Precious metal, 2018

By Sarah Strachan

Photopolymer etching

h: 37 w: 42 d: 2 (cms).

Inspired by the image of an abandoned rusty oil tank, Precious metal represents a forensic-like remnant of our anthropocentric and industrialised culture; human-made metal in the background, natural environment in the foreground. It is argued that this dualistic perception has led to human detachment from nature. The process of photo-polymer etching allows for the photograph’s referential qualities, capturing the image through exposure to the earth’s most important resource - the sun. The composition and monochromatic colour scheme, however, allows for consideration of the image independent from its associations and attributes – transmuting the corroded metal object to a higher form.

£150

£100 (Unframed)

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Woman With A Black Eye (Marija Malenica Croation Champion)

By wendy elia

Oil On Canvas

h: 120 w: 130 d: 4 (cms).

Woman With A Black Eye- Portrait of Marija Malenica - Croation Boxing and martial arts top Champion 

£8750

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Grace Lau

By wendy elia

Oil On Canvas

h: 170 w: 106 d: 4 (cms).

Portrait of photographer Grace Lau

£7500

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Self Portrait In Uplift Bra Etching

By wendy elia

Itaglio Etching

h: 42 w: 34 d: 1 (cms).

Self Portrait In Uplift Bra (after Lucien freud)

for unframed - paper size 40 x 27

Image size 19 x16 cms

mounted and framed  framed size 42 x43

£525

£350 (Unframed)

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Night Studio

By wendy elia

Itaglio Etching

h: 44 w: 33 d: 1 (cms).

Portrait of artists daughter Madi in the studio at night

for unframed - paper size 40 x 27

Image size 19 x16 cms

mounted and framed  framed size 42 x43

£525

£365 (Unframed)

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Danse Macabre 2

By Jill Desborough

Mixed Media

h: 20 w: 80 d: 21 (cms).

This the second piece in a series inspired by the medieval Dance of Death, a sculptural response to the popular wall paintings.  It features a motley procession of characters celebrating hunan idiosyncrasy and diversity.

£1950

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Scape 4

By Emma Fitzpatrick

Monotype

h: 33 w: 53 d: 2 (cms).

Monotype created using inks, different mark making tools onto an aluminium plate. Work was produced and in response to the Covid 19 lockdown. It reflects on the feeling of change and future uncertainty.

£350

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Elliot

By Svetlana Semenova

Charcol and white pastel on paper

h: 44 w: 37 (cms).

Portrait

£700

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Suspension

By Katharine Le Hardy

Oil on canvas

h: 180 w: 130 d: 4 (cms).

Continuing on the theme of quiet and forgotten places, during lockdown I was unable to gain access to the places I usually photograph and find my source material. As a result  I was naturally drawn to the corners of life that are usually overlooked. These ladders were leaning against a wall in a deserted builders yard. 

£6200

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'If you like what I have done'

By Tessa Sulston

acrylic with silk screen print

h: 76 w: 76 d: 5 (cms).

This artwork is painted and silk screen printed in layers on canvas. It tells the story of JMW Turner hoping to sell 'Forum Romanum' to Sir John Soane, specifically to go in his newly built museum in Lincoln's Inn Fields. My intention was to make it look as if Turner himself had handwritten on the canvas. I've also included in slightly larger print Turner's elegant signature in red. The title of this work 'If you like what I have done' is a quote taken from one of Turner's letters included in the painting. Seen from a distance individual words cannot be easily deciphered and the overall impression is of superimposed curtains of calligraphic marks on a veiled background, the writing occupying an indeterminate space. Close up the words are clear enough to make out and you can see the handwriting's personality or read it for sense. The letters are a reminder of Turner's voice. In the background is a 1799 map of Turner's London in gold, and the letters between the two men in different colours, including Soane's bank draft for £525 duly paid, in it's original colour of pale purple. Due to a disagreement Turner posted the bank draft back in disgust and the painting like 'The Fighting Temeraire' was never sold. It now hangs in the Clore Gallery at the Tate.

£1500

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Negative & Positive of Breathing

By Bonnie Brown

Charcoal & Pencil on Canvas

h: 52 w: 42 d: 5 (cms).

