This week we are participating in London Art Week, another Covid casualty, in normal times the Galleries in St James's open their doors in a collaborative event to celebrate the area as a hub for the world's art market. Now an online event (isn't everything?) LAW offers an opportunity to view all artworks and online winter exhibitions from some of the world's leading pre-contemporary galleries.
We work with the partners and families of a number of deceased artists artists’ estates, helping with rationalising and disposing of their collections and raising the profile and reputation of the artists in the process.
"I’ve always had a fascination with people in paintings, the ability of an artist to capture not just a likeness, but a personality or a mood. This collection is possibly more ramshackle than eclectic but hopefully the breadth of styles, period and subjects will hold the attention long enough to amuse and tempt, even possibly visit."-Matthew Hall
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold● ReservedIf you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
"The inaugural Dealer’s Eye was held during the first Lockdown. The temporary closure of two gallery spaces necessitated a certain clearing out of the cupboards and parting reluctantly with a few old friends, some with decades long associations. The success of the exhibition suggested we should repeat the experience but as Tiffany will tell you, I am an arch dragger of feet. No more so than when making painful decisions as to which paintings to let go and which to hoard Gollum-like in perpetuity. Summer procrastination has led to a certain amount of frenzied last minute cleaning and framing but we are here, catalogue ready and looking forward to holding this Dealer’s Eye in relative normality.
The collection is as eclectic as ever, heavy on the twentieth century side and reflecting a certain bias towards figurative painting. Although some were sourced this year with the show in mind, the majority are plucked from back bedrooms and deep storage. The Phil May drawing has hung in every house that I’ve lived in since its purchase at the Watercolour Fair in Park Lane in 1994, of the three thousand plus works of art in my stock list it is the first entered!
- Matthew Hall
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays +44 (0)20 7399 9999enquiries@panterandhall.com
In our main Pall Mall gallery we are currently showing a selection of paintings and sculptures by a few of our gallery artists - please do pop along to take a look.
Born in Lytham St Annes, Adam studied at Blackpool Art College and still lives and paints in the town. He is an elected member of the Royal Institute of Oil Painters where he has won a number of prizes, notably the Menena Joy Schwabe Award and the Frank Herring Easel Award. He is a regular exhibitor at the New English Art Club and a member of the Manchester Academy of Fine Arts and the British Plein Air Painters.
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Born in Lytham St Annes, Adam studied at Blackpool Art College and still lives and paints in the town. He is an elected member of the Royal Institute of Oil Painters where he has won a number of prizes, notably the Menena Joy Schwabe Award and the Frank Herring Easel Award. He is a regular exhibitor at the New English Art Club and a member of the Manchester Academy of Fine Arts and the British Plein Air Painters.
An exciting young painter and printmaker, Aiden graduated from Gray’s School of Art in 2018 with a Distinction in his Fine Art MA course. He has been awarded a residency in 2019 at Dumfries House by the Royal drawing School and has recently exhibited at the Royal Scottish Academy where he won the Edinburgh Art Shop Prize. In 2017 he was awarded the BP Fine Art Award and the Wood Group Purchase Prize.
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British painter, graphic artist, poet, musician, silversmith, and jeweller, born at Grangemouth, Stirlingshire, son of a painter and etcher. Davie studied at Edinburgh College of Art, 1937–40, and after serving in the Royal Artillery, 1941–6, had his first one-man show at Grant's Bookshop, Edinburgh, in 1946. He then briefly worked as a professional jazz musician (he plays several instruments) before spending almost a year (1948–9) travelling in Europe. This gave him the chance to see works by Jackson Pollock and other American painters in Peggy Guggenheim's gallery in Venice, and he was one of the first British painters to be affected by Abstract Expressionism. Other influences on his eclectic but extremely personal style are African sculpture and Zen Buddhism. His work is full of images suggestive of magic or mythology (some based on ancient forms, some of his own invention) and he uses these as themes around which—like a jazz musician—he spontaneously develops variations in exuberant colour and brushwork: ‘Although every work of mine must inevitably bear the stamp of my own personality, I feel that each one must, to be satisfactory, be a new revelation of something hitherto unknown to me, and I consider this evocation of the unknown to be the true function of any art.’ After his return to Britain in 1949, Davie settled in London, where he worked until 1953 as a jeweller. By the mid-1950s, however, he was gaining a considerable reputation as a painter (he has had regular one-man exhibitions at Gimpel Fils Gallery since 1950), and in the 1960s this became international. His many awards have included the prize for the best foreign painter at the São Paulo Bienal of 1963 and first prize at the International Graphics Exhibition, Cracow, in 1966. Retrospectives were held at the Barbican Art Gallery, London (1993), and Tate St Ives (2003). Since 1971 he has spent much of his time on the island of St Lucia and this has introduced Caribbean influences into his imagery.
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Born in London he was producing works in oils from the age of nine. He studied psychology and art history at university. In 1983 he accepted an internship at the Peggy Guggenheim Collection in Venice. Subsequently, as a cataloguer of modern paintings for Bonhams Auctioneers, he viewed many thousands of paintings and gained a real understanding of detail and effect. In 1986 he moved to Venice and painted outdoor oil sketches in varying light conditions. From 1986 he turned to painting full time, working initially in Italy, then Scotland and since 1991, West Cornwall. He has held numerous solo exhibitions over the last thirty years and has exhibited at the Royal Academy of Arts, The New English Art Club and the Royal Society of Portrait Painters. He is an elected Academician of the Royal West of England Academy.
For over twenty years his work was characterised by imaginative figure paintings but currently he engages directly with subject matter that he loves and concentrates on large scale still life, interior and landscape compositions in a fluid and painterly style. Alan is an artist who manages that rare balance in painting, his works appear simultaneously classical yet utterly contemporary in effect. In recent years he has worked towards perfecting large scale still-lifes, each characterised by daringly fluid paintwork and a refreshing economy of style. The subject matter is carefully chosen and each painting is prepared over time with meticulous attention to the balance and harmony of composition. Only when the artist is completely satisfied with all elements of an idea will he approach the canvas, often completing a painting in a bout of uninterrupted activity lasting a single day. Thus a maximum level of energy is maintained in the finished work, stretching the limits of brushwork with a directness and clarity that excites the eye.
‘In Alan’s paintings the seductive use of dash and bravura remains on a grand scale; his familiar deftness of brush and confident paint-laden strokes seem to have found their optimum canvas size. His work has evolved from subtle, contemplative, domestic set pieces to creations of light, colour and drama that are palatial in conception. I am pleased to say that his paintings have lost none of the other-worldly charm and quiet wit that is so much an extension of Alan’s own personality. Now that twinkle in the palette’s eye is expressed through style and composition not the narrative content as in the past. When standing in front of an original Kingsbury there is no room for disappointment. He is a perfectionist in paint who has mastered the art of making that perfection appear child’s play. Life crackles through his brush and injects such energy into each work that standing in a room of these sumptuous examples of the modern Baroque is a positively life affirming experience. For me, Alan is undoubtedly one of the great figurative painters of his generation. In an age where the London commercial art scene is annually suffocated by the numbing homogeneity of the latest Florentine graduates, Alan’s paintings and talent scream integrity and substance.” Matthew Hall
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Alan Kingsbury: Twelve Paintings - 2016
Alan Kingsbury: The Charms of Life - 2015
Alan Kingsbury: The Ionian Sea - 2011
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The eldest son of Anne Redpath, possibly the most famous Scottish woman painter of the twentieth century, Michie was born in St Omer, France where his father was working as an architect. When the 1930s recession led the family to return to Hawick in Scotland, Michie attended the local high school where he won a scholarship to study architecture at Edinburgh College of Art. War service in the RAF interrupted his studies and he became one of the youngest pilots to receive his wings, serving with distinction as a night-fighter pilot in reconnaissance aircraft over Germany and occupied territory.
Reluctant to return to his architectural studies after the war, Michie worked as a freelance illustrator and graphic designer. He had a successful career as a fashion draughtsman for leading magazines in London, before moving to Dorset in 1950.
A visit to the 1962 Venice Biennale had a dramatic artistic and professional impact. It was there that Michie first encountered the work of the American abstract expressionists: Robert Motherwell, Franz Kline and Mark Rothko. The experience drove him towards painting and particularly abstraction. His new artistic philosophy was confirmed at a meeting with Rothko at an exhibition of paintings by his friend John Plumb at the Axiom gallery in London in the late 1960s.
His first solo exhibition of his new work was held at Edinburgh's Traverse Theatre in 1964. These large acrylics, richly coloured and sensuously textured, linked him not only to the American painters he admired, but also to the Edinburgh school of colourists. That same year he also exhibited Gold Relief 21 at the Royal Scottish Academy, and was a finalist in an Arts Council open painting competition. He exhibited widely in Britain and abroad and in 1972 a major show in São Paulo led to the modern art museums of Rio de Janeiro and São Paulo purchasing work. His sculpture was shown at the Barbican Centre in London in 1981.
Peter Davies concluded his excellent obituary of Michie in the Independent as an artist who ‘belonged to a generation of later modernist artists who shared an optimistic but never naïve world-view conditioned by an understanding of human nature gained during wartime. A sophisticated, urbane man with a quiet, wry sense of humour, he overcame a strange mix of privilege and disadvantage to pursue a difficult career.’
This small collection of Fashion illustrations were purchased directly from the artist’s family. They cover an exciting period of British fashion from the ascent from post war austerity to the swinging sixties: a fascinating potted timeline plotting the evolution of women’s design from the ‘New Look’ to ‘Hippy Chic’.
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Alberto Morrocco was born in Aberdeen, the son of Italian immigrants. Precocious talent as a draughtsman secured him entrance to Gray’s School of Art in Aberdeen at the tender age of 14 from where, following graduation, he briefly toured pre-war France and Italy. The avant-garde of the twenties and thirties, in particular Braque and Picasso, consequently had a lasting influence on Morocco’s life and art.
Following war service as a conscientious objector in the medical corps, Morrocco spent the rest of his professional life in Dundee, as Head of the School of painting at Duncan of Jordanstone College of Art. Under his skilled direction, the School adopted a characteristic approach to teaching, with the emphasis on observation and drawing. As a teacher, Morrocco was erudite, witty, passionate and hugely respected by his students. Following his retirement from teaching in 1982, Morrocco painted vigorously, producing what is often thought to be his most exciting work.
The University of Dundee awarded Morrocco an honorary doctorate in 1980. He painted all its Principals and, in 1977, the Queen Mother as Chancellor. Spanning thirty years, these portraits are a perfect illustration of how skilfully he adapted the conventions of the formal portrait to the expectations of a contemporary audience.
Morrocco was awarded the San Vita Romano Prize and both the Guthrie and Carnegie Award of the Royal Scottish Academy, where he was elected Fellow in 1962. In addition to the degree from Dundee University, Morocco was awarded an Honorary Doctorate from Stirling University in 1987. He served on the Scottish Arts Council and the Royal Fine Art Commission for Scotland and was appointed OBE in 1993. Morrocco is remembered as a much loved figure in the Scottish art world, both his personality and painting having dominated the scene for nearly half a century.
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Alberto Morrocco OBE RSA (1917-1998) - 2018
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Alex Uxbridge had already enjoyed a successful career in art publishing before he entered the Byam Shaw School of Art in his late thirties. Since graduating in the early 1990s he has painted and exhibited professionally without break and we are delighted to introduce his new work to our collectors at Panter & Hall.
Having grown up in Anglesey at his ancestral home, Plas Newydd, his Welsh roots run deep. His paintings of the area have a Welshness about them though, very far removed from the palette knife of Kyffin Williams that has so come to define and dominate the national style. He still works from a remote cottage on the island and the few Snowdonia paintings in this collection beautifully capture the majesty and isolation of the mountain passes.
As with many British painters before him, Alex regularly takes that well-trodden path to the Mediterranean countries and the extraordinary light they offer. By contrast, his paintings there are lit up with the evident pleasure he derives from the area. His brushstrokes lighten along with his palette, and his style adopts a post-impressionism reminiscent of the later Bloomsbury works. His paintings are gentle, light of touch, beautifully composed, and infused with a poetic lyricism that belies the confidence of their construction.
So many painters have sought out the Mediterranean light over the last century or so, the draw of the sun-drenched olive groves and terracotta roofs has seduced thousands from the impressionists onwards. Alex’s paintings are certainly deeply embedded in this line and I think he stands as worthy an heir to that tradition as any one painting there today.
Alex is an artist who clearly relishes the challenge of committing a subject to canvas and has the talent and experience to pull it off.
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Alex Uxbridge: Light - 2022
Alex Uxbridge: Travels - 2019
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Thirty colourful essays in intimism, colour and warm Mediterranean light from the talented brush of Alex Uxbridge. A journey in paint through the hills of Provence and Umbria, arriving in the autumn colours of the artist’s Oxfordshire garden.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
Born in Brooklyn, New York to an immigrant Russian family. At twelve he was bedridden with polio and used the time to begin early lessons in painting. At sixteen he entered the Art Students League of New York, where he studied for four years with Kenneth Hayes Miller, John Christen Johansen, Frank DuMond, George Bridgman, and Dimitri Romanovski. In 1920 he married a fellow student, Peggy Bacon. From 1924 to 1927 he was the assistant director of the Whitney Studio Club whilst working as a reviewer for The Arts magazine. He taught at the Art Students League of New York from 1933 until 1936 and again from 1942 until 1943.
His reputation as a realist painter grew and his work was exhibited widely, garnering numerous awards. More celebrated prizes included the Frank G Logan prize at the Art Institute of Chicago in 1929, the Carnegie Prize at the Carnegie International art exhibition in 1939, the Temple gold medal at the Pennsylvania Academy in 1931 and a gold medal at the Paris International Exhibition in 1937. In 1930, he was awarded second place to Picasso's first prize at the Carnegie Institute’s International Exhibition of Modern Painting.
About 1940, he was divorced from Peggy Bacon. After a second marriage to Libby Bergere and spells living in Savannah, Georgia, in 1945 he married his third wife, the painter Gina Knee. In 1948 they moved to Sag Harbour on eastern Long Island, where he retired from painting around 1965.
His work can be found at a variety of museum collections, such as the Whitney Museum, the Metropolitan Museum, the Art Institute of Chicago, and the Albright-Knox Gallery.
His third wife Gina Knee became associated and exhibited with the exciting circle of Abstract Expressionist artists - including Jackson Pollock, Lee Krasner, Willem de Kooning, and Robert Motherwell.
He was born in Greenock in 1913, the seventh child of a Clydeside brass founder. Living off the frugal earnings of his father’s labour he enrolled at the Glasgow School of Art in 1930. Several other students would tease him over his poverty and often he was forced to make his own paints and use his hair to make brushes. While at Glasgow he befriended David Donaldson and Bill Crosbie, both contemporaries at the school. Donaldson who later became Queen’s Limner in Scotland and Head of the School of Art wrote that he was overawed by Galt’s draughtsmanship “…he could draw like an angel….and …could out Orpen Orpen”. Many of the Glasgow art teachers referred to Galt as “the human camera”. On graduation he won the Torrance Award for life painting and his diploma work toured the art schools of Scotland as an example to other students.
In the 1930s he befriended the sculptor Jacob Epstein and his reputation began to grow apace. His painting ‘The Stable Boy’ was purchased by the Caird Museum bequest in Greenock and it was this work that drew the attention of the critic James Agate. Agate’s patronage proved invaluable to the young painter and led to introductions to Rex Nankivell at the Redfern Gallery and the patron Sir Ulrich Alexander, Keeper of the Privy Purse.
The award of the Carnegie Scholarship in 1938 enabled Galt to travel to Paris. He took rooms for two years in Montparnasse meeting the resident artistic community through his friend the padre Donald Caskie. Caskie later distinguished himself as the war hero ‘the Tartan Pimpernel’. Forced to return to Scotland with the onset of war he began to teach at Greenock high school before being called up for service in the RAF. Returning to civilian life in 1945 Galt took a job as part time tutor at Glasgow School of Art before being appointed as art master to Greenock high school. In the austerity of post war Glasgow Galt struggled to keep his family; it is an indication of the high esteem his fellow artists held him that when he felt obliged for economic reasons to resign from the Glasgow Arts Club the committee refused to allow him to leave, forgoing his membership fee.
Despite his popularity amongst his peers Galt was single minded in his pursuit of art. Although an elected member of the Royal Glasgow Institute he eschewed the accompanying social life, preferring to lose himself in his painting, the sound of opera reverberating around his studio. He was active until his death in 2000, winning his last prize at the RGI at the age of 81.
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Twentieth Century British Painting- 2019
Anonymous Muse - 2018
Lazy Days - 2016
Alexander Galt RGI & Gordon Wyllie RSW - 2013
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A Welsh artist, Janes was born in Swansea where he attended Swansea School of Art and Crafts. Something of a prodigy, he exhibited at the 1928 National Eisteddfod at 16 and three years later was commissioned to paint a portrait of the mayor of Swansea. At 20 he won a scholarship to the Royal Academy Schools where he was taught by Thomas Monnington. He shared a flat for a time with fellow student William Scott. In 1932 he became part of the bohemian Swansea group ‘The Kardomah Gang’ that included the poets Dylan Thomas and Vernon Watkins and the Composer Daniel Jones. Janes had a close association with Thomas, sharing flats in and around Earls Court, during which time he painted several portraits of the poet. Three portraits are now in Welsh public collections including the well known oil in the National Museum in Cardiff. He taught in Swansea for many years, broken only by war service in Egypt with the Pioneer Corps. In 1963 he moved to London, accepting a post at Croydon College of Art, and from then until his death he lived at Dulwich. Among the younger generation whom he encouraged were Bridget Riley and Bruce McLean. In 1999 the Glynn Vivian Art Gallery, Swansea, held a retrospective exhibition of his work.
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Although born in Lewes in Sussex, Lawrence trained at King Edward VII School of Art, at the time part of Armstrong College a precursor to Newcastle University. He went on to study at the Royal College of Art under William Rothenstein. His studies were interrupted by the Great War and he joined up with the Tyneside Pioneers attached to the Northumberland Fusiliers as a subaltern. Even as a Pioneer he saw his share of the trauma of that war. He witnessed the action at Bray and the Somme and after the war illustrated the official account of his Battalion’s service.
On returning to the Royal College he was awarded a travelling scholarship in 1922 and the Prix de Rome in 1923. His subsequent travel and study in Italy greatly inspired and informed his artistic practice. He enjoyed a reputation as one of the country’s leading figure painters and portrait painters. In 1927 he was one of eight artists commissioned to paint the ‘Building of Britain’ mural scheme in St Stephen’s Hall in the Palace of Westminster. He also painted murals for the Laing Art Gallery and the Bank of England.
He is represented in the permanent collections of the Victoria & Albert Museum, the Royal Society, the Imperial War Museum, the Bank of England, the National Portrait Gallery, the National Trust, the Scottish National Portrait Gallery, the Russell-Cotes Art Gallery and the Royal Airforce Museum.
A portrait of Lord Plunkett is in the Auckland Art Gallery and a portrait of Sir William Rothenstein is in Royal College of Art Collection.
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Born in 1990, Alice Boggis-Rolfe is a figurative painter. Her subject matter veers from vast open landscapes to quiet, intimate interiors and still-lifes. She spent her twenties travelling the world with her paints, holding exhibitions back in London between trips. Her practice has since evolved into carefully constructed studio work using a broad palette, interspersed with bouts of the plein air painting she still adores.
Alice trained at Chelsea College of Art and Heatherley’s School of Fine Art. She has since held four sell-out solo exhibitions, the most recent of which sold out in a matter of hours. Aside from these she exhibits regularly with the New English Art Club, the Royal Society of Portrait Painters, the Royal Society of British Artists and the Royal Institute of Oil Painters. Her work has received numerous awards such as the Winsor & Newton First Prize for a Young Artist and The William Sloane Medal and the Diana Brooks Prize. In 2017, Alice took part in the Television series Landscape Artist of the Year reaching the final three out of thousands of contestants nationwide. Alice lives in Gloucestershire with her husband Harry.
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Alice Boggis Rolfe: Reflections - 2021
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"I have spent the past decade travelling as much as I can, seeking inspiration from far and wide, but over the past year or so my paintings have changed dramatically, in line with all our lives. I haven’t yearned for exotic travel as I’d expected, and in spite of being in beautiful countryside I have hardly ventured out with my paints. Instead I have been overcome by the desire to paint everything growing within the confines of our garden. Like many people, last year I discovered the joys of gardening.
My husband and I recently moved to Gloucestershire where we are lucky enough to have a small garden. Gardens have always been a part of my life but somehow it has escaped my notice until now. My parents have a beautiful garden and my mother’s knowledge of plants and flowers is second to none. Harry, my husband has always been green fingered and while his contemporaries would go out clubbing he would stay at home and tend to his dahlias. So it was only a matter of time before I would get the bug too. And what an adventure it has been! How could I have come this far in life without noticing how papery thin the petal of a peony is, or the sculptural shapes of nasturtium tendrils. The sweet peas have filled my paintings as abundantly as they have their beds. It’s hard to describe in words the satisfaction of growing something from seed and seeing it through to a finished painting. The magnolia lasted only days before the frost got to it, so the urgency to paint that I used to feel when travelling is still there. In Cornwall, where I have painted the sea and beaches hundreds of times, I found myself more taken by the wild flowers on the cliffs, standing strong against the wind, than by the coast beyond.
The process of scrutiny is meditative, and many gardeners would say the same about growing and nurturing plants. The objects in my paintings have been given to me or collected at key moments in my life, and I can’t help but ponder on the people and events that lead to them creeping into my pictures as I paint them. While I can’t deny a slight double entendre, the title of this exhibition, Reflections, sums up the experience of making and of looking at these paintings."
- Alice Boggis-Rolfe
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PALL MALL GALLERYDownstairs Gallery11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays +44 (0)20 7399 9999enquiries@panterandhall.com
"After studying fine art at Duncan of Jordanstone College of Art in Dundee, I was so pleased to graduate in 2017 with a first class honours and a sell out degree show. I was also delighted to receive several awards including the John Kinross Travel Award to Florence and the Alexander Graham Munro Travel Award to Peru and Bolivia. Both of these experiences have had a profound and lasting effect on my practice. My work has been chosen to be part of collections at the Royal Scottish Academy, Ninewells Hospital, Dundee – where I was awarded the annual Radiology Art Prize - and Duncan of Jordanstone College of Art.
The imagery in my paintings often derives from my own experiences, including the people I’ve met, the places I’ve visited, patterns taken from the world around me and much else besides. My practice is also influenced, to a significant degree, by mythical, folkloric and sacred narratives. These stories frequently provide the initial spark in the development of my work.
Using these beginnings, I then give free reign to my creativity, paying scant regard to the logic and order of the real world. This playful control over imagined worlds is, for me, very much part of the excitement of being an artist.
I’ve recently moved to London from Glasgow. I’m hugely excited about this and I’m looking forward to seeing how the change of surroundings, as well as the wealth of new influences, will affect my work."
- Alice Campbell
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After originally training as a clothes designer, Alison Stockmarr decided to retrain at Colchester School of Art studying Textiles and 3D Design in order to persue her passion for art.
Alison is a contemporary British Artist producing collaged 3-D artworks from old books and record sleeves, found ephemera and original photographs. Currently she creates collaged artworks that she defines in distinct categories; Face Books, Picture Booksand Alphabetical Encyclopaedias, all carried off with her signature playfulness and semantic irony.
Face Books are a collection of work poking fun at social media. By matching old photographs with suitably titled books, profiles are constructed, creating a library of invented friends of yesteryear. Apertures are cut into books with photographs and ephemera collaged within their pages. Narratives are composed to complete the picture! These assemblages of everyday archaeologies afford the viewer glimpses of stories or notions and her pithy profiles offer an alternative perspective of Facebook and the like.
Her Picture Books are carefully considered illustrated bookart. Taking the original book title as her starting point she collages in detailed layers with found ephemera, creating 3-D dioramas.
Alphabetical Encyclopaedias are a recent addition, where encyclopaedias fall open on a specific page and subject matter. Illustrated with collaged ephemera, imagery chases from one aperture, over the page and into the other. Each letter of the alphabet is to be illustrated. So far she has ‘A for Alphabet’, ‘B for Birds’ and ‘C for Children, seen and not heard!’.
With her extensive library of Book Art and Collages, she now produces giclee prints and exhibits work nationally and internationally.
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Nine New Painters to Panter & Hall - 2019
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After three years in the film and television industries Alistair turned to two dimensional art to train and work as a freelance commercial illustrator. Early commissions included an underground comic and graphic design work along with storyboard work for the advertising industry. Here he learnt the true value of a strong knowledge of draughtsmanship, and his ability to render credible accurate figure work is the backbone of his work today. In 2001, after four years almost exclusively working in markers and pencils he started experimenting with paint and hasn’t looked back.Alistair’s artistic influences are immediately evident. His great love of twentieth century cinema, particularly the Film Noir genre, dominates his style and his subject matter. His early experience in the film industry taught him the technique of capturing a wider story in the confines of one still image. Each of Alistair’s paintings burst with cinematic tension, his models are carefully posed and dressed to play a well-choreographed role within a cleverly lit backdrop. His use of chiaroscuro serves to heighten the drama, throwing his protagonists into half shadow or obscuring a face with a carefully tilted trilby. Through these images Alistair constructs an edgy narrative, showing the viewer glimpses of a seamy underworld peopled by morally ambiguous characters worthy of Raymond Chandler.
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Commissions
Alistair Little: The Ring Is Everywhere - 2018
Alistair Little: Front Runner - 2016
Alistair Little: Theatre - 2015
Alistair Little: A passion for speed - 2012
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Alistair Little - Portrait Commissions
After three years in the film and television industries Alistair turned to two dimensional art to train and work as a freelance commercial illustrator. Early commissions included an underground comic and graphic design work along with storyboard work for the advertising industry. Here he learnt the true value of a strong knowledge of draughtsmanship, and his ability to render credible accurate figure work is the backbone of his work today. In 2001, after four years almost exclusively working in markers and pencils he started experimenting with paint and hasn’t looked back.Alistair’s artistic influences are immediately evident. His great love of twentieth century cinema, particularly the Film Noir genre, dominates his style and his subject matter. His early experience in the film industry taught him the technique of capturing a wider story in the confines of one still image. Each of Alistair’s paintings burst with cinematic tension, his models are carefully posed and dressed to play a well-choreographed role within a cleverly lit backdrop. His use of chiaroscuro serves to heighten the drama, throwing his protagonists into half shadow or obscuring a face with a carefully tilted trilby. Through these images Alistair constructs an edgy narrative, showing the viewer glimpses of a seamy underworld peopled by morally ambiguous characters worthy of Raymond Chandler.
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Commissions
Alistair Little: The Ring Is Everywhere - 2018
Alistair Little: Front Runner - 2016
Alistair Little: Theatre - 2015
Alistair Little: A passion for speed - 2012
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Alistair Little - Portrait Commissions
This page contains everything we currently have available at Panter & Hall. New work is added regularly but please contact us at enquiries@panterandhall.com if you have any questions.
Gwynne-Jones was born in Richmond, Surrey. He was educated at Bedales School and then qualified as a solicitor, but never practised. He instead developed a love of art and began painting watercolours. In 1914 he began a course at the Slade School of Fine Art, but three months later was commissioned into the Cheshire Regiment. He was wounded and awarded the Distinguished Service Order at the Battle of the Somme in 1916. He returned to the Slade after demobilisation in 1919 and in 1923 became Professor of Painting at the Royal College of Art. He remained at the Royal College for the remainder of his career.
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Watt studied under Fred Shelley at Plymouth School of Art and later at St Martin’s School of Art, London, where she met John Millar Watt, who attended the same even ing classes. At the time they both worked for advertising agencies as staff artists. Marrying in 1923, the couple moved to Dedham in Essex. Her husband had found early commer cial success with his cartoon strip POP, and he was able to design and build a modern house and studio overlooking Dedham Vale. Here they became friends and sketching companions of Alfred Munnings and his wife. Amy was a regular exhibitor at the Royal Academy (her work was hung in the Summer Exhibition almost continually from 1929 to 1953) and also at the Paris Salon where she had Honourable Mention.
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Anonymous Muse - 2018
Anonymous Muse - 2018
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Born in Islington, London in 1962 artist Andrea Byrne moved with her parents to Lancashire at the age of seven. She returned to London in 1986 where she continues to live and work.After completing an Art Foundation Course in Blackburn, Lancashire she gained a B.A. (Hons) Fashion / Textiles from Liverpool John Moores University in 1984. Byrne went on to pursue an internationally successful career in fashion illustration, working for many leading advertising agencies, designers and design groups. She was also a regular fashion illustrator for the Sunday Times and her many clients ranged in diversity from Vogue, Saatchi & Saatchi to the Natural History Museum. In 1988 Byrne was awarded the highly acclaimed Guardian Fashion Illustration Award, representing and illustrating for the publication during Japanese Fashion Week in Tokyo. During her extensive career she worked for many design houses and completed a series of important painting commissions for Aquascutum for their Spring 2003 international press campaign, which were simultaneously exhibited at their London Regent Street store. More recently she was commissioned to produce paintings for a book for the highly acclaimed U.S. fashion designer Josie Natori which cumulated in a solo exhibition of Byrne’s paintings at the Openhouse Gallery, Manhattan in November 2012.Since 2000 Byrne has focused on large-scale paintings of flowers; originally her work was an extension of her involvement within contemporary fashion movements whist developing her distinctive painting style. Her first solo show in London in 2002 sold out, as did subsequent solo shows in ’03, ’04, ’06, ’07 and ’09. From early on Byrne’s large-scale paintings were featured in Vogue (2000) and more the 2012 Martyn Thompson Interiors book featured Byrne’s paintings in the New York home of loyal collectors creative director Andrew Egan and Sex And The City producer John Melfi; her work is also held in the collections of Andrea & Guy Dellal, John Whitney C.B.E and The East Lancashire Hospice. She was shortlisted for the Celeste Art Prize in 2006 and the winner of the AAF Artist Award in 2003. Byrne’s work features extensively in both private and corporate collections nationally and internationally.Byrne studied for an M.A Fine Art at St. Martins School of Art, (2004) where her work moved into installation as well as painting. Her figurative paintings were exhibited as part of the On Time East Wing collection at the Courtauld Gallery, Somerset House London (2008 -2009). Byrne was awarded a further M.A. from Goldsmiths College in Aural & Visual Cultures in 2007.
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Born in Rotherham South Yorkshire, Andrew took a first in Fine Art Painting at The University of Canterbury, Christchurch before completing a postgraduate course at The Royal Drawing School. He is an elected member of the Royal Institute of Oil Painters where he has won a number of awards including the Windsor & Newton Award and the Menena Joy Schabe Memorial Award. As well as the Northern Boys he is also a member of the British Plein Painters.
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Born in Rotherham South Yorkshire, Andrew took a first in Fine rt Painting at The University of Canterbury, Christchurch before completing a postgraduate course at The Royal Drawing School. He is an elected member of the Royal Institute of Oil Painters where he has won a number of awards including the Winsor & Newton Award and the Menena Joy Schabe Memorial Award. As well as the Northern Boys he is also a member of the British Plein Painters.
A high realist style is characteristic of the work of artists who use egg tempera. The medium only allows the application of small amounts of pigment at any one time, building in layers of fine brush strokes over the traditional gesso ground. As with the paintings of the renaissance artists who used this medium, egg tempera produces a rare luminosity.
Andrew George is one such artist adept in using this medium. He paints the landscapes around his home in the Mendip hills of North Somerset, Dorset’s Coastline and the hills of Scotland. On first impression his paintings are finely detailed – they are incredibly well observed, often with each blade of grass given perfect realisation; and yet on closer inspection one notices passages of paint which are almost abstract, where the detail is more impressionistically suggested. Multiple perspectives lead the eye to a combination of vanishing points that provide a wonderful sense of space and distance.
Andrew seeks the sublime in a landscape; many are rugged and windswept. The uncomfortable feeling of standing too close to a cliff edge, or the barren quality of a hillside moor, give the paintings an exciting visual edge. (Geoffrey Bertram, 2010)
Attended Edinburgh College of Art 1970 – 74
2000 South West Arts, Exeter; Prizewinner
2000 and 09 Royal West of England Academy; Prizewinner
Collections
Fleming- Wyfold Art Foundation, London
Dorsey & Whitney, London
The Leicestershire Collection, The Sherrier Centre, Lutterworth
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A high realist style is characteristic of the work of artists who use egg tempera. The medium only allows the application of small amounts of pigment at any one time, building in layers of fine brush strokes over the traditional gesso ground. As with the paintings of the renaissance artists who used this medium, egg tempera produces a rare luminosity.
Andrew George is one such artist adept in using this medium. He paints the landscapes around his home in the Mendip hills of North Somerset, Dorset’s Coastline and the hills of Scotland. On first impression his paintings are finely detailed – they are incredibly well observed, often with each blade of grass given perfect realisation; and yet on closer inspection one notices passages of paint which are almost abstract, where the detail is more impressionistically suggested. Multiple perspectives lead the eye to a combination of vanishing points that provide a wonderful sense of space and distance.
Andrew seeks the sublime in a landscape; many are rugged and windswept. The uncomfortable feeling of standing too close to a cliff edge, or the barren quality of a hillside moor, give the paintings an exciting visual edge. (Geoffrey Bertram, 2010)
Attended Edinburgh College of Art 1970 – 74
2000 South West Arts, Exeter; Prizewinner
2000 and 09 Royal West of England Academy; Prizewinner
Collections
Fleming- Wyfold Art Foundation, London
Dorsey & Whitney, London
The Leicestershire Collection, The Sherrier Centre, Lutterworth
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Andrew Squire was born in 1954. He originally trained as an architect graduating from Manchester University but for the last thirty years has been a professional artist and designer, based in Glasgow. Andrew has travelled and exhibited widely, with residencies in Iceland, Canada, Nepal, and Tanzania. His paintings are deceptively simple drawing variously on the elemental space and light of the west of Scotland, the inner landscape of the subconscious, and iconic images of birds and beasts.
Speaking about his art work Andrew Squires says "Following my growing commitment to ecology and sustainability, my artwork is continuing to make a steady move away from an anthropocentric perspective, towards geocentrism. Put plainly, and despite the subtext of the last 2,500 years of Western culture, humans and their doings are not the centre of the universe. The theme of much of my art work has been a contemplation of the boundaries of the tangible world and that which lies beyond, using a visual language of isolated iconic and archetypal images, often of animals and birds, carefully placed in their pictorial space."
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Born in Huddersfield, Yorkshire 1959, Ann studied painting at Canterbury College of Art and Design graduating in 1987 with a BA Honours Degree in Fine Art. The following three years she rented a studio in Faversham where she continued to practice.
After a three month trip around Spain, Ann based herself in London, working part time as a gardener to support her painting and extensive travels to Nepal and India. During this time her work was accepted on several occasions into the Royal Academy Summer Exhibition and the Discerning Eye Exhibition, the New English Art Club and the Royal Society of British Artists at the Mall Galleries, London. In 1998 she settled in London, rented a studio in Parade Mews, Tulse Hill, exhibiting her work with various galleries around the country and had a Solo Show in Bergen, Norway at Gallery Urd.
In 2006 Ann relocated to West Penwith in Cornwall. She was invited by selector Fred Cuming RA to exhibit six paintings in the 2008 Discerning Eye Exhibition and won the Regional Prize for the West Country, the same year a painting was accepted into the Royal Academy Summer Exhibition. In 2009 her work was selected for the Royal West of England Academy Exhibition and was included in a guided commentary about the exhibition.
Working predominantly in oil on canvas or board, Ann's painting is a direct response to her environment whether inspired by daily walks in the ever-changing elements of the Cornish landscape or by the quiet contemplation of flowers and everyday objects around her.
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Ann Armitage: Six New Paintings - 2023
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Ann Oram was born in London in 1956. She studied at Edinburgh College of Art from 1976 to 1982 and later, she became a part-time lecturer there. Ann was elected to the Royal Scottish Society of Painters in Watercolour in 1986. Following that, she became a visiting lecturer at the University of Northumbria in 1988.
Commissions and Collections include: Royal Bank of Scotland; Standard Life; Bank of Scotland; Britoil; Credit Lyonnaise; Dundas & Wilson; Dunedin Fund Managers; Edinburgh University; Edinburgh Fund Managers; Ethicon; Herriot-Watt University; Northern General Hospital; Robert Flemings Holdings Ltd; Royal Bank of Scotland; Royal Bank of Scotland, Singapore; Scottish Life; Scottish Provident; Scottish Widows; Shepherd and Wedderburn WS; Tysak and Partners; Art in Healthcare; Stirling Art Gallery.
Awards include: Carnegie Travelling Scholarship, Royal Scottish Academy Student Exhibition 1980; Andrew Grant Travelling Scholarship to New York, 1981; Largo Award, Edinburgh College of Art, 1981; Andrew Grant Major Award, 1981 & 1982; May Marshall Brown Award (RSW) 1991; William Gillies Award (RSW) 1998.
Anna was born in Shetland and has spent most of her life in the Scottish Borders. She graduated from Duncan of Jordanstone College of Art in 2005 having been awarded the Ian Eadie Award. She also received the Royal Scottish Academy Landscape Award from the RSA Student Exhibition and in 2017 won the inaugural annual Jolomo Lloyds TSB Landscape Award. Her work is inspired by the human mark that is left on the land around us and her practice has developed though the award of residencies in the UK, France and Iceland.
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Annabel Fairfax grew up in Suffolk and has painted all her life. Annabel worked in the design studio at Colefax and Fowler and then studied photography with Jorge Lewinski before attending The Heatherley School of Fine Art and continues her studies with Robin Child. Annabel was elected a member of the Society of Women Artists in 2011.
Annabel has had solo Exhibitions at ING and The Ebury Galleries. She exhibits annually in group shows which have included The Summer Exhibition at The Royal Academy and the Society of Women Artists and annually exhibits for Art For Youth at the Mall Galleries. Annabel also exhibits at The Bembridge Sailing Club on the Isle of Wight, The Affordable Art Fair in Battersea and with The British Art Portfolio.
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Annabel Fairfax: Birds & Flowers - 2020
Nine New Painters to Panter & Hall - 2019
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Having been brought up in Pottstown, an industrial community in the state of Pennsylvania, Anne enrolled in the School of Industrial Art of the Pennsylvania Museum. Her studies in America culminated in several years undertaking life-drawing and sculpture at the Pennsylvania Academy of Fine Arts.
Anne was commission to go Paris in 1905 to illustrate the latest up and coming fashions for the periodical, North American. In 1907 on the Paris-Plage, a resort based in the environs of Paris, she became friendly with the painter, John Fergusson. From 1910, Rice was often exhibiting in established galleries both in the UK and France, alongside the Scottish Colourists such as Fergusson and Peploe.
In 1913, she married the English art and theatre critic Raymond Drey who had been previously based in Paris. In addition to her interest in still life painting, the union with her husband bred an interest for Anne in the world of theatre - often the sets and costumes of various productions became the subjects of her work.
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Born in Galashiels in 1895, Redpath was brought up in Hawick and later studied at Edinburgh College of Art under Robert Burns and Henry Lintott. Redpath showed her exceptional talent as an artist at a young age and in 1919 she won a travelling scholarship, enabling her to travel throughout Europe before returning to the Borders. Redpath is often considered the pivotal figure in the group of painters now referred to as The Edinburgh School.
After a lengthy spell in the south of France, Redpath returned to Hawick in the mid-1930s. Her brilliant manipulation of paint, left in delicious peaks or eked across a rough surface with a palette knife, is characteristic of her oeuvre.
Redpath was elected an associate of the Royal Scottish Academy in 1947 and was the first woman to be elected as a full member, in 1952. Redpath exhibited regularly at the Royal Scottish Academy, the Society of Scottish Artist's, the Royal Glasgow Institute and, from 1946 at the Royal Academy. In 1960 she was elected an Associate of the Royal Academy having already been awarded the OBE in 1955, the same year that she was awarded an honorary Doctorate from Edinburgh University.
Redpath had considerable commercial success in her lifetime enjoying a fruitful, consistent relationship with Aitken & Dott in Edinburgh and latterly with Reid & Lefevre in London. Since her death, Redpath’s reputation has been further enhanced with retrospective and centenary exhibitions and she is now firmly established as one of the most celebrated figures in 20th Century Scottish Painting.
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From a Private Collection - 2015
Twentieth Century Painting - 2004
From a Private Collection - 2015
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Anthony Gross was born in 1905, at Dulwich, London, the son of the Hungarian cartographer who and founder of Geographia Ltd and the Suffragette Bella Crowley. His younger sister was the artist Phyllis Pearsall who was widely credited for inventing the London A to Z maps. He attended Shrewsbury House School and later Repton, enrolling at the Slade in 1923. He continued his studies at the Central School of Art and Crafts in London, the École des Beaux-Arts in Paris and the Academia de San Fernando in Madrid. In 1925 he took life classes and studied as an engraver at the Académie Julian and Académie de la Grande Chaumière, Paris. During the early 1930s he exhibited in Paris galleries, becoming a member of the La Jeune Gravure Contemporaine, designed costumes and settings for ballet, and worked with composer Tibor Harsányi. He also married Villeneuve fashion artist Marcelle Marguerite Florenty in 1930.He co-directed the short film La Joie de vivre with Hector Hoppin in 1934 then returned to Britain to work on animated films. He illustrated a 1929 edition of Jean Cocteau’s Les Enfants Terribles and became an art director for London Films. In 1937 he returned to work in Paris but in 1940 he brought his family to the safety of England, to live at Flamstead in Hertfordshire.Eric Kennington pushed to have Gross appointed as an official war artist and he spent his initial year painting English coastal defences and troop training. In 1941, with a temporary commission of captain, Gross was attached to the 9th Army and painted within the Egyptian, Syrian, Palestinian, Kurdistan, Lebanese, and Mesopotamian theatres of war, sometimes accompanied by other war artists Edward Ardizzone and Edward Bawden. He later documented the 8th Army’s North African Campaign. From 1943 he transferred to India and Burma to witness the front line battle against the Japanese, producing works that were the subject of a one-man exhibition at the National Gallery when he returned to England.Gross accompanied the D-Day invasion of Northern France, wading ashore near Arromanches at 2pm on D-Day. He sketched the beachhead landings and spent the night in a slit trench on the beach before moving inland the next day. He followed the Allied armies to Paris and then into Germany, witnessing the meeting of American and Russian forces at the River Elbe on 25 April 1945.Following the war, Gross returned to working in London, producing commercial illustrations, including in 1954, the dust jacket design for the first edition of Lord of the Flies. From 1948 to 1954 he was a life drawing tutor at the Central School of Arts and Crafts, afterwards becoming Head of Printing at the Slade.From 1948 to 1971 Gross's work was exhibited in London and New York in one-man shows and as part of The London Group. In 1965 he became the first president of the Printmakers Council. He became an honorary member of the Royal Society of Painter-Etchers and Engravers in 1979, the same year being elected as an Associate of the Royal Academy. He became a Senior Academician in 1981, and was awarded a CBE in 1982.Public collections holding Gross’s work include the British Museum, Victoria and Albert Museum, Huddersfield Art Gallery, Imperial War Museum and the Tate Gallery, London, and the Ashmolean Museum, Oxford; the National Gallery of Victoria, Melbourne; Graphische Sammlung Albertina, Vienna; Auckland Art Gallery, New Zealand; the South African National Gallery, Cape Town; the Kunstmuseum, Basel; the National Gallery of Norway, Oslo; the Royal Academy of Fine Arts, Stockholm; the National Gallery of Canada, Ottawa; the Cabinetto Nazionale delle Stampe, Rome; the Rijksmuseum, Amsterdam; the Louvre and the Cabinet des Estampes, Bibliothèque Nationale, Paris; the Metropolitan Museum of Art and the Museum of Modern Art, New York, the Museum of Fine Arts, Boston, and the Smithsonian Institution and the National Gallery of Art, Washington DC, USA.
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Antony Gormley is widely acclaimed for his sculptures, installations and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos. Gormley continually tries to identify the space of art as a place of becoming in which new behaviours, thoughts and feelings can arise.
Gormley's work has been widely exhibited throughout the UK and internationally with exhibitions at the Royal Academy of Arts, London (2019); Delos, Greece (2019); Uffizi Gallery, Florence (2019); Philadelphia Museum of Art, Philadelphia (2019); Long Museum, Shanghai (2017); National Portrait Gallery, London (2016); Forte di Belvedere, Florence (2015); Zentrum Paul Klee, Bern (2014); Centro Cultural Banco do Brasil, São Paulo, Rio de Janeiro and Brasilia (2012); Deichtorhallen, Hamburg (2012); The State Hermitage Museum, St Petersburg (2011); Kunsthaus Bregenz, Austria (2010); Hayward Gallery, London (2007); Malmö Konsthall, Sweden (1993) and Louisiana Museum of Modern Art, Humlebæk, Denmark (1989). Permanent public works include the 'Angel of the North' (Gateshead, England), 'Another Place' (Crosby Beach, England), 'Inside Australia' (Lake Ballard, Western Australia), 'Exposure' (Lelystad, The Netherlands) and 'Chord' (MIT - Massachusetts Institute of Technology, Cambridge, MA, USA).
Gormley was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999, the Bernhard Heiliger Award for Sculpture in 2007, the Obayashi Prize in 2012 and the Praemium Imperiale in 2013. In 1997 he was made an Officer of the British Empire (OBE) and was made a knight in the New Year's Honours list in 2014. He is an Honorary Fellow of the Royal Institute of British Architects, an Honorary Doctor of the University of Cambridge and a Fellow of Trinity and Jesus Colleges, Cambridge. Gormley has been a Royal Academician since 2003.
Antony Gormley was born in London in 1950.
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Archie’s early passion for art was encouraged by his father who took him on frequent trips to Kelvingrove Art Gallery where they spent hours discussing the exhibits. The young Archie spent his days drawing incessantly, but growing up in the tough working class area of 1950s Maryhill fine art was unthinkable as a career in itself. He won a place at Glasgow School of Art and later Jordanhill Teacher Training College, an education separated by a period of National Service peace keeping in Cyprus. On his graduation from Jordanhill Archie embarked on what was to be a distinguished career as an academic and administration in art education. Throughout this time he painted and had work accepted and hung by all the principal exhibiting forums. He has won numerous awards at the Royal Scottish Academy, the Royal Glasgow Institute of which he is a member, and the Royal Scottish Watercolour society who he served as a vice president for many years. He is represented in many corporate collections, notably the Scottish Arts Council, Glasgow Art Gallery, The Edinburgh Academy, Royal Bank of Scotland, Christian Salveson, Rolls Royce, Cunard and in the personal collections of Griff Rhys Jones and Pete Townsend.
In the last decade Archie has perfected a mature style, a semi-abstracted depiction of several themes closest to his heart. He has drawn on his childhood memories of the Clyde marine industry, the lochs and landscapes of his youth and the tiny fishing villages along the East Neuk of Fife near his Dunfermline home. He is perhaps best known for his paintings of the latter, carefully arranged designs of geometric shapes interspersed with recognizable motifs - creels, numbers, ropes and sections of stone wall - rendering the essence of a working quayside. The night sky is an important theme in Archie’s work that he often returns to. Musing on the immensity of the starlit heavens he sees the concept of the infinite as a useful reminder of our own immortality, and a timely perspective on life and our place within it.
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Archibald Dunbar McIntosh: Eleven Paintings - 2015
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Archie’s early passion for art was encouraged by his father who took him on frequent trips to Kelvingrove Art Gallery where they spent hours discussing the exhibits. The young Archie spent his days drawing incessantly, but growing up in the tough working class area of 1950s Maryhill fine art was unthinkable as a career in itself. He won a place at Glasgow School of Art and later Jordanhill Teacher Training College, an education separated by a period of National Service peace keeping in Cyprus. On his graduation from Jordanhill Archie embarked on what was to be a distinguished career as an academic and administration in art education. Throughout this time he painted and had work accepted and hung by all the principal exhibiting forums. He has won numerous awards at the Royal Scottish Academy, the Royal Glasgow Institute of which he is a member, and the Royal Scottish Watercolour society who he served as a vice president for many years. He is represented in many corporate collections, notably the Scottish Arts Council, Glasgow Art Gallery, The Edinburgh Academy, Royal Bank of Scotland, Christian Salveson, Rolls Royce, Cunard and in the personal collections of Griff Rhys Jones and Pete Townsend.
In the last decade Archie has perfected a mature style, a semi-abstracted depiction of several themes closest to his heart. He has drawn on his childhood memories of the Clyde marine industry, the lochs and landscapes of his youth and the tiny fishing villages along the East Neuk of Fife near his Dunfermline home. He is perhaps best known for his paintings of the latter, carefully arranged designs of geometric shapes interspersed with recognizable motifs - creels, numbers, ropes and sections of stone wall - rendering the essence of a working quayside. The night sky is an important theme in Archie’s work that he often returns to. Musing on the immensity of the starlit heavens he sees the concept of the infinite as a useful reminder of our own immortality, and a timely perspective on life and our place within it.
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Archibald Dunbar McIntosh: Eleven Paintings - 2015
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Barnes was born in London, where he trained at the St John’s Wood School of Art and the Royal Academy Schools before the Great War. In a 1919 interview with ‘Colour’ Magazine, he declared that the paintings of John Singer Sargent and Charles Sims had proved more inspirational in his work than all his formal art education. He aimed to emulate his heroes’ concern for tone and taste, adding distinctive dashes of colour into his upbeat compositions. By instinct he was a “new romantic” and although he painted nature, he preferred to erase the uglier aspects of existence. The serenity of his work won many admirers in a traumatized post-war world and he was elected a member of the Royal Society of Portrait Painters in 1923, the Royal Institute of Painters in Watercolours in 1924 and the Royal Institute of Oil Painters in 1925.In 1930 he moved permanently to Toronto and remained there until his death in 1971. His works are held by the Royal Academy, the National Gallery of Canada and a number of British provincial museums.
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Born in Paris Armand grew up in a family of successful artists. His father, Vincent Manago and his older brother, Dominique Manago, were respected artists although their styles were radically different from the young Armand’s. An independent streak led Armand to sign his work with the adopted surname of Guerin to mark him out from his family. He studied at the Ecole Nationale des Beaux-Arts in Paris where he was a student of Jean-Pierre Laurens among others. He became a noted figure amongst the French naïve school. His work is simple, spontaneous, unaffected with a childlike simplicity that belies the classical training behind its creation.
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A very personal room that can tend to be a low key and contemplative space. Perhaps a space for subtler, gentler works – watercolours, drawings or etchings that would be lost visually in the larger public areas.
There are so many paintings that work at different age levels, think Pixar movies. A child can appreciate an artwork for immediate visual effect while a parent can perhaps enjoy an abstract at a more sophisticated level. Never assume children can only deal with cartoon posters.
Certain pictures we look at and they simply shout ‘Dining Room Picture’. Regardless of style or period, some subjects seem obvious dining companions. A still life of fruit, a sumptuous table of game and wine, bottles and wine glasses in varying stages of consumption, all fit the bill.
The room of the house where most subjects seem right, except perhaps a rather too racy nude study. The main public room is where your blockbuster pieces can be shown off – landscapes, portraits, still life and marine paintings – frankly an opportunity to express yourself.
As in most houses, this is the daily communal area so the works tend to be bright and fun, full of colour and personality to brighten the day. The ‘kitchen still life’ always conjures a copper kettle or raw vegetables on a cottage table but really – go wild!
A very personal room that can tend to be a low key and contemplative space. Perhaps a space for subtler, gentler works – watercolours, drawings or etchings that would be lost visually in the larger public areas.
Born at Newlyn in Cornwall the son of the painter Ralph Todd. He studied under his father and Stanhope Forbes at the Central School and under Henry Tonks at the Slade School 1920–1. He achieved considerable acclaim in the 1920s and 1930s for his etchings, drawings and watercolours of women. He taught at Leicester School of Art, before moving to London to take up the position of Master of Life Class at the Regent Street Polytechnic in 1939. From 1946 to 1949 he taught at the Royal Academy Schools and his last teaching post was at the City and Guilds School, London from 1950 to 1956. He has a deserved reputation as a brilliant teacher who was admired and respected by his pupils. His long list of commissioned portraits includes key figures of the British establishment. His work is widely held in public collections including The Royal Academy, Tate Gallery, Victoria and Albert Museum and Manchester City Art Gallery.
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We work with the partners and families of a number of deceased artists artists’ estates, helping with rationalising and disposing of their collections and raising the profile and reputation of the artists in the process.
We work with the partners and families of a number of deceased artists artists’ estates, helping with rationalising and disposing of their collections and raising the profile and reputation of the artists in the process.
Son of a marine painter, Johansson was born in Stockholm, Sweden. His future was decided for him studying art first in Stockholm and then in Düsseldorf. He spent some time in the studio of the Dutch marine painter Hendrik Willem Mesdag at the Hague before moving to France. His first marine paintings were noticed at the Paris Salon by the journal Gil Blas in 1888, “a young Swedish painter whose canvases were noticed at the last Salon, is sending two very interesting seascapes this year, one of which, a view of the port of Grandville at night, is most remarkable, in our opinion. Moon effect very curious, striking set, and which marks that the artist, a former sailor, understood the sea, as a lover and, as a poet, while remaining an exact and scrupulous observer of truth.”
Johansson then began to produce illustrations for Swedish and French magazines which brought him to the attention of the French Ministry of the Navy. In 1898 he was appointed Official Painter of the Navy and spent time on French warships sketching and painting. From 1900 his style loosened noticeably. He was made an officer of the Légion d'honneur by the French government and on his death.
A Swedish painter and cartoonist, Fougstedt was born in Stockholm where he studied at the Technical School. He worked for a time as a draughtsman at the Swedish satirical magazine ‘Puck’ before moving to Paris to continue his studies. There he studied at the Académie Colarossi under Christian Krohg and at the Henri Matisse school. During the Paris years, he was influenced by Jacques-Louis David's work and the French Renaissance masters. In 1916 he journeyed to Madrid where he was commissioned to copy Memling’s altar piece triptych in the Prado Museum. On his return to Sweden in 1917, his style reached a synthesis of French Empire, French Cubism, German Renaissance and Dutch early Renaissance. In 1918 he produced "Ingredients in David's studio" a painting statement that aligned himself with the New Objectivity movement.
The New Objectivity (Neue Sachlichkeit) emerged as a style in Germany in the 1920s as a challenge to Expressionism. As its name suggests, it offered a return to unsentimental reality and a focus on the objective world, as opposed to the more abstract, romantic, or idealistic tendencies of Expressionism. The style is most often associated with portraiture, and its leading practitioners included Max Beckmann, Otto Dix, and George Grosz.
He spent time in Öland with the Vickleby School that centered around the painter William Nording and back on the mainland studied graphic art under the master etcher Axel Tallberg. He undertook a study trip to Italy in 1921 with Leander Engström and on his return attended the "Fala Gens" exhibition in Stockholm. He established himself as a major portrait artist. His best known works Famous works include "Five Artists" (1920, Gripsholm) and "Board of Österlens museum" (1945 Österlens museum, Simrishamn). He became in 1934 a member of the Academy of Arts and in 1937 professor of drawing there.
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An Edinburgh based painter, Audrey studied in the early 2000s at Leith School of Art under Paul Martin and Philip Archer. Audrey works in oils on canvas in an abstract figurative style. Recently the Glasgow Herald cited her as one of Scotland’s finest painters alongside Kate Downie, Barbara Rae and Joyce Cairns.
Audrey has exhibited at the Royal Scottish Academy, the Royal Academy in London and the Royal Glasgow Institute. In 2017 she was invited as a Guest Lecturer for the MFA in Art and Humanities at Duncan of Jordanstone College of Art in Dundee and has recently been asked back to give another lecture.
In 2018, Audrey was granted the W Gordon Smith Award for her work in the VAS & SSA Together Annual Exhibition. Her other awards include the 2013 Anne Redpath Award, Visual Arts Scotland, the 2011 David Gilchrist Memorial Award at the Royal Glasgow Institute of the Fine Arts and the 2011 Maverick Award at The Tom McGrath Trust.
In 2019, Audrey exhibited with The National Galleries of Scotland at the Scottish National Portrait Gallery with a show called ‘The Long Look: the artist and sitter, Audrey Grant and Norman McBeath’.
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Audrey Grant: Paradise - 2020
Audrey Grant: Des Meeres und der Liebe Wellen: The Waves of Sea and Love - 2018
Audrey Grant: Ceci est mon corps - 2017
Audrey Grant: The Lifeworld - 2016
Audrey Grant: New Paintings - 2014
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Audrey Grant - September 2020 Blog Post
Painter of portraits, including many distinguished contemporaries, figure compositions, landscapes and flowers; draughtsman, etcher and lithographer. Born 4 January 1878 in Tenby, Wales, brother of Gwen John. Studied at the Slade School 1894–8; won a Scholarship 1896 and the Summer Composition Prize 1898. First visited Paris 1900; later travelled in Holland, Belgium and France; was influenced by Rembrandt, El Greco and the Post-Impressionists. Began exhibiting at the N.E.A.C. 1900; member 1903. First one-man exhibition at the Carfax Gallery 1903. Professor of Painting at Liverpool University 1901–4. Painted in Ireland, Dorset and Wales, where he camped with gipsies and worked with Innes and Derwent Lees 1911–14. Exhibited at the Chenil Galleries, Alpine Club Gallery, Independent Club, Independent Gallery, etc. A.R.A. 1921, R.A. 1928, resigned 1938, re-elected 1940. Member of the London Group 1940–61. Awarded O.M. 1942. Travelled widely in Europe and paid several visits to the U.S.A. and Jamaica. Lived in Dorset, London and later in Hampshire. Retrospective exhibition of drawings at the National Gallery 1940, and of drawings and paintings at Temple Newsam, Leeds, 1946; Welsh National Eisteddfod, Bridgend, and Welsh and English tour 1948–9 (organized by the Arts Council); Scott and Fowles, New York, 1949; R.A. Diploma Gallery 1954; and Graves Art Gallery, Sheffield, 1956. His Chiaroscuro, Fragments of Autobiography: First Series was published in 1952. Died at his home at Fordingbridge, Hampshire 31 October 1961.
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Battersea Evolution, Battersea Park, Queenstown Road, London, SW11 4NJWednesday 20 October 5.30pm – 9.30pmThursday 21 October – 11am to 9.30pmFriday 22 October – 11am to 9.30pmSaturday 23 October – 11am to 6pmSunday 24 October – 11am to 6pm
Evolution London, Battersea Park, Queenstown Road, London SW11 4NJ
Opening hours -
Thursday 20 October, 11am - 9pmFriday 21 October, 11am - 9pmSaturday 22 October, 11am - 6pmSunday 23 October, 11am - 6pmWeekend Family Hour - 11am -12pm
We have a limited number of complimentary tickets available for the fair, so please do contact the gallery if you are interested.
Evolution London, Battersea Park, Queenstown Road, London SW11 4NJ
Opening hours -
Thursday 19 October, 11am - 9pmFriday 20 October, 11am - 9pmSaturday 21 October, 11am - 6pmSunday 22 October, 11am - 6pmWeekend Family Hour - 11am -12pm
We have a limited number of complimentary tickets available for the fair, so please do contact the gallery if you are interested.
Avraham Binder studied at the art academy in Vilnius and immigrated to Palestine in 1929, with his parents and younger sister Tzila. He enrolled in the Bezalel Academy of Arts, however left shortly after, due to the conservative nature of the institute. He then moved to Haifa and worked in the family bookbinding studio. Eventually, he settled in Tel-Aviv in 1934 where he lived and painted until his death at 95.
Binder painted the everyday and the landscapes of his beloved land: His city Tel-Aviv with its buildings, markets and beaches, the Galil and the desert, the flora and the people of Israel.
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Barbara Rae CBE RA has taken inspiration from the atmospheric and mysterious colours of Scotland and Ireland in her latest silkscreen prints. Rae's paintings combine the influence of landscape and travel with painterly abstraction. When Rae was awarded a travel scholarship in 1966, it unleashed a love of travel that remains with her. Although she does not like the term landscape painter, the importance of place is very apparent in her works; in particular the human traces and patterns of history that are left on a landscape. Spain is Rae's favourite destination, providing her with endless inspiration as we can see in her latest work. Rae's printmaking has been integral to her artistic activity since her student days. The way she conceives and works on her monoprints, screenprints and etchings complements and informs her approach to painting. The discipline imposed by these media and the unique opportunities offered by them create a set of possibilities, which stimulate her vision of the world, whether she is drawing, painting, making prints, or simply observing.
Barbara Rae studied at Edinburgh College of Art from 1961 to 1965. She was awarded a travel scholarship, enabling her to work in France and Spain in 1966. She went on to have a teaching career in Edinburgh, Aberdeen and Glasgow.
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Enjoying a highly successful concurrent career as an academic, he is the son of an artist and undertook his own artistic training through ‘experimentation, practice and reading’. He is an elected member of a number of the principal societies at the Mall Galleries and is a prolific prize winner at their annual exhibitions. He shows commercially throughout the country and has published a number of instructive articles for the Artist magazine.
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Bernadett Timko is a figurative artist who was born in Hungary in 1992. She began her art education at the Secondary School of Fine Art of Nyíregyháza, Hungary before moving to London to study figurative painting, sculpture and printmaking at The Heatherley School of Fine Art.
Bernadett works from life and it fascinated by people and the atmosphere their presence, or indeed absence can create. However, her paintings are not just limited to putting people at the focus – her subject can be anything as long as it makes her feel a certain kind of way, she has a connection with it and it mirrors her state of mind in that particular moment. Bernadett believes that every painting is abstract so she doesn’t try to perfect them, she strives to make the process of painting visible in all of her works as she believes making art is all about the journey
She regularly exhibits at Mall Galleries and received many prizes and awards including the Winsor & Newton Young Artist Award first and second prize, Phyllis Roberts Award, Lynn Painter-Stainers Young Artist Award and the Prince of Wales Portrait Award.
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Bernadett Timko: These days - 2020
Nine New Painters to Panter & Hall - 2019
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A painter and maker of abstract constructions, Farmer was born and lived in London. He studied at Chelsea Polytechnic School of Art and showed with the London Group, New Vision Centre, St Martin’s Gallery and the Artists International Association. Solo exhibitions included the AIA gallery, London in 1956, Heal’s Art Gallery, 1964, and Angela Flowers Gallery in 1982. Farmer said that “the more simple I can make an image the better I like it … The less can always expand in the mind, whereas more either constricts or becomes too much.” Farmer was co-organiser with Malcolm Hughes of Directions-Connections at AIA Gallery, 1961, and had work reproduced in Frank Avray Wilson’s Art as Understanding, 1963. The painter Adrian Heath was a strong advocate of his work. The Arts Council, Contemporary Art Society, University of Hull Art Collection and Oriel Môn, Anglesey hold examples.
Text source: 'Artists in Britain Since 1945' by David Buckman (Art Dictionaries Ltd, part of Sansom & Company)
A painter and a draughtsman known for figures and portraits, Bernard Fleetwood-Walker RA was born in Birmingham in 1893. His father William Walker was the co-inventor of the Walker-Wilkins battery, and his mother Electra Amelia (née) Varley, the granddaughter of the 19th century watercolourist Cornelius Varley. Beginning his career as a silver and goldsmith, he went on to study painting at the Birmingham School of Arts and Crafts, then in London and Paris.
During World War I, Fleetwood-Walker continued to make work, despite being wounded and gassed whilst serving in France as a sniper in the Artists Rifles.
Postwar, he taught art in Aston and left in 1929 to teach at Birmingham School of Arts and Crafts. He exhibited regularly at the Royal Academy from 1925, had a major solo show at the Ruskin Gallery, Birmingham, and won a silver medal at the Paris Salon. During the 1950s he taught at the Royal Academy schools, becoming Assistant Keeper under Henry Rushbury and being elected both an Associate of the Royal Academy and then a full member in 1956. Fleetwood-Walker died in 1965.
The majority of Fleetwood Walker's paintings now reside in private collections, however, many portraits can be seen in public collections including, Royal Academy of Arts, London, Birmingham Museums and Art Gallery, The Walker Art Gallery, National Museums Liverpool, Leeds City Art Gallery, Museums Sheffield and The Herbert Art Gallery, Coventry.
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After an education at Skinner’s School in Tunbridge Wells, Farmer spent the War as a volunteer in the RAF training in Rhodesia as an air-gunner and instructor. After the War he attended St Martin’s School of Art (1947-49) and Camberwell (1949-51), a year later (Festival of Britain year) he entered the Royal College of Art as a student of painting. His contemporaries in the art department included the ‘Kitchen Sink’ painters John Bratby and Jack Smith as well as Frank Auerbach and Leon Kossoff. On graduation in 1954 he began teaching at Camberwell, Hammersmith and Ealing art schools, and became a senior lecturer in drawing at the Architectural Association School. He came to the attention of Misha Black, the newly appointed Professor of Industrial Design at the Royal College of Art who appointed Myers as a full time tutor in 1961. One of his early students was the inventor Sir James Dyson who acknowledged his debt to Myers’ teaching.
Remaining at the college all his long and successful career, until his retirement as the first-ever Professor of Design Education in 1980. His published work included two books on Goya and in 1979 co-editorship of The Macmillan Encyclopedia of Art. Latterly he held the Chair of Design Technology at Brunel University. He served as a Governor to the amalgamated art and design colleges of the ILEA – now the University of the Arts, London – and in recognition of his contribution a hall of residence was named after him.
He exhibited at the New Art Centre and the New Grafton Gallery in London, among many other private galleries, and his work is held in the collections of the Arts Council, the Contemporary Art Society, the National Maritime Museum and the Tate Gallery
He was married to Pamela Fildes, granddaughter of the Victorian figurative painter Sir Luke Fildes.
Bertram Priestman was a British painter. Born in Bradford in 1868, Preistman initially studied engineering at the Bradford Technical College before deciding to move to London to attend the Slade School of Art in 1888. Priestman first exhibited with the Royal Academy in 1889 at the age of just 21. In the years to follow, the artist participated in several exhibitions with the New English Art Club and the Goupil Galleries in London to great acclaim.
Priestman is perhaps best known as a landscape painter, though he explored seascapes frequently throughout his career and was an accomplished portraitist. The artist’s most enduring works are those which capture the light and life of the lush English countryside; his early career was marked with the great celebration of his paintings of cattle and animals which inhabited his beloved pastoral environments. Priestman’s paintings of the moors of his native Yorkshire are among his most recognisable and successful works. The artist travelled frequently throughout Europe, and worked for some time in France and the Netherlands depicting panoramic vistas of vibrant rural scenes.
Priestman was elected Royal Academician in 1923. He was also a member of the Royal Institute of Oil Painters and the Royal Society of British Artists. The artist died in 1951. His work remains in several eminent regional collections throughout Britain and in the national collections of Canada and Ireland.
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Born in the UK and currently living in Bristol, Beth graduated from Sunderland University in 1995 and went on to be awarded first prize at the Northern Graduate Show ’95 at the Royal College of Art. Cast in bronze and other materials, her beautifully detailed sculptures combine mythological legends with the human form and range from life size to hand held. The sculptures are set in unexpected poses and intimate vulnerability, creating a delicate balance of intrigue and the strange that draws you in and captivates.
Romancing the shadow through the work of Beth Carter
Anyone who shares Beth Carter’s fascination with the human condition must surely embrace the invitation to be found in her body of work. For here, among the richly detailed drawings and careful sculptures, we discover an unfolding meditation on those existential dilemmas that beset us all, and a world of its own in the making. This starkly beautiful and haunting world is both particular and universal, at once strange and immediately familiar, because it so powerfully evokes that forever surprising annexe of our own lives: the chambers of our night dreams, our subconscious imaginings, and our performances of gender and personhood.
These Carter chambers, magical and haphazard though they might at first appear, are constructed with considerable imaginative care. The use of charcoal in her drawings reinforces the night theme, as if the maudlin women, the strange animal-men, the consuming eyes are beckoning us into the shadows of our perceptions which sleep gives way to…and we aren’t always sure we want to follow. The peculiar and seemingly random choices of figures in the composition build to create a sense of wilful arbitrariness, akin not just to dreams but the playful irreverence of childhood; another of Carter’s preoccupations. In ‘The Long Way Home’ for example, a fox-man and a young girl hold hands while she steps away: are they dancing, or is he pulling her into the shadows of the woods beyond? So much of this imagery parodies the strange precariousness of a time when we were small – when we wanted to play but we could not be sure of our own perceptions and didn’t know who to trust.
The destabilisation of classical mythology within the lineage of sculpture is a consistent theme in Carter’s work, with bird-heads and cat-heads appearing as her less predatory take on the Minotaur legend. Cleverly, she can conflate and complicate those classical myths and those of contemporary masculinity at the same time. For example in ‘Minotaur on a Box’, we see one of history’s great symbols of rapacious hyper-maleness reduced to a slumping, defeated figure – evoking connotations of abashed, middle aged manhood. Perhaps, too, Carter’s ‘Free Reign’ horse-man sculpture could be read as an embodiment of the partly self-imposed constraints of personhood in society – on our physical, essential natures and desires – or, perhaps in gendered terms, the shackles of contemporary ‘manhood’ itself.
Such questions could occupy the viewer for hours, and this is work far more rewarding than much of the ‘art for artists’ that still claims so much space. In the accomplishment of Carter’s technique – the humanity in the faces, even the animal faces, through the careful lines, through the shading – she prompts a rare kind of empathy towards her subjects, making her a distinct force to be reckoned with in the world of figuration.
In many ways Beth Carter’s work is like a Jungian dream forest, where the shadow waits, and the ghosts of strange beings beckon and frighten, beguile and terrify in equal measure. Indeed, it was Jung himself who counselled the courting of the psyche’s shadow. Such Carter images as the minstrel at the entrance to the skirt-tent bring to mind the dwarf of Jung’s visions, who guarded the door to his unconscious. Except that in these visions, we are not kept out but invited in. To gaze, to meditate upon the work of Beth Carter is indeed to meet, to romance, the shadow.
Bonny Brooks
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Brenda Lenaghan RSW was born in Galashiels in 1941. She studied at Glasgow School of Art between 1958-63, before joining Bernat Klein in Galashiels, who were manufacturers of Tweeds for the great fashion houses of that period, including Chanel and Yves Saint Laurent. She subsequently took up a variety of posts teaching in schools in Glasgow. In 1984, Lenaghan was elected a member of the Royal Society of Watercolourists.
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Bridget was trained at Bretton Hall, University of Leeds where she gained a First class BA in Fashion and Textiles. After a spell of teaching fashion and fashion illustration in Milan, she worked in the fashion industry for several years as an embroiderer and fashion designer. Following a few years living abroad Bridget returned to England and to her first love, painting figures and illustrating fashion. Since then, she has become a successful freelance artist working from her studio in West Sussex. Bridget explains her work
“I love to paint elegant women, in beautiful clothes, in glamorous settings. I’m not really inspired by fashion per se, as more by the feel of the fashion from the past; the Forties and Fifties in particular have a classic, ageless beauty expressed by fashions of the time. I am influenced enormously by the elegant and beautiful fashion drawings by illustrators of this period, as well as contemporary fashion artists and illustrators working today. I love the playful, flirty and romantic story telling in the work of illustrators such as Rene Gruau and Andre-Edouard Marty to name but a few.”Bridget's designs have been published by both John Lewis and Anthropolgie.
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Bridget Davies - Dressed to Impress - 2022
Bridget Davies - Wonderfully Glamorous - 2020
Bridget Davies - All Dressed Up - 2019
Bridget Davies - New Paintings - 2016
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The new collection of Bridget’s party girl paintings is everything we come to expect, yards of silk and crinoline leading to doll-like faces dominated by unfeasibly large lashes. A delightful mix of elegance and frivolity set in good old fashioned cigarette smoke-filled rooms.
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CECIL COURT GALLERY22-24 Cecil CourtLondonWC2N 4HEMonday to Sunday: 10AM - 6PM(Closed for lunch: 2 - 3PM)+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
At the moment a bit of escapism is what we all need and Bridget’s artistic universe offers just that. A world of cocktails and shameless flirtation, theatrical costumes and vintage social mores, populated by bow-lipped young beauties in impossibly glamorous wardrobes. Bridget’s deftness of touch and economy of line reveal her life long career in fashion illustration.
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CECIL COURT GALLERYPanter & Hall22-24 Cecil CourtLondonWC2N 4HEMonday to Friday: 11.00 AM - 6.00PMBY APPOINTMENT ONLYClosed Bank Holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Born in 1960 at Whitstable, Kent. Bridget Moore studied art at Medway College of Design, Epsom School of Art & Design and the Royal Academy Schools, graduating in 1984 when she was awarded the Elizabeth Greenshields Foundation Award. For inspiration Bridget draws on childhood memories, exploring themes of decayed opulence and her fascination with the rich colours and lights of theatres, circuses and fairgrounds. Bridget shows regularly in the London galleries and has been a past runner up at the Lynn Painter-Stainers prize.
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The Small Paintings Group - 2023
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Saatchi Gallery, London, SW3
Thursday 29th September: Collector's Preview, noon to 9.30pm
Friday 30th September: 11am to 8pm
Saturday 1st October: 11am to 6pm
Sunday 2nd October: 11am to 5pm
A limited number of complimentary invitations are available, please do contact the gallery if you are interested.
Educated at Hereford College of Art where he met his wife, fellow artist Elizabeth Fenton. The pair held their first exhibition together in Hereford Art Gallery in 1959. Pursuing a lifelong career in art education he continued to paint and exhibit, including at the Royal Academy. A retrospective of his work was held at Hereford Art Gallery in 2012. He is represented in the collection of Worthing Museum and Art Gallery.
Carel Weight was born in Paddington, west London on 10 September 1908. His mother, who was of German and Swedish descent, was a chiropodist, and his father was cashier in a bank. As they both worked, his parents placed Weight with a foster mother, Rose Matkin, who was also his godmother and who lived in Fulham, then a working class district. He spent his weeks with her and his weekends in his parents' more middle class household, acutely aware of the contrast between deprivation and affluence. From an early age he was sensitive to the unexpected - the shock of burning buildings or a bus mounting the pavement - and these events remained with him to infuse his paintings.
Weight studied at the local Hammersmith School of Art (1928-30), where he met Ruskin Spear, who became a lifelong friend. With the encouragement of James Bateman, Weight moved to Goldsmiths' College (1931-3), where the teaching allowed scope for imaginative composition. This was Weight's preferred mode as was shown in important student works, such as Allegro Strepitoso, 1932 (T05836), which performed a light hearted transformation of some of the art of the past. In 1934 he hired a space for an exhibition in the Cooling Galleries in Bond Street which attracted attention thanks to a favourable mention in the Observer. Teaching at Beckenham School of Art (1932-9) enabled him to support himself. He exhibited at the Royal Academy and the Royal Society of British Artists, and was a committee member of the Artists International Association, which helped artists fleeing Nazi Europe. After being called up to the Royal Engineers, he taught with the Army Education Corps (1944-5) before being sent to Italy as an official War Artist (1945-6). While encountering friends from Goldsmiths' and fellow War Artists like Eric Ravilious and Edward Bawden, Weight had a free hand in choosing his topographical subjects. He also travelled to Vienna and to Greece, and would describe this formative experience as a 'scholarship from the army'.
On his return to London in 1947, Weight was invited to teach at the Royal College of Art, where he participated in the revival of its fortunes. He executed a mural for the Country Pavilion of the Festival of Britain (1951). He painted landscapes and portraits, but much of his work captured a mood of melancholia, evident in the mysterious presences in his ghost paintings set in the unassuming urban settings of west and south London most familiar to the artist. He became Professor of Painting at the Royal College of Art in 1957, and was awarded the CBE in 1962. In the following year he painted the mural Christ and the People for Manchester Cathedral, and in 1965 was elected RA, being celebrated with a one man exhibition at the Academy in 1982. After his retirement from the RCA in 1973, his work remained thematically complex while developing new techniques. He served in a number of honorary and official capacities including being President of the Stanley Spencer Society; he was appointed a Companion of Honour in 1995. He died in London on 13 August 1997, after a short illness.
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Swedish-born artist Carina Ekdahl Prigmore has lived in Scotland since 2001 and is greatly inspired by the dramatic Scottