Jenna Burlingham Gallery Paintings

Mediterranean View Across the Rooftops, Oil on Board Painting by John Copnall, 1954 Additional information: Medium: Oil on board 53 x 70 cm 20 7/8 x 27 1/2 in Signed and dated John...

Untitled (May), Oil on Paper Painting by John Hubbard 1931-2017, 1960 Additional information: Medium: Oil on paper 57 x 65 cm 22 1/2 x 25 5/8 in Signed and dated 'V-1960' American-...

Untitled 01 (Blue Through), Oil on Board Painting by Barry Daniels, 1960s Additional information: Medium: Enamel paint on board 70 x 89 cm 27 1/2 x 35 in Barry Daniels was a member...

Landscape (Hay Rick and Tree), Acrylic on Canvas-Board Painting, 2000-2005 circa Additional information: Medium: Acrylic on canvas-board 30.5 x 40.6 cm 12 x 16 in Signed

Untitled (Stack), Gouache and Pencil Painting by Prunella Clough, 1975 circa Additional information: Medium: Gouache and pencil 21.6 x 18.2 cm 8 1/2 x 7 1/8 in Prunella Clough was ...

Steeple and Moon, Oil on Board Painting by John Christopherson, 1970 Additional information: Medium: Oil on board 15 x 13 cm 5 7/8 x 5 1/8 in Signed with initials; also signed verso; titled and dated '23 September' to the Artist's label attached to the reverse 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...

Beach with Dark Sky, Oil on Board Painting by Peter Greenham 1909-1992 Additional information: Medium: Oil on board 11 3/8 x 17 3/8 in 29 x 44 cm Exhibitions Possibly London, New Grafton Gallery, 'Jane Dowling...

Italian Scene, Pen and Ink with Wash Painting by Reginald Brill, 1950s circa Additional information: Medium: Pen and ink with wash 33 x 48.3 cm 13 x 19 in Reginald " Reggie" Brill was a versastile 20th century artist and teacher. Brill was born in London in 1902 and spent his early childhood there and in Yorkshire. By the time of the First World War, at the age of 13, he was living in lodgings in London, working in a City office and attending St Martins School of Art in the evenings. Considering his lack of education, winning a scholarship to The Slade (now part of University College London) in 1921 where he studied under Henry Tonks for three years, was a huge achievement. On leaving The Slade he found patronage in Lincolnshire, but by the time of the General Strike (1926) he had returned to London and was working on Lansbury's Labour Weekly. He married Rosalie, also an artist, and in 1927 won the Prix de Rome in Decorative Painting. Following two years at The British School in Rome, Brill went to teach at Blackheath School of Art. During 1930 he spent three months painting in Egypt and it was there that he met Col. T G Gayer-Anderson, one of the twin brothers who were to bequeath The Little Hall in Lavenham as a hostel for art students. It was there that Brill retired to act as warden, thus continuing his nurturing of art students until his death in 1972. Brill took up his appointment at The School of Art, Kingston upon Thames in January 1934. It was situated in the Technical Institute (Kingston Hall Road) and Brill found it bohemian and disorganised. He proceeded to inject enthusiasm, order and discipline. Within 5 years of his appointment a purpose-built School of Art was opened in Knights Park. It remained open throughout the war and by 1945 there was a waiting list for places. Under the skilled and totally dedicated direction of Brill, Kingston School of Art became established with national reputation for excellence. In 1961 Sir Charles Wheeler opened the new building at Knights Park. Costing £100,000, this more than doubled the size of the Art School. Brill, was a well-known figure in Kingston. His eloquence made him popular as a guest speaker and his promotion of Art and Design stretched well beyond the doors of Knights Park. Apart from establishing two of the main buildings which makeup what is now known as the Faculty of Design, one of the most visible local contributions he made was the setting up of a topographical collection of paintings depicting Kingston, which has since become known as The Brill Collection at Kingston Museum. Brill gained huge respect and admiration from the hundreds of pupils who studied at Kingston during his 30-year leadership. He published two books, Modern Painting 1946 and Art as a Career 1962, both bearing a strong educational angle. He regularly exhibited along with leading artists of his era at The Royal Academy, both his paintings and his acutely observed drawings. All the while he was a prolific artist, although reading his diaries, intensely self-critical. His perfectionism, acute powers of observation and relentless research can be seen in his drawings, which via the media and methods he explored throughout his life reflect mid 20th century British Art at its most typical. His major series of work, known as 'The Martyrdom of Man', was carried on in parallel to his career as a teacher. These paintings reflect his care for fellow man and depict people at work, e.g., The Operation, The Jury, Linemen, Waiting Room and Rest, which recently sold at Sotheby’s and was specially restored for The Brill Retrospective. His smaller works also play with the theme of everyday events and communication amongst people, such as The Bull Ring and Market Place paintings. Brill's name is associated particularly with human figure compositions, but he also worked on landscapes, portraits and details of plants, animals, interiors etc. As one would expect he moved from one media to another, and his unusual hand painted and cut paper mosaics...

Water Movements, Oil on Paper Painting by John Hubbard 1931-2017, 1968 Additional information: Medium: Oil on paper 57 x 69 cm 22 1/2 x 27 1/8 in signed and dated 'XI-68' Writing o...

Abstract, Gouache and Watercolour Painting by John Hubbard 1931-2017, 1976 Additional information: Medium: Gouache and watercolour 12.5 x 20 cm 4 7/8 x 7 7/8 in signed, initialled a...

Game for Moonlight, Oil on Board Painting by Alan Davie, 1968 Additional information: Medium: Gouache on paper 55.9 x 76.2 cm 22 x 30 in Signed, dated 'Nov' and titled Alan Davie i...

Study No.2 for Waterfall, Oil on Paper Painting by John Hubbard 1931-2017, 1965 Additional information: Medium: Oil on paper 21 x 16 cm 8 1/4 x 6 1/4 in Signed and dated Provenance...

Standing Upright Forms, Acrylic on Canvas Painting by Thomas Nathaniel Davies, 1976 Additional information: Medium: Acrylic on canvas 71.1 x 71.1 cm 28 x 28 in Nathaniel Davies was...

Étude en rouge, Gouache Painting by Henri Hayden 1883-1970, 1964 Additional information: Medium: Gouache 50 x 50 cm 19 3/4 x 19 3/4 in Signed and dated Henri Hayden was a School of...

Coaster, Oil on Canvas Painting by John Hubbard 1931-2017, 1962 Additional information: Medium: Oil on canvas 178 x 152.5 cm 70 1/8 x 60 1/8 in Signed, dated, titled and inscribed '...

Baro Harbour, Sunset (Nigeria), Oil on Board Painting by Derek Hill 1916-2000 Additional information: Medium: Oil on board 18.5 x 41 cm 7 1/4 x 16 1/8 in Titled verso Provenance Acquired from the Artist by Adrian Stokes, and thence by descent. Exhibitions London, Marlborough Gallery, as 'Lagameno Harbour - sunset', with label attached verso Arthur Derek Hill was born in Southampton in 1916. He and his two older brothers attended Marlborough College, where he demonstrated an interest in, and a talent for, painting. His father persuaded him to study stage design rather than painting as that had greater prospects for employment. Consequently he enrolled to study stage design in Munich at the age of 17. He later studied under Paul Colin in Paris and under Dr Josef Gregor in Vienna. Dr Gregor introduced him to Tairov, the director of the Mamemney Theatre in Moscow, where he spent six months in 1936. After working in Moscow he took time out to travel east via the Trans Siberian Express to Japan, China, Bali and Siam. In 1937 Hill returned to England to a job as costume designer at Sadlers Wells but after a short time he went back to Paris. Encouraged by Edward Molyneux, a couturier and collector of impressionist art, he rented an old mill in the Loire and took up painting in earnest. When war broke out he returned to Wiltshire in England as a conscientious objector and worked as a farm worker. He painted in his spare time and met many artists including Victor Pasmore and Mary Kessell. In 1943, at the age of 27, Hill had a one man exhibition in London at the Nicholson Gallery and he also organised exhibitions of the work of other artists including Degas. In 1946 Hill spent a year painting in Ireland. He had relations in Co Wicklow but mostly painted in Galway, Mayo and Achill Island where he painted with the Irish artist Louis LeBroquey. From 1947 Hill spent a great deal of time in Italy. He met the art historian Bernard Berenson who admired his work and became a father figure to him following the death of his own parents. He spent many winters at Berenson’s home, the I Tati estate, outside Florence. During his time in Italy he met many Italian artists including Antonio Music, Renato Guttuso, Bruno Saetti and Giorgio Morandi. He also met the American Henry McIlhenney, who was working at the American Academy in Rome. McIlhenney owned Glenveagh Castle in Donegal at the time and invited Hill to visit him there in 1949. Hill returned again and again to Donegal and in 1953 he bought the house the old St Columb’s rectory, Churchill, now Glebe House, and moved in the following year. Glebe House was Hill’s main home from 1954 until 1981 although he continued to travel extensively during those years. He was appointed the Art Director at the British School in Rome where he met such artists as John Bratby and Joe Tillson as well as the more famous Francis Bacon, Henry Inlander, John Craxton and Keith Vaughan. In 1956/8 Derek Hill visited Tory Island for the first time and was fascinated by the light and rugged scenery. He rented a hut there and spent many weeks every summer painting. His example and encouragement led to the development of a whole school of naïve painting, the Tory Island Painters, of whom the best known artist is James Dixon. Hill’s career as a painter, particularly of portraits, blossomed and he was commissioned to paint many famous people some of whom visited St Columb’s. His portraits include those of Daniel O'Donnell, Yehudi Menuhin, Arthur Rubenstein...

Untitled (Green), Oil on Paper Painting by John Hubbard 1931-2017, 1962 Additional information: Medium: Oil on paper 21 x 21 cm 8 1/4 x 8 1/4 in Signed and dated '22-VII-62'; furthe...

View from the Road Between Cambo and Hexham (Northumberland), Oil Painting by Peter Greenham 1909-1992 Additional information: Medium: Oil on canvas 59.5 x 80 cm 23 3/8 x 31 1/2 in 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...

Untitled, Oil and Pencil Painting by Adrian Heath 1920-1992, 1968 Additional information: Medium: Oil and pencil 56 x 76.5 cm 22 x 30 1/8 in Signed with initials and dated

Roma, Interior, Oil on Canvas Painting by John Hubbard 1931-2017, 1958-9 Additional information: Medium: Oil on canvas 144 x 160 cm 56 3/4 x 63 in signed and dated; further signed, ...

Still Life, Anstruther, Oil on Board Painting by John Houston 1930-2008, 1953 Additional information: Medium: Oil on board 31.5 x 41.5 cm 12 3/8 x 16 3/8 in Signed and dated Proven...

Beach Scene, Norfolk Coast, Oil on Board Painting by Peter Greenham 1909-1992 Additional information: Medium: Oil on board 18.5 x 30 cm 7 1/4 x 11 3/4 in Signed with initials Provenance Jonleigh Gallery, Surrey 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...

Two Children, Oil on Canvas Painting by Peter Greenham 1909-1992 Additional information: Medium: Oil on canvas-board 34.5 x 30 cm 13 5/8 x 11 3/4 in Signed with initials Peter Gree...

Mundesley Beach, Norfolk, Oil on Board Painting by Peter Greenham 1909-1992 Additional information: Medium: Oil on board 19.1 x 26.7 cm 7 1/2 x 10 1/2 in Initialled Provenance Jonl...

Baiser de la fée (The Fairy's Kiss), Scene I, II, III (October) Painting by Hubbard 1931-2017, 1968 Additional information: Medium: Oil on paper on board 44.5 x 78.5 cm 17 1/2 x 30 ...

The Blue Door, Oil on Canvas Painting by Ivon Hitchens 1893-1979, 1972 Additional information: Medium: Oil on canvas 41 x 109 cm 16 1/8 x 42 7/8 in Signed and dated; titled and inscribed on a label attached to the stretcher This depicts the back door of Greenleaves, the Sussex home that Hitchens built for his family after being bombed out of London in 1940. The door had become a regular motif in Hitchens’ work by 1972, as had the distinctive use of a wide-format canvas, where guides the viewer across the surface. Hitchens’ concern lay in expressing the experience of a place, rather than creating a mere likeness, ‘my pictures are painted to be “listened” to’ he declared in a 1956 article for the Royal College of Art journal. His later work shows his commitment to ‘visual sound’, becoming brighter in colour and more fractious in form: ‘visual sounds is of first and greatest importance. Without it the picture is useless’. Provenance Private Collection, London Ivon Hitchens was a British painter, mainly of landscapes. 'Setting up canvas and box in all weathers, I seek first to unravel the essential meaning of my subject, which is synonymous with its structure, and to understand my own psychological reactions to it. Next I must decide how best it can be rendered in paint, not by a literal copying of objects but by combinations and juxtapositions of lines, forms, planes, tones, colours etc., such as will have an aesthetic meaning when put down on canvas ... My pictures are to be listened to.' (The Artist, personal memorandum, c.1954) "Hitchens was born in London, son of the painter Alfred Hitchens, and studied at St John's Wood School of Art (1911-12) and the Royal Academy Schools (several years on and off between 1912 and 1919). In 1920, he became a founder member of the progressive 'Seven & Five Society' and was the only artist to belong to it throughout its entire lifetime until its demise in 1935. During this time, he experimented with pure abstraction (he exhibited as one of the 'Objective Abstractionists' in 1934), but by the late 1930s he had created a highly distinctive style on the borderline between abstraction and figuration in which broad, fluid areas of lush colour, typically on a canvas of wide format, evoke but do not represent the forms of the English countryside that were his inspiration. In 1940, following the bombing of his London studio, he settled permanently at Lavington Common, near Petworth, in Sussex. His work altered little from then, apart from the fact that his palette changed from naturalistic browns and greens to more vivid colours such as bright yellows and purples. Contrary to what often happens when an artist remains constant in one style over several decades, Hitchens's work did not become stereotyped or banal. In addition to landscapes, Hitchens painted flowers and figure subjects (usually nudes) and he did several large murals, for example at Nuffield College, Oxford (1959), and the University of Sussex (1963). His work is represented in the Tate Gallery, London, and many public collections. His son John Hitchens (1940- ) is also a painter, mainly of landscapes and flower pieces." A Dictionary of Twentieth-Century Art, 1999 Other members of the Seven and Five Society included Henry Moore, Barbara Hepworth, John Piper, Cedric Morris, Ben and Winifred Nicholson, Christopher Wood and David Jones. They were the a driving force in the 1930s London...

Lake Annecy, Oil on Board Painting by Peter Greenham 1909-1992 Additional information: Medium: Oil on board 18 x 27 cm 7 1/8 x 10 5/8 in Signed with initials Provenance Jonleigh Gallery, Surrey 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...

Italian Landscape, Pen Painting by Reginald Brill, 1950 circa Additional information: Medium: Ink 20 x 34 cm 7 7/8 x 13 3/8 in Reginald " Reggie" Brill was a versastile 20th century artist and teacher. Brill was born in London in 1902 and spent his early childhood there and in Yorkshire. By the time of the First World War, at the age of 13, he was living in lodgings in London, working in a City office and attending St Martins School of Art in the evenings. Considering his lack of education, winning a scholarship to The Slade (now part of University College London) in 1921 where he studied under Henry Tonks for three years, was a huge achievement. On leaving The Slade he found patronage in Lincolnshire, but by the time of the General Strike (1926) he had returned to London and was working on Lansbury's Labour Weekly. He married Rosalie, also an artist, and in 1927 won the Prix de Rome in Decorative Painting. Following two years at The British School in Rome, Brill went to teach at Blackheath School of Art. During 1930 he spent three months painting in Egypt and it was there that he met Col. T G Gayer-Anderson, one of the twin brothers who were to bequeath The Little Hall in Lavenham as a hostel for art students. It was there that Brill retired to act as warden, thus continuing his nurturing of art students until his death in 1972. Brill took up his appointment at The School of Art, Kingston upon Thames in January 1934. It was situated in the Technical Institute (Kingston Hall Road) and Brill found it bohemian and disorganised. He proceeded to inject enthusiasm, order and discipline. Within 5 years of his appointment a purpose-built School of Art was opened in Knights Park. It remained open throughout the war and by 1945 there was a waiting list for places. Under the skilled and totally dedicated direction of Brill, Kingston School of Art became established with national reputation for excellence. In 1961 Sir Charles Wheeler opened the new building at Knights Park. Costing £100,000, this more than doubled the size of the Art School. Brill, was a well-known figure in Kingston. His eloquence made him popular as a guest speaker and his promotion of Art and Design stretched well beyond the doors of Knights Park. Apart from establishing two of the main buildings which makeup what is now known as the Faculty of Design, one of the most visible local contributions he made was the setting up of a topographical collection of paintings depicting Kingston, which has since become known as The Brill Collection at Kingston Museum. Brill gained huge respect and admiration from the hundreds of pupils who studied at Kingston during his 30-year leadership. He published two books, Modern Painting 1946 and Art as a Career 1962, both bearing a strong educational angle. He regularly exhibited along with leading artists of his era at The Royal Academy, both his paintings and his acutely observed drawings. All the while he was a prolific artist, although reading his diaries, intensely self-critical. His perfectionism, acute powers of observation and relentless research can be seen in his drawings, which via the media and methods he explored throughout his life reflect mid 20th century British Art at its most typical. His major series of work, known as 'The Martyrdom of Man', was carried on in parallel to his career as a teacher. These paintings reflect his care for fellow man and depict people at work, e.g., The Operation, The Jury, Linemen, Waiting Room and Rest, which recently sold at Sotheby’s and was specially restored for The Brill Retrospective. His smaller works also play with the theme of everyday events and communication amongst people, such as The Bull Ring and Market Place paintings. Brill's name is associated particularly with human figure compositions, but he also worked on landscapes, portraits and details of plants, animals, interiors etc. As one would expect he moved from one media to another, and his unusual hand painted and cut paper mosaics...