Living and working on the coast, interested in the fragility of light and water, their effects and qualities of transience and transformation. The work is about the observations of the liminal boundary between land, sea, and air, the static and the moving. Contrasts, dualities, tonal values, and the emotional connection found in the Purbeck landscape.

The drawings are neither figurative nor abstract; they lie between the two states, often caught in the memory, and aim for a more reflective state, towards a stillness.

A work on canvas or paper using a mixture of mediums including ink, graphite and various intensities of charcoal.

£750

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Inverted Interruption

By Bonnie Brown

Ink, Graphite & Charcoal on Paper

h: 45 w: 45 d: 3 (cms).

Living and working on the coast, interested in the fragility of light and water, their effects and qualities of transience and transformation. The work is about the observations of the liminal boundary between land, sea, and air, the static and the moving. Contrasts, dualities, tonal values, and the emotional connection found in the Purbeck landscape.

The drawings are neither figurative nor abstract; they lie between the two states, often caught in the memory, and aim for a more reflective state, towards a stillness.

A work on canvas or paper using a mixture of mediums including ink, graphite and various intensities of charcoal.

£500

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When I Sleep

By Amanda Watt

Acrylic on canvas

h: 61 w: 61 d: 2 (cms).

The first in a series of sleep and dream related imagery, ‘When I sleep’ is a tangle of arms and legs. A female drifts away into another world, where her body and mind transform. The dream state combines the conscious and subconscious, freeing her from all earthly shackles to become her authentic self. A nod to Gustav Klimt, Egon Schiele and Austrian symbolism, while the ethos of this piece is almost ethereal, the bold primary colours anchor it in the real world.

£3750

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Big Ears

By Ali Lindley

watercolour

h: 56 w: 75 (cms).

The mighty buffalo. Their impressive horns can reach a span of upto130cms.   The migration of the buffalo is one of natures great spectacles.  Long may it endure.

£395

£395 (Unframed)

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About Turn

By Ali Lindley

mixed media

h: 61 w: 40 (cms).

Vulturine guinea fowl.  

£325

£325 (Unframed)

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Laundry

By Atsuko Saito

Watercolours

h: 80 w: 60 (cms).

In this painting, I depict the beauty in the chaos of laundry piling up on my bed before it is folded neatly away. 
I am drawn to the way the unworn clothes having fallen into such three dimensional shapes, as if they have a life and purpose of their own. I fantasize over the story of the clothes, of who has worn them, and what they did. Clothing and objects cannot be separated from their owners, they are one. If they could talk, what stories would they tell of their journey? The mystery of objects and their keepers.

£1150

£1000 (Unframed)

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Sleepy feet

By Barbara Henkes

oil on Arches oil paper

h: 41 w: 31 (cms).

£500

£500 (Unframed)

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I know what you are thinking

By Yurim Gough

Ceramic

h: 23 w: 28 d: 10 (cms).

In Asian culture bowls are philosophically connected with humanity; 

In Korea people speak of the ‘bowl’ of your mind’ holding all your knowledge and experience.  I mould the  bowls in my hands and draw straight onto them, with no plan, never changing a line. With a life model in front of me, I am led by their energy.  Upon creation we see what of human life can fit into a bowl.

£1930

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Do you? Why?

By Yurim Gough

Ceramic

h: 23 w: 23 d: 8 (cms).

In Asian culture bowls are philosophically connected with humanity; 

In Korea people speak of the ‘bowl’ of your mind’ holding all your knowledge and experience.  I mould the  bowls in my hands and draw straight onto them, with no plan, never changing a line. With a life model in front of me, I am led by their energy.  Upon creation we see what of human life can fit into a bowl.

£2029

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The Bridge

By Sheila Goodman

pastel

h: 39 w: 40 (cms).

A small stream with footbridge.

£485

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Putney Bridge

By Eileen St Julian-Bown

Screenprint

h: 41 w: 28 d: 1 (cms).

We moved to Putney and I enjoyed walks by the river watching the boat people.  When lockdown happened all the boat people disappeared with their boats so I wanted to do a series of prints to include many aspects of Putney Bridge and the nearby part of the river.  

£350.00

£275.00 (Unframed)

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Putney Shoreline

By Eileen St Julian-Bown

Screenprint

h: 29 w: 21 d: 1 (cms).

Part of a series of Putney Bridge and the shoreline where there were few people and fewer boats. 

