Ranmore

By Linda Wallis

Oil on canvas board

h: 45 w: 63 d: 4 (cms).

The walk down from the National Trust car park at Ranmore Common leading to a continuation of the North Downs Way.

£660

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Autumn Woodland

By Linda Wallis

Oil on canvas board

h: 59 w: 75 d: 4 (cms).

A woodland walk in autumn on the edge of the North Downs.

£700

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Lilley with Cobalt Blue

By Patricia Clements

Pastel

h: 62 w: 62 d: 1 (cms).

I drew this pastel artwork of Lilies against the cobalt blue background. The intense blue was a perfect backcloth for the Lilies as it showed their shape and colour to perfection. Pastels give a vibrancy which is difficult to get with other mediums and I find it is perfect for my flower and still life studies.  It is unframed

£750

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Bob on the dresser

By Patricia Clements

pastel

h: 55 w: 56 d: 1 (cms).

Bob the cat had made himself comfortable on the dresser. The cushion was obvious;y meant for him to sleep on. With the bright red of the Geraniums it made a lovely composition and I had to use my pastels to draw this artwork while he slept.

£850

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Peppers and red Chilies still life

By Patricia Clements

pastel

h: 53 w: 69 d: 1 (cms).

This is a still life with peppers, sweet chilies on a blue plate. There are white flowers on the left hand side. It took a while to set this still life up but I was very pleased with the results. I like to use the royal blue and contrast it with the red of the chilies and peppers. The white of the flowers add to give it depth.

£1000

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Jean-Charles & Delphine

By Karen de la Gorce

Oil on linen

h: 80 w: 60 d: 2 (cms).

A portrait of Jean-Charles and Delphine. 
I call this painting "looking forward".
This painting was started in March in their living room and was completed totally in the confinement of my studio. During our initial meeting, I could sense their excitement of this project and I was looking forward to the days we would spend together to complete it. Little did we know how short lived this excitement would last due to lockdown.
Despite the special constraints inflicted upon an artist and her models, I thoroughly enjoyed the process and Jean-Charles and Delphine were delighted in the final result.

£2100

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Time passing swiftly like flowing

By Yizhou Zhang

oil on linen

h: 138 w: 100 d: 3 (cms).

The oil painting "Time passing swiftly like flowing" uses a combination of concrete and abstract expressive realism, depicting my deep aftertaste of the years. Just as the water seems to keep it flowing in front of your eyes, it is constantly changing but normal. Even if its clarity is not as clear as before, you can't perceive it. It reflects the human heart, the infinite space behind you, it softens the harsh edges and corners of the world, and dilutes the jerky aftertaste in life. It is too light to be weighed, but bears the weight of life and heads to the end. As the years go by, the work "Like Water Flowing Years" is to express this kind of artistic conception. The rain seems to wash away the inner peace, calmness, and emotional warmth of the people in the painting after experiencing many changes in the world.

£12600

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Feather Tor with Hawthorn tree

By Karen Charman SWA

Watercolour

h: 61 w: 80 d: 3 (cms).

When you visit Dartmoor you are sometimes overwhelmed by the vastness and the scale of everything, huge skies, vast lumps of granite and thousands of acres of heather, bracken and stone walls. In this series I have stripped away all but the Tor. The beautiful architecture and form is revealed without distraction. This painting has a companion tree which would have been hard to leave out. 

£1200

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Near Ravens Tor

By Karen Charman SWA

Watercolour

h: 61 w: 80 d: 3 (cms).

This is just a small part of Ravens Tor, Dartmoor, some of the Tors are spread out over quite a large area. This isnt a man made structure although I have been asked how long it took to build this! The painting is one of a series of studies of the Tors in isolation. I have tried to keep the detail to a minimum to give more of a sense of texture and atmosphere. All my work is painted with just four colours and these are the colours I see on Dartmoor. 

£1200

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Littaford Tor

By Karen Charman SWA

Watercolour

h: 61 w: 80 d: 3 (cms).

This is Littaford Tor which is really a series of tors and outcrops. It is a stunning place for me to paint as it forms a long ridge so  there is ample reference material. Painted with just four fine quality artist watercolours, these give me, when mixed, all the colours I see on Dartmoor. In this painting the Tor, isolated from all around, ireleases its stunning beauty.

£1200

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Hunt Tor

By Karen Charman SWA

Watercolour

h: 61 w: 80 d: 3 (cms).

This is Hunt Tor,Dartmoor, Two vast main outcrops of granite with an avenue between. There was in Victorian times a huge peat (for fuel) mine. The track for the carts can still be seen between the outcrops. The granite can be many different colours depending on the seasons and the weather, we are creeping into Autumn here.  Again in this painting I have concentrated just on the Tor so the viewer is not overwhelmed. Using just my limited palette I have drawn attention to Hunt Tors  majestic strength and power dwarfing its surroundings.

£1200

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Dishevelled

By Toni Dade

Watercolour

h: 36 w: 50 (cms).

Watercolour of a very dessicated Strelitzia reginae. Painted on Moulin du Roy hot press paper 300gsm.

£695

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Proud

By Toni Dade

Watercolour

h: 72 w: 50 (cms).

Watercolour of a Strelitzia reginae as it's just lost the vibrant colours. Painted on Moulin du Roy hot press paper 300gsm.

£695

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Praying

By Lin Wang

pastel

h: 108 w: 78 d: 1 (cms).

«Praying»is a masterpiece of portrait. The work successfully portrays the image of a kind mother, whose face is solemn and sincere, hands clasped in prayer. With a realistic approach, the artist tries to achieve an ingenious combination of the rich inner feelings and the composed appearance of the characters. The accurate depiction of the central canthus, lip of the face, the wrinkles and other emotional parts of the portrait achieves a verve state, fully displaying the mother's a benevolent and kind countenance.

In terms of composition, the artist chooses a half-side bust and creates a pyramid form with his head and hands, making the picture more dignified and stable. On mother's face and her hands, brought by the vicissitudes of life, show the devoted heart and the great love under the oracular light. The artist's virtuosity and his keen observation of nature captured the moment.  In today's world, people are seriously disturbed by the crona virus and the pressure of normal life, the mother's prayer is more meaningful, filled with the love of redemption, pray for the health and safety of people all over the world!

£80000

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The Púca

By Nicola Rigby

Bronze resin on Yew

h: 43 w: 25 d: 21 (cms).

The Púca is a shapeshifter, a mischief-maker and a sometime guardian.

An exploration of our shifting perception of self. 

£1150

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Sunflower Boom & Doppelgängers

By Anna Kenneally

Oil on Linen

h: 60 w: 40 d: 5 (cms).

Sunflower Boom & Doppelgängers conveys the bizarre behaviour induced by the lockdown. A surreal frenzy, adorned with the flowers of summer whilst cloaked within a dark interior. The confined avatar is torn between escape and floral intoxication. As we acclimatize to a life indoors, we face the dilemma of whether to gaze out of the window or look inwards.

£3500.00

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Three acres and liberty

By Gina Parr

oil, charcoal and acrylic on canvas

h: 130 w: 150 d: 4 (cms).

Borrowing American lawyer, activist and author Bolton Hall’s book title “Three acres and liberty” 1907 and it’s back to the land, self sufficiency message, the Artist uses the title for her painting as a mantra, an idealistic wish for economic freedom for all women.

The Painting, from the Artist’s series “The great divide“ explores Parr’s experience of being female and hence stereotyped by society as being feminine, and the conflicts and questions often raised by this, as always with her painting, expressed through abstracted scape and form.

£6250

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YouTube II

By Ilona Skladzien

Rollerball pen on canvas textured paper

h: 24 w: 37 d: 1 (cms).

While my attention was occupied by explicit YouTube videos of the poultry industry my drawings morphed into doodles. Bringing a flow to the paper, the unconscious and the illogical connected myself and my doodle to the moving image of the horrific content presented. 

£350

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Heat Through Trees

By Rebecca Barnard

Cold wax, oil paint, fused inks, charcoal

h: 88 w: 88 d: 6 (cms).

This piece is an interpretation of Tor Woods near where I live in Somerset.  Starting with a sketched image, the colours are worked up in layers of cold wax, which is heated in order to fuse other materials such as ink or charoal to the surface.  The painting still retains the sense of light and the hot summer which inspired it in 2018.

£1750

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Lit

By Catherine Ade

Lithograph

h: 38 w: 50 d: 1 (cms).

My work is a means to reveal the private experiences and space that surround me, building a tableu vivant. The use of light and the constructs of space play an important role in creating mood and invite the viewer into a private world.

