm 20 x 20 in Signed Nathaniel Davies was born in Dowlais, M...

Grey Recession, Acrylic on Canvas Painting by Thomas Nathaniel Davies, 1979 Additional information: Medium: Acrylic on canvas 91.4 x 91.4 cm 36 x 36 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...

Work on Paper IV, Oil on Wove Laid on Board Painting by Bernard Cohen, 1958 circa Additional information: Medium: Oil on wove laid on board 11 1/8 x 11 5/8 in 28 x 29.5 cm