£195.00

£160.00 (Unframed)

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Lemons

By Emily McDonald

oil on canas

h: 73 w: 63 d: 6 (cms).

The Lemons in the piece were bought from a local farmshop which always sells fruit right in their prime so the colours are always at their most rich and viabrant. As they were painted in my studio, the tones and colour altered and deepened as they slowly started to decompose. I feel this altering composition makes for an interesting narrative as the layers of paint encompose the different stages of the lemons last stages of life.

£1450

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Aubergine

By Emily McDonald

oil on canas

h: 25 w: 20 d: 6 (cms).

I saw this little black Aubergine glistening in the corner of my local farmshop and bought it back home to observe its skin in the light of my studio.  Only then did I really take notice of the many layers of warmth hiding under the slightly matte skin. I polished it up and had a great time exploring the  rich deep tones which now danced in the light and hadn't otherwise been obvious to the naked eye. Everytime I came back to the piece, another colour would become clear and I was able to keep layering to achieve something similar to what I now saw.

£950

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Feed

By Emily Wolff

Egg tempera on board (framed)

h: 33 w: 27 d: 4 (cms).

I began making this piece during the Australian forest fires, I found myself glued to the tv, streaming live updates via YouTube news feeds... the world feels somewhat smaller these days, it was as if I was watching it all burn.

By the time I’d finished the piece the focus of the news had already shifted over to a new threat ... mass hysteria was ensuing ... the world was ending yet again and we get to watch it all unfold on tv once more.

This is what my latest self portrait portrays... the detached feeling of horror you get when witnessing real world events unfold at a great distance. 

Despite painting the piece at a time when I had a rather bleak outlook on it all once I released it into the world someone remarked on how the reflections appeared to be a rainbow ... this was not necessarily my intention but I do like that a scrap of hope was found in this painting of mine.

£2000

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Figure 2 (Unique)

By Linda Zelin

Ancaster

h: 34 (cms).

£780

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Lemon in a Blue Glass Bowl

By Marjorie Collins

Watercolour

h: 64 w: 53 d: 2 (cms).

£795

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Cherries in a Tea Caddy

By Marjorie Collins

Watercolour

h: 50 w: 58 d: 2 (cms).

£775

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Still Life with Yellow Cup

By Marjorie Collins

Watercolour

h: 55 w: 46 d: 2 (cms).

£725

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Three of Hearts

By Marjorie Collins

Watercolour

h: 42 w: 49 d: 2 (cms).

£650

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Raya from the 'Still Life in Quarantine' series

By Zena Assi

oil and acrylic on canvas

h: 120 w: 120 d: 4 (cms).

My work draws inspiration from the relations and conflicts between the individual and his spatial environment, society and its surroundings.
I use various supports and mediums to document and explore the cultural and social changes happening around me. As I absorb narratives and imageries from my surroundings and fuse them into my practice, some pieces are highly personal and come from my own stories and experiences.

Lately the world has been put on hold with the Covid19 crisis. Time has been paused, and I found myself looking with fresh eyes at my immediate surroundings, people and objects alike. During lockdown I started wandering into the complexities of interior and exterior life, constancy and change, hence the portraits’ paintings from the ‘Still life in quarantine’ series.

I tried to convey the atmosphere of time being frozen as the people around me were dealing with confinement. It was interesting to see how time itself can be stretched enough to hold a person and freeze it in a ‘still life’ genre painting.

£11000

£10500 (Unframed)

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Icy Track

By Maureen Davies

Pastel Collage and Gouache

h: 75 w: 95 d: 3 (cms).

Mixed media work depicting an icy cold morning in the New Forest

£950

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Huckle's Brook

By Maureen Davies

Pastel Collage and Gouache

h: 77 w: 93 d: 3 (cms).

Mixed Media work depicting a balmy early autumn day in the New Forest

£995

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Time and Tide ...

By Debbie Coles SWAc Assoc.

Oils

h: 24 w: 30 d: 1 (cms).

I felt a little sad that the 100 year old Alma bridge spanning the River Sid, which had been irreparably damaged by storms, was about to be replaced by a new one safely sited 40 metres upstream and I wanted to I capture it's last few weeks in situ, albeit hidden!  I was struck by the haphazard jumble of fabricated signs, cones, sandbags and scaffolding jostling against the fishermen's boats and the forlorn South West Coast Path sign leading to nowhere.   The bridge was finally removed last month and I'm delighted that the new one is an absolute triumph!

£375

£375 (Unframed)

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Blues Song

By Maria Pierides

Oil, collage, oil stick, oil pastel on deep edge canvas

h: 15 w: 15 d: 4 (cms).

In collaboration with haiku poet and mum, Stella Pierides, I have been exploring the relationship between image and word. 

Blues Song 

the barmaid gently 

wipes her tears

I have chosen poems that have resonated with me during lockdown, and incorporated it into the painting. This series also explores the mother and daughter relationship, how what is being communicated, is being heard  and the differences between generations. 

£200

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Bikes & Busses in London

By Sera Knight

Mixed Media

h: 75 w: 60 (cms).

Mixed Media - Collage and acrylics on watercolour paper - painting of a London scene.

My aim is to convey the busy city life and the buzz that creates.

It is unframed but mounted. Image size is approximately 36x52cm

£750

£750 (Unframed)

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Water Meadow

By Maria Pierides

Acrylic, Oil Stick, Oil Pastel, Gold leaf on deep edge canvas

h: 15 w: 15 d: 4 (cms).

In collaboration with poet and mum, Stella Pierides

I have chosen poems that have resonated with me during lockdown, and incorporated it into the painting. This series also explores the mother and daughter relationship, how what is being communicated, is being heard  and the differences between generations. 

Water meadows

 a frog I dont know

answers my croak

This poem painted a vivid picture of my mum walking along the moors where they live. This painting again is about the mother and daughter relationship, ageing and loss and the hint at humour within the sadness.

£200

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Night in London

By Sera Knight

Mixed Media-collage and acrylics on watercolour paper-painting

h: 75 w: 60 (cms).

A painting of a busy, jolly London night life. My aim was to create the atmosphere as it used to be when there was no Covid!

Image size is approximately 36x52cm

Painting is unframed but will be mounted.

£750

£750 (Unframed)

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Sunset From Bishops Park

By Kathy Barker

oil on canvas board

h: 38 w: 28 d: 2 (cms).

A sunset plein air painting from Bishops Park in London

£475

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Action & Emotion- Flamenco Dancer

By Sera Knight

Mixed Media-collage and acrylics on watercolour paper-painting

h: 75 w: 60 (cms).

Painting of a Flamenco Dancer. My aim is to capture the feelings that are created by an emotional dance.

Image size isapproximately 36x54cm 

Unframed but mounted.

£750

£750 (Unframed)

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Ballroom Elegance

By Sera Knight

Mixed Media-collage and acrylics on watercolour paper-painting

h: 51 w: 41 (cms).

Ballroom Dancers. My aim is to create the feeling of elegance and emotions when painting this painting.

Image size is approximately 26x36cm

Unframed but mounted.

£425

£425 (Unframed)

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Seated Nude

By Kathy Barker

Pastel on Pastel Paper

h: 66 w: 80 d: 2 (cms).

Framed Pastel Nude inspired by Pashet, a favourite model of mine

£1150

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Chinese Vase with Cherries

By Kathy Barker

painting, oil on linen

h: 48 w: 48 d: 2 (cms).

Framed still life painting of my favourite vase and I just loved the colours of the cherries to complement the vase

£1100

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Gold Leaf Portrait

By Kathy Barker

painting, oil on linen

h: 50 w: 40 d: 2 (cms).

Inspired by a friend who sat for me and I had Gustave Klimpt in the studio with me.  Unframed.

£2500

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Indigo Skies

By Lucy Marks

Watercolour

h: 35 w: 35 d: 3 (cms).

Inspired by walks along the Sussex Coast and Downs

£400

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Another Day

By Angela Herd Hall

Oil

h: 53 w: 36 d: 4 (cms).

The work is a reflection of the  nature of life during this pandemic. The inevitablity that each day  has an air of unreality with no highs or lows, with no unexpected interactions. The same morning routines go on as before but after that all is different 

£500

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Apples

By Diane Urwin

Acrylic

h: 20 w: 20 (cms).

Apples ready to eat. Light, colour and tone play a very important part in my paintings.

This work is unframed.

£300

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'Broken Chanel'

By Anne-Marie Ellis

Acrylic

h: 25 w: 20 d: 2 (cms).