I collect information and create my own archive using a set of data gathering exercises which are inspired by Mass Observation. I record memories using photographs, drawings and written quotes. These are collected from social observation and being present to record the mundane and everyday rituals that play a vital role in our lives and ultimately reflect who we are.

Guided by these collected memories I create new scenes that blur the boundaries of fiction and reality.

'Lit' was made during a July 2019 when I spent a month working at the Tamarind Institute for lithography at their summer school. It depicts the moment an unseen lamp is switched on and is a symbol of my time spent learning new things at Tamarind.

£550

£450 (Unframed)

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Tiger Tails and Anemones

By Mary Lace

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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White Blush

By Trish Claridge

Oil on canvas

Early sunshine on a beautiful white tulip.

£2200

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Red Blaze

By Trish Claridge

Oil on canvas

Ablaze of luminous red among other coloured tulips on a pale grey background 

£2300

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Sundance

By Trish Claridge

Oil on canvas

h: 95 w: 95 d: 4 (cms).

Sun streaming through pink and green tulips on a golden coloured background.

£2230

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I am not Whistler's mother

By Krystyna Dembny

Oil on Canvas

h: 91 w: 71 d: 2 (cms).

This painting is of Sally, who decided on the red jacket as she did not want to become invisible like an old lady. The loss of hair is due to Chemotherapy for breast cancer. She wanted to show that there is nothing to fear and to live life fully.

The painting is unframed

£2500

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Sleeping off chemo but still wearing bling

By Krystyna Dembny

Oil on Canvas

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

There are very few paintings of postmenopausal nudes especially those with breast cancer. This is a 'Call Out' to this omission. As Maria Lassnig said: 'I want to paint things that challenge'.

Unframed

£2500

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Letterboxes

By Mary Lace

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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hedgerow hubris

By Christine Flintham

watercolour

h: 26 w: 26 d: 2 (cms).

typical hedgerow plants found together in one season

£525.00

£475.00 (Unframed)

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anemones

By Christine Flintham

watercolour

h: 24 w: 31 d: 2 (cms).

favourites of the florist

£575.00

£500.00 (Unframed)

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garden iris

By Christine Flintham

watercolour on natural calfskin

h: 21 w: 21 (cms).

garden iris from our barn garden

£315.00

£315.00 (Unframed)

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snowdrops

By Christine Flintham

watercolour on natural calfskin

h: 13 w: 22 (cms).

a variety of galanthus grown in our country garden

£250.00

£250.00 (Unframed)

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The Unfortunate Effect of The Artist Eating Her Muses During Lockdown

By Liz Watts

Porcelain partially glazed with gold lustre and mother of pearl

h: 18 w: 40 d: 50 (cms).

Porcelain bowl with highly decorative underside, photographed on mirror to reflect this.

The bowl contains half eaten food items formed in unglazed porcelain.

£1400

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The Blessing of the Animals

By Ann James Massey

Oil on sapele mahogany board

h: 64 w: 79 (cms).

Despite the realistic illusion and though based on a yearly event in my church (The American Cathedral in Paris), "The Blessing of the Animals" is not a rendition of what I have seen, but rather is drawn from 26 years of my own source material. That includes three of my pets who have passed on but are still alive in my painting, plus pets seen on my travels, owned by friends and family, or participants from actual Blessings. There are also family members, friends, and cathedral clergy and members. Starting with gestural drawings, I spent about a year working out the composition, completing the final line drawing and transferring it to a prepared sapele mahogany board. Utilizing Old Masters' techniques including grinding my own paints, I started with a burnt umber underpainting, followed by three layers of color and some scumbling and glazing at the end.  This oil painting was created entirely freehand with no mechanical means and was eight years in the making.

£130000

£129500 (Unframed)

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MINOTAUR PICKING FLOWERS.

By Jeni Clarke

RUSTED IRON RESIN

h: 36 w: 31 d: 21 (cms).

THIS IS MY VERSION OF A GENTLE MINOTAUR BEFORE HE BECAME A BEAST.

£750

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Minotaur Thinker

By Jeni Clarke

Rusted Iron Resin

h: 51 w: 36 d: 11 (cms).

My Minotaur is deep in thought as in Auguste Rodins The Thinker.

