Tiger Tails and Anemones

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Oil on linen

h: 70 w: 38 d: 2 (cms).

The extreme vertical format of the canvas inevitably governed my decision in terms of choice and arrangement of the content. I wanted the viewer's eye to travel swiftly up and down the picture and so the main part of the still life, the anemones in the small pot, is set really low in the rectangle with vertical lines soaring upwards from there. The throw of fabric over the screen of cardboard provides a resting point on the right hand side and the single horizontal flower pushes into the sash on the left hand side to stabilize the composition. 

The painting is set in a simple narrow box frame. 

£750

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Letterboxes

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Oil on linen

h: 39 w: 49 d: 2 (cms).

This still life group is very loosely based on Vermeer's interior, Lady at the Virginal.

The foreground curtain, pushed to the side, reveals the scene but instead of the virginal there are two boxes which like the two layers of the virginal have different patterns. They are horizontally placed with the top box open to reveal a blue lining and a neat hinge ( see detail 2) The postcards replace the sheet music and compositionally link with diagonals both in the group and in the drawings on the back wall. The blue jug and the beads represent Vermeer's lady. The large central  pearl (see detail 1) associates more generally with Vermeer.

The painting is set in a simple narrow box frame.

£700

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Matisse and Anemones by the Window

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Oil on canvas

h: 51 w: 72 d: 5 (cms).

"Still Life with Pascal's Pensees"  is one of Matisse's many paintings containing anemones.  My still life is based on this work which Matisse completed in 1924. 

My content and composition are similar: the net curtain; the cup and saucer; the decorative vase with flowers and of course a book. While Matisse chose a French classic in a plain wrapper, I chose the spiral bound monograph that I have of Matisse which to my delight features another still life with anemones on the cover. Consequently my painting takes on quite a different 'look'. 

Compositionally, the strong diagonal of the window leads to the flowers set in a corner; the book counterbalances the design on the right. I faithfully included Matisse's purple strip underneath the window sill. 

I envied Matisse's bravuro handling of the net curtain, but did not attempt the same approach.  Far more painstakingly I blocked in shapes and colours of the view from the window. I then covered them, in some areas, with the regular open pattern of the net allowing colours to come through strongly; in other areas the greys of net over net allowed the pattern a less obvious and more intermittent presence.

The painting is set in a simple frame, 

£750

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Still Life with Drawing, Twigs and some Stones

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Oil on canvas

h: 41 w: 32 d: 2 (cms).

My drawing within the painting dates from a very long time ago but, recently 'rediscovered' it gained a precious place on my studio pin board. A few weeks later I decided to use it as a background and starting point for an Autumn themed Still Life.

The thrust of the branch in the drawing created an imposing diagonal which required a counteracting object, hence the inclusion of  the  moss and lichen covered twig. These two items goverend the placing of the three stones which were chosen for their colour and patterns, relevant to the drawing and the twig. The quarry tiles provided both background and height where needed.

The painting is set in a simple narrow box frame.

£650

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