Arresting painting of a broken Chanel No.5 classic perfume bottle, the shiny shards of broken glass and the translucent perfume liquid floating out in the oval canvas. Stunning. Signed on side of ready to hang canvas. Acrylic on cotton.

£475

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Roller

By Justine Lois Thorpe

oil on Canvas

h: 92 w: 122 d: 4 (cms).

Express an emotional connection with the environement using layers of sand grit, and thick oil paint to capture the elements of the seas energy, space and unpredictability.

£2750

£2750 (Unframed)

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Falling Sea

By Justine Lois Thorpe

oil on board

h: 60 w: 60 d: 2 (cms).

Semi Abstract painting reflecting the exciting energy movements and currents of the Sea and wind.

£1450

£1250 (Unframed)

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Norfolk Beach I (unframed)

By Rachel Parker

Oil on canvas

h: 40 w: 50 d: 4 (cms).

£495

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Norfolk Beach II (unframed)

By Rachel Parker

Oil on canvas

h: 40 w: 50 d: 4 (cms).

£495

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Back to School (unframed)

By Rachel Parker

Oil on board

h: 24 w: 30 d: 1 (cms).

£240

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Exam Hall 2021 (unframed)

By Rachel Parker

Oil on board

h: 30 w: 30 d: 1 (cms).

£240

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Self Portrait: Small Sips

By Emily Gillbanks

oil paint on stretched canvas

h: 63 w: 63 d: 3 (cms).

In all of my self-portraits, I reflect on how my smartphone has become an extension of both my mind and body, how my iPhone (an eminently portable machine), is not only re-defining what has historically constituted to what it means to have a body, but also how the world found in our pockets is dominating methods of communication and how we see people in our current technologically mediated communities, highlighting a breached boundary between how mine and others’ minds, bodies, and smartphones jointly define a hybrid existence of being in the world.

My infatuation with digitisation and sub-genres of screen culture is embedded into this self-portrait, using the concept of transferring a 'selfie' into paint.

As a woman, I use my self-portraiture to empower msyelf, as I am able to make myself up beyond the types of images on women we expect to see on screens. I have become interested in methods and ways in which women can represent and make themselves up in the age of social media I question how we can navigate horizons of the self and others in the twenty-first century. I hope to use my paintings to research further and provide insight into disrupted kinds of realism, and how self portraits such as 'Small Sips,' are in fact becoming More Than Real, and how the difference between selfie taking and painting traditional Self-Portraits both come to negotiate how quickly we are coming to document ourselves, and see us interact with billions of enigmatic online-faces via our current world-picture.

By taking such a mundane image of the self drinking from a water bottle, which is the type of image I send to friends, I further the use of these Selfies, by taking them off screen and using them as a conceptual system of communication the face-work of each of my self-portraits which come to function like that of emoji and memoji ideograms (usually used in the absence of physical facial expressions in online multi- modal communications.) 

£3190

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More Than Real Series: Overshadowing

By Emily Gillbanks

oil paint on stretched canvas

h: 59 w: 49 d: 3 (cms).

My Self-Portrait series, More Than Real (2020), aims to visually reflect how my smartphone has become an extension of both my mind and body. I interrogate how my iPhone, an eminently portable machine, is not only re-defining what has historically constituted to what it means to have a body, but also how the world found in our pockets is dominating methods of communication in our current technologically mediated communities. 

The smartphone silhouette in this painting reveals a transparency to how the image was made. The selfie features the cast of a handheld devices with a diagonal axis, sometimes considered a disadvantage in hand-held device image-making. Usually, this kind of silhouetting creates a sense of mystery in photographs, however I believe a loneliness is revealed through the clear way the self has made the image of the subject which is myself. Conceptually, the research behind this painting aims at conveying how an average western woman has been crafted to be self- obsessed through screen-culture as part of our current world-picture, which demands selfies on social media posts, profile pictures, dating apps, review sites and many other platforms that require us to leave impressions of ourselves all over the internet.

Through an infatuation with digitisation, I question how we can navigate horizons of the self in the twenty-first century? I use elements of subtext and fantasy alongside my everyday self to highlight a breached boundary between how my mind, body, and smartphone jointly define a hybrid existence of being in the world.

