Jenna Burlingham Gallery Landscape Paintings

Keith Purser lives and works on the edge of the desert-like environment of Europe's largest shingle bank, in the shadow of Dungeness power station and within sight of the coast of Fr...

Peter Joyce was born in Poole, Dorset, and was educated at Bournemouth & Poole College of Art & Design from 1980. He went on to study at Stourbridge College of Technology & Art and q...

Keith Purser lives and works on the edge of the desert-like environment of Europe's largest shingle bank, in the shadow of Dungeness power station and within sight of the coast of Fr...

Keith Purser b. 1944 Dune Light, 2023 oil on board 46 x 99 cm 18 1/8 x 39 in signed, titled and dated Keith Purser lives and works on the edge of the desert-like environment of Euro...

Peter Joyce was born in Poole, Dorset, and was educated at Bournemouth & Poole College of Art & Design from 1980. He went on to study at Stourbridge College of Technology & Art and q...

Peter Joyce was born in Poole, Dorset, and was educated at Bournemouth & Poole College of Art & Design from 1980. He went on to study at Stourbridge College of Technology & Art and q...

Ffiona Lewis was born in London but grew up in Devon, now dividing her time between her studios near the River Debden in Suffolk and London. She studied at the Polytechnic of Central...

Tim's painting clearly shows his inspiration from Modern British painters, particularly the traditions of the 1950s and St Ives Schools. As with landscape painters of the earlier twe...

Born in Wilmslow, George moved to a small dairy farm in Gloucestershire at the age of 10. Under the tutelage of Maurice Feild George painted from a very young age, first publicly exh...

Borders Landscape, Gouache on Buff Paper Painting by Anne Redpath , 1934 circa Additional information: Medium: Gouache on buff paper 43 x 53.5 cm 16 7/8 x 21 1/8 in Signed Redpath'...

Riverside, Hampshire, Oil on Canvas Painting by William Alfred Gibson Additional information: Medium: Oil on canvas 40.6 x 50.8 cm 16 x 20 in Signed William Alfred Gibson (1855–193...

Mountain Landscape, Pen and Ink Painting by John Nash 1893-1977, circa 1950 Additional information: Medium: Pen and ink, with another pen and ink with watercolour verso 29 x 21 cm 1...

Harbour Scene with the Boat, Oil on Canvas Painting by Nicholas Turner, 2017-2024 Additional information: oil on canvas Dimensions: 40 x 50 cm 15 3/4 x 19 3/4 in (NICT605)

Harbour Wall, Oil on Canvas Painting by Nicholas Turner, 2017-2020 Additional information: oil on canvas Dimensions: 40 x 50 cm 15 3/4 x 19 3/4 in (NICT597)

"Ballinger’s images, constructed with often thick impasto paint, interlocking shapes or blocks of colour, a nod to the symbolic style of post-impressionist painters such as Paul Gaug...

After travelling widely throughout the 1980s, Pearce returned to settle and work near Padstow in Cornwall. As a self-taught artist, he sought inspiration from St Ives artists includi...

“I do not draw in the landscape, I draw from it. It’s taken me inside, to the studio, imagining how it should be ... It's fun for me to make up relative scenarios about my life that ...

Bay III

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)

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...

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

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...

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 ...

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...

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...

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

Barcos Rabelos, Oporto, Portugal, Laid on Board by Hans Tisdall, 1936 Additional information: Medium: Oil on Canvas, Laid on Board 43 x 51 cm 16 7/8 x 20 1/8 in Signed using natal n...

Guns on Cardiff Dock, Oil on Canvas by Nan Youngman, 1960 Additional information: Medium: Oil on Canvas 45.7 x 66 cm 18 x 26 in Signed and dated Nan ...

Glamorgan Shore, Oil on Canvas by Nan Youngman, 1962 Additional information: Medium: Oil on Canvas 50.8 x 76.2 cm 20 x 30 in Signed and dated Nan You...

Huts, Oil on Board Painting by Mary Newcomb 1922-2008, 1964 Additional information: Medium: Oil on board 59 x 90 cm 23 1/4 x 35 3/8 in Signed and dated ...

Study for Twin Arches, Gozo, Oil on Paper Painting by Philip Jones 1933-2008, 1992 Additional information: Medium: Oil on paper 35.6 x 41.9 cm 14 x 16 1/2 in Signed, dated and title...

Provencal Landscape, Oil on Canvas Painting by Henry Inlander 1925-1983, 1971 Additional information: Medium: Oil on canvas 35 x 29 in 88.8 x 73.5 cm T...

Untitled Abstract, Oil on Board Painting by John Plumb, 1956/57 Additional information: Medium: Oil on board 81.3 x 121.9 cm 32 x 48 in

House Through Trees, Oil on Canvas Painting by Mary Potter, 1950s circa Additional information: Medium: Oil on canvas 30 x 41 cm 11 3/4 x 16 1/8 in Signed and titled on the canvas o...

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...

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...

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...

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...

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...

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 ...

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

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

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...

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...

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...

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...

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...

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...

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...

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 ...

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...

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...

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...