Savoy (The Alps), Oil on Board Painting by Peter Greenham 1909-1992 Additional information: Medium: Oil on board 36 x 34 cm 14 1/8 x 13 3/8 in Signed with initials Peter Greenham w...

Untitled (November), Oil on Paper Painting by John Hubbard 1931-2017, 1965 Additional information: Medium: Oil on paper 16 x 21.5 cm 6 1/4 x 8 1/2 in Signed with initials and dated;...

Playing on the Beach, Oil on Board Painting by Peter Greenham 1909-1992 Additional information: Medium: Oil on board 25.4 x 35.6 cm 10 x 14 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...

Geometric Breaking Waves, Acrylic Painting by Thomas Nathaniel Davies, 1970 Additional information: Medium: Acrylic 50.8 x 50.8 cm 20 x 20 in Signed and dated 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...

Near Poynings Painting by Stephen Palmer B. 1959, 2023 Additional information: Medium: Oil on panel Dimensions: 32 x 32 cm 12 5/8 x 12 5/8 in Signed, d...

Poppy Heads and Harbour Painting by Nicholas Turner B. 1972, 2021 Additional information: Medium: Oil on board Dimensions: 20 x 25 cm 7 7/8 x 9 7/8 in Signed, titled and dated verso...

House I Painting by Daisy Cook B. 1965, 2024 Additional information: Medium: Oil on panel Dimensions: 18 x 13 cm 7 1/8 x 5 1/8 in Daisy Cook is a British ...

Green Vase Painting by Nicholas Turner B. 1972, 2022 Additional information: Medium: Oil on board Dimensions: 20.3 x 25.4 cm 8 x 10 in Signed, dated and titled verso. Nicholas Turn...

Late Summer above Chittern Painting by Martin Yeoman B. 1953 Additional information: Medium: Oil on panel Dimensions: 16 x 36 cm 6 1/4 x 14 1/8 in Martin Yeoman was born in 1953, a...

Green Slate Shore I Painting by Pamela Burns B. 1938, 2015 Additional information: Medium: Oil and sand on canvas with slates and pebbles Dimensions: 22 x 60 cm 8 5/8 x 23 5/8 in Si...

Slate Shore II Painting by Pamela Burns, 2015 B. 1938 Additional information: Medium: Oil and marble dust on canvas Dimensions: 25 x 30 cm 9 7/8 x 11 3/4 in Signed, dated, titled an...

River Landscape Painting by Martin Yeoman B. 1953 Additional information: Medium: Oil on canvas-board Dimensions: 24 x 42.5 cm 9 1/2 x 16 3/4 in Martin Yeoman was born in 1953, and...

Canopy Vase with Abstracts Painting by Daisy Cook B. 1965 Additional information: Medium: Mixed media Dimensions: 30 x 32 cm 11 3/4 x 12 5/8 in Daisy Cook...

Abstract Book Cover with Ochre Painting by Daisy Cook B. 1965, 2023 Additional information: Medium: Oil and pencil on found book cover Dimensions: 24.5...

Sunflower Painting by Daisy Cook B. 1965, 2023 Additional information: Medium: Oil and pencil on found book cover Dimensions: 24 x 18 cm 9 1/2 x 7 1/8 in ...

Ochre Shore Painting by Pamela Burns B. 1938, 2015 Additional information: Medium: Oil and sand on board Dimensions: 25.5 x 30.5 cm 10 x 12 in Signed, dated, and titled on the overl...

Green Slate Shore III Painting by Pamela Burns B. 1938, 2015 Additional information: Medium: Oil and sand on canvas with slates Dimensions: 31 x 53 cm 12 1/4 x 20 7/8 in Signed, dat...

Sunflower Painting by Daisy Cook B. 1965, 2023 Additional information: Medium: Oil on board Dimensions: 24 x 18 cm 9 1/2 x 7 1/8 in Signed, titled and date...

Abstract House (Pink) Painting by Daisy Cook B. 1965, 2024 Additional information: Medium: Oil on panel Dimensions: 18 x 24 cm 7 1/8 x 9 1/2 in Daisy Cook is a British painter of l...

Steps to Water Painting by Keith Purser B. 1944, 2007 Additional information: Medium: Woodcut with hand-colouring Dimensions: 41 x 59 cm 16 1/8 x 23 1/4 in Signed, titled and dated....

Blue House Painting by Daisy Cook B. 1965, 2023 Additional information: Medium: Oil on board Dimensions: 18 x 24 cm 7 1/8 x 9 1/2 in Signed, titled and dat...

Oil on Gesso Board 'Flower Jug' Painting by Ffiona Lewis B. 1964, 2023 Additional information: Medium: Oil on gesso board Dimensions: 24 x 30 cm 9 1/2 x 11 3/4 in Signed Ffiona Lew...

Tipula Maxima Painting by Keith Purser B. 1944, 2008 Additional information: Medium: Oil on plywood Dimensions: 51 x 48 cm 20 1/8 x 18 7/8 in Signed, dated and titled. Keith Purser...

Beach with Cliffs (Dorset) Painting by Martin Yeoman B. 1953 Additional information: Medium: Oil on paper laid on board Dimensions: 24 x 35 cm 9 1/2 x 13 3/4 in Signed Martin Yeoma...

Black Bean Pot Painting by David Pearce B. 1963, 2023 Additional information: Medium: Acrylic on panel Dimensions: 40 x 50 cm 15 3/4 x 19 3/4 in Signed with initials and dated. Dav...

Fishermen, Sail and Creel Painting by Nicholas Turner B. 1972, 2020-23 Additional information: Medium: Oil on board Dimensions: 25.7 x 30.5 cm 10 1/8 x 12 in Signed, dated and title...

Landscape with Trees Painting by Martin Yeoman B. 1953, 2023 Additional information: Medium: Oil on board Dimensions: 13.5 x 21.5 cm 5 1/4 x 8 1/2 in Martin Yeoman was born in 1953...

Camber Sands Painting by Martin Yeoman B. 1953 Additional information: Medium: Oil on board Dimensions: 14 x 32 cm 5 1/2 x 12 5/8 in Martin Yeoman was born in 1953, and studied wit...

Blue Tree Farm Painting by David Pearce B. 1963, 2013 Additional information: Medium: Acrylic on panel Dimensions: 30 x 40 cm 11 3/8 x 15 3/4 in Signed with initials and dated. Dav...

Acrylic on Panel 'Still Life I' Painting by David Pearce B. 1963, 2023 Additional information: Medium: Acrylic on panel Dimensions: 40.6 x 30.5 cm 16 x 12 in Signed with initials an...

Tipula Minos Painting by Keith Purser B. 1944, 2008 Additional information: Medium: Oil and pencil on board Dimensions: 18 1/2 x 10 1/2 in 47 x 26.7 cm Keith Purser lives and works...

Still Life with Blue Painting by David Pearce B. 1963, 2023 Additional information: Medium: Acrylic on panel Dimensions: 40.6 x 30.5 cm 16 x 12 in Signed with initials and dated. D...