£2680

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Reflections - Lumsdale Pond, Derbyshire

By Carol Hill

Oil

h: 46 w: 61 d: 2 (cms).

This scene I have walked by many times. It is an area of historic importance and the pond fed water  to small mills.  

£850

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The kitchen sink

By Denise Doran

Oil

h: 37 w: 42 d: 3 (cms).

This was painted during lockdown when we had such fantastic weather and painting was a wonderful escape from the isolation and restrictions. I was struck by the way the light from the window fell over all the clutter around the kitchen sink and I wanted to capture that.

£400

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The pink gastrobus, Bantham Beach

By Denise Doran

Oil

h: 37 w: 42 d: 3 (cms).

Last summer we walked over the South Devon cliffs to reach Bantham Beach. I enjoyed sitting at one of the picnic benches sketching and people watching. Painting this during lockdown transported me back to that time and was a great way to escape.

£400

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Still Flowering : Constance and Winifred

By Rosalind Robinson

Diptych : oil on gesso panel

h: 23 w: 41 d: 1 (cms).

NOTE: These two portraits are framed as a diptych

In 2018, the centenary year of the Representation of the People Act, I began work on a small series of "Suffragette Heroine" paintings to commemorate the bravery of the women activists from all social backgrounds who suffered imprisonment and the brutal practice of force feeding to help win the "Votes for Women" campaign. The emblematic colours of the Womens Social and Political Union - green, purple and white - were used throughout the series of paintings.

The two women portrayed in this diptych are Lady Constance Bulwer-Lytton and Winifred Jones.

£1200

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Suffragette Heroine No.7

By Rosalind Robinson

oil on wood

h: 32 w: 22 d: 1 (cms).

In 2018, the centenary year of the Representation of the People Act, I began a small series of paintings commemorating the bravery of the women activists from all social backgrounds who suffered imprisonment and the brutal practice of force feeding to help win the "Votes For Women" campaign.  The emblematic colours of the Womens Social and Political Union - green, purple and white - were used throughout the series of paintings.

This painting, Suffragette Heroine No.7, portrays Millicent Fawcett.

Please note this painting is framed.

£1200

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Suffragette Heroine No.4

By Rosalind Robinson

oil on gesso panel

h: 23 w: 23 d: 2 (cms).

In 2018, the centenary year of the Representation of the People Act, I began a small series of paintings commemorating the bravery of the women activists from all social backgrounds who suffered imprisonment and the brutal practice of force feeding to help win the "Votes For Women" campaign.  The emblematic colours of the Womens Social and Political Union - green, purple and white - were used throughout the series of paintings.

This painting, Suffragette Heroine No.4, portrays Dame Ethel Smyth

£600

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Suffragette Heroine No.6

By Rosalind Robinson

oil on gesso panel

h: 23 w: 23 d: 2 (cms).

In 2018, the centenary year of the Representation of the People Act, I began a small series of paintings commemorating the bravery of the women activists from all social backgrounds who suffered imprisonment and the brutal practice of force feeding to help win the "Votes For Women" campaign. The emblematic colours of the Womens Social and Political Union - green, purple and white - were used throughout the series of paintings.

This painting, Suffragette Heroine No.6, portrays Sylvia Pankhurst.

£500

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Red Black II

By jess bugler

linocut and laser woodcut

h: 76 w: 55 d: 1 (cms).

One of a series of four prints expanded from an original reduction linocut of a significant building seen through trees.  They are laser woodcut prints and contain the surface pits of the original lino, printed in black and red, echoing Louise Bourgeois "The blind leading the blind". They try to convey the shock and panic of initial trauma in the mind.

£395

£345 (Unframed)

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Red Black III

By jess bugler

linocut and laser woodcut

h: 76 w: 55 d: 1 (cms).

Red/Black III is one of a series of four pieces expanded from an original reduction linocut of a significant building seen through trees. They are laser wood cut prints and contain the surface pits of the original lino, printed in red and black, echoing Louise Bourgeois “The blind leading the blind”. They try to convey the shock and panic of initial trauma in the mind.

£395

£345 (Unframed)

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Three old mugs

By Diana Boanas

Watercolour

h: 70 w: 53 d: 2 (cms).

Watercolour on paper. three ceramic mugs on a wooden draining board

£550

£500 (Unframed)

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