£850

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Stargazers

By Jeni Clarke

Rusted Iron Resin

h: 30 w: 28 d: 13 (cms).

The idea for this sculpture came from my husband and I looking up at the night sky.

£750

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Temptation

By Angela Brittain

Acrylic

h: 60 w: 49 d: 2 (cms).

A painting depicting how the choices we make - often decided in a split second, can affect our whole lives. When deciding the image for this I thought I would start with a modern version of Adam & Eve

£1200

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Amore

By Angela Brittain

Oil

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

"Amore" is a celebration of the wonderful feeling of being in love. Everything seems possible, the world is bathed in a rosy glow and life feels good.

£1400

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Flowers of Egypt

By Angela Brittain

oil

h: 45 w: 45 d: 2 (cms).

This painting was inspired by a recent trip to the Nile where music and dance play a central role in their enjoyment. Many buildings and objects were covered in the design of the lotus flower and the costumes of the dancers and the people in the street had great similarity to the many images of ancient Egypt depicted in the tombs and on the temples.

£1200

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The Embrace

By Angela Brittain

Oil

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

A semi-abstract expressionist painting. He encircles her and makes her feel safe and protected.

£1005

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Tribute to Gill

By Doreen Langhorn

Pastel

h: 48 w: 41 d: 2 (cms).

Gill is a nurse who looks after terminally ill patients. She worked all through the current Covid crisis until eventually she succumbed to the virus herself and was very ill.  On her eventual recovery, the day after she was declared Covid free, Gill returned to work at the hospital.

This painting is a tribute to her bravery and an attempt to show the horror and exhaustion endured by National Health Workers.

£1800

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Collecting Shellfish at Low Tide, Zanzibar #2

By Priscilla Eurich

Acrylic on canvas

h: 100 w: 100 d: 4 (cms).

This acrylic painting was inspired by a long-stay on the island of Zanzibar, my official status being that of a trailing spouse. I observed local women collecting sea-food (from the garden of my gilded cage) in the sapping heat on a daily basis.

I wanted to acknowledge these remarkable women in a series of paintings. I thought I could poke fun at the use of gold in Gustav Klimt's depictions of trophy wives of Vienna by using silver paint, not only to depict the shimmering sea but also to highlight the irony of the toiling profile of a women at the opposing end of the financial scale.

£2500

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'Cornish Cream Tea'

By Rebecca Ritchie

Oil on canvas

h: 30 w: 40 d: 2 (cms).

Still life celebration of Cream Tea the Cornish way. 

£1150

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'Bread & Honey'

By Rebecca Ritchie

Oil on Canvas

h: 30 w: 40 d: 2 (cms).

£1150

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'Ale & Oysters'

By Rebecca Ritchie

Oil on Canvas

h: 35 w: 45 d: 2 (cms).

£1250

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The Director of Secrets

By Masha Gerzon

Pen drawing; Photoshop colour

The Director of Secrets works at the transportable Roman theatre and is responisble for greeting the audience, and organising the sets, special effects, including transformations, fire, fog on stage, which happen as part of the Mystery Plays. These science behind these transformations are kept in secret, so the audiences can remain surprised about them each peformance. Therefore, the theatre workers hold the titiel of the Directors of Secrets.

£250

£150 (Unframed)

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Girl from the Surf

By Hannah Blight-Anderson

Oil on canvas

h: 80 w: 60 d: 5 (cms).

This is my sister, she is a Surfer, Artist and world explorer. I wanted to highlight her bravery, beauty and determination but also capture vulnerabilities that lay beneath the surface. 

It was painted a view months after she had a mental health scare. She opened our families eyes to how important it is to look after our mental health and how important it is to support others in doing so.

£750

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Arboreal Mists I

By Jenny Smy

Oils and Cold Wax Medium

h: 36 w: 43 d: 1 (cms).

On Arches Oil Paper. This piece is unframed, but mounted and bagged - the size includes the mount etc. Please note, framing costs have not been included in the price and would incur an additional cost.

Completed in the early part of 2020. 

Most of the work that I do is intuitive - my starting point is usually the colour palette. Having chosen my colours, I work with the paints and medium, until the piece starts to say something to me. At that point, the direction is pursued until completion. 

£250

£250 (Unframed)

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Under Cover

By anne moses

Oil on canvas

h: 61 w: 100 d: 2 (cms).

This painting is from of a series of works entitled  'under cover'.

The initial source material for this particular work was a young French girl called Elsa who seemed to embody the universal qualities of shyness alongside great strength, stubbornness and determination.

Following some digital manipulation of the initial photographic image to determine the composition, colour etc. it was then scaled up on canvas and executed in transparent colour oil glazes, a technique I have been developing for the last 6-7 years..
 

£6000

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Elsa

By anne moses

Oil on canvas

h: 50 w: 55 d: 2 (cms).

This painting is derived from a close up image I took of a young French girl, Elsa.

My main area of interest has always been the human face and form, encompassing universal recognition of emotion and sensuality seen up close with highly detailed observation. Larger than life images dealing with fragments of life seen at close range - the portrayal of the elusive touch or feeling; the detail and minutiae of life; introspection - fleeting ‘moments’ translated into paintings. I hoped to convey a calm, sensual quality with this work, qualities which Elsa herself  portrayed but which are also universal female qualities.

The painting is executed in many layers of transparent colour oil glazes.
 

£3800

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Falling

By anne moses

Oil on canvas

h: 71 w: 61 d: 2 (cms).

'Falling' is a painting derived from a series of photographs taken of a friend of mine called Laura. It is a fragment of life expressing a fleeting moment (to be interpreted by the viewer). The painting is executed in many layers of transparent oil colour glazes on canvas.

I believe  that there is an innate response to the mimetic and the re- presentation of our own image, it is something we are fascinated by and conditioned to respond to. Painting takes this into another realm with the artist controlling each element of the re-presentation.

£3800

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'Sun Shower'

By Barbara Kerr

Hand Cut Paper and Thread

h: 58 w: 48 d: 1 (cms).

'Sun Shower' is a fun, bright celebration of city patterns during a sun shower. With simple shapes and a limited colour pallet this decorative image lends itself perfectly to my chosen medium of hand cut paper finishing with my recognised thread signature.  

£595

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Winter Light, Silfra, Iceland

By Margaret Micklewright

Ink

h: 44 w: 57 d: 1 (cms).

I visited Iceland in December 2019 with my daughter, who persuaded me to go snorkelling between tectonic plates in Silfra.  A good but scary experience.  This painting was also inspired by the winter light as we had only 4 hours of daylight, so every moment of visibility was truly a gift.  As daylight broke through, the landscape was revealed, so in many ways, this is a celebration of winter light.  Using mainly acrylic inks on wet paper, to maximise the qualities of the ink.  The painting is framed with white mount and buff coloured broad (5cm) frame. 

£450

£400 (Unframed)

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Water Tension

By Jean Noble

Acrylic on paper

h: 39 w: 29 (cms).

Unframed dimensions given. This piece like many of my paintings comes from an in depth study of water courses and rivers. the shapes that inspire me are often the movement and shadows that accompany the passing of boats between quays around the Thames. I have used golden open acrylic paint on 600gm Saunders waterford paper. framed size would be 63cm x 53 cm

£755

£660 (Unframed)

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Summer Isle

By Jean Noble

Acrylic on paper

h: 30 w: 29 (cms).

Another piece worked from a sketch made on site whilst wandering around the Isle of Dogs area around Canary Wharf. an area I continually sketch in. I love the vibrancy of the area. new buildings are soaring into the skies surrounded by the meandering Thames and various quays and docks. There are endless possibilities for my constant search of shapes to relate to make integral images for my paintings. I have used golden open acrylic paint on Saunders waterford 600gm paper with deckle edge. the sizes given are for unframed work. Framed in my normal float mount way would be 54 x 53cms

£720

£645 (Unframed)

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Poppies

By Liz Seward

Mixed

h: 35 w: 40 (cms).

These are flowers from my garden paonted on Acrylic Ink and coloured pencil, a combination of two absolute favourites of mine as it combines painting with wet media and drawing.

£375

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Lockdown 2020 - gin, wine and coffee

By Liz Seward

Mixed

h: 36 w: 40 (cms).

Another aspect of Lockdown!  Coloured pencil over watercolour

£375

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Yellow and Orange

By Liz Seward

Mixed

h: 36 w: 48 (cms).

A glorious reminder of Spring, very cheering in the strange times.  Coloured pencil over watercolour

£375

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Lockdown

By Roya Khalili

oil colours

h: 76 w: 51 d: 1 (cms).

The world is at a standstill. Horrors of imminent death creep within and beyond the walls of destiny.

The contagious scent of death is smelt all around. 

Hiding away in a hopless corner, the faint melodies and rhythms of survival enduringly beat on. 

NFS

£0

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Trapped

By Laura Critchlow

Acrylic

h: 7 w: 12 (cms).

Trapped is a miniature painting depicting three oranges in their net. This painting was undertaken during lockdown and represents feelings that the artist experienced during this time.  This is a contemporary miniature painting. The artist is a member of the Royal Miniature Society. 

£425

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Terry’s apron

By Kathy Webster

A rylic

h: 75 w: 61 d: 5 (cms).

”Terry’s apron”

acrylic on canvas

£550

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Escapism

By Nurit Shhany

oil on canvas

h: 150 w: 100 d: 4 (cms).

The inspiration of this painting comes from the theory of multiple existences or the parallel worlds, We live in between our outer and inner experiences. each of us is different and different people live in different worlds and see things from many points of view and different aspects affected financially, emotionally, by culture logic habit etc. The tendency to estrange the other by saying: this will never happen to me" heightens the parallel existence especially when some need help from other blessed ones. This is why stretching a hand to another in need is highly estimated in religions. In order to have a healthy community each member should see the different other.

The paintings express two different metaphorical locations: on one hand the metaphor of the burning house representing war zones or ecological disaster zones or economical disasters for which the burning houses stand for and on other hand the safe and lucky. city women and men who continue their leisure time occupations

The painting belongs to the series: image-Reality-reflection in which reflections are gates of passage from realm to real exposing an imagined reality 

The artistic process involves photography in public places and composing through free

imagery, drawing and painting

£15500

£15000 (Unframed)

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Escapism

By Nurit Shhany

oil on canvas

h: 150 w: 100 d: 4 (cms).

The inspiration of this painting comes from the theory of multiple existences or the parallel worlds, We live in between our outer and inner experiences. each of us is different and different people live in different worlds and see things from many points of view and different aspects affected financially, emotionally, by culture logic habit etc. The tendency to estrange the other by saying: this will never happen to me" heightens the parallel existence especially when some need help from other blessed ones. This is why stretching a hand to another in need is highly estimated in religions. In order to have a healthy community each member should see the different other.

The paintings express two different metaphorical locations: on one hand the metaphor of the burning house representing war zones or ecological disaster zones or economical disasters for which the burning houses stand for and on other hand the safe and lucky. city women who continue their leisure time occupations

The painting belongs to the series: image-Reality-reflection in which reflections are gates of  passage from realm to realm exposing an imagined reality and can be seen upright and upside down  

The artistic process involves photography in public places and composing through free

£15500

£15000 (Unframed)

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Jane & Marcel Dieulafoy

By Kate Milsom

Oil & Collage on Gesso Board

h: 56 w: 65 d: 3 (cms).

From the ‘No Man’s Land’ Series:

The title of this series of paintings ‘No Man’s Land’ relates to those who have challenged the social system of patriarchy in order to live adventurous or professional lives of discovery. The aim is to produce a portrait gallery of the hidden contributors to history - a gallery of little known protagonists who have studied, achieved and explored despite the perceived social unacceptabilty of their sex or sexuality for their chosen endeavours, and to celebrate those to whom the ‘doing’ was of greater importance than the need for personal recognition.

Jane Dieulafoy (1851 –1916) was a French archaeologist, explorer, novelist and journalist. Together with her husband Marcel-Auguste Dieulafoy, she is known for her excavations at Susa. For her contributions to archaeology, the French government conferred upon her the title of Chevalier of the Legion of Honor in 1886.

£1600

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Time

By Pamela Doyle

Oil on Canvas

h: 59 w: 69 d: 5 (cms).

£3500

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Closed Daffodils Leaning in Beer Glass

By kate felton hall

Oil on canvas

h: 81 w: 56 d: 4 (cms).

This work explores the elegant structure created by a bunch of unopened flowers left to bend under the weight of the buds, illuminated by the smallest amount of early morning natural light. This lack of light renders the glass almost invisible. The atmosphere captured is dramatic, exaggerated by it's simplicity and the over-sized scale of the painting.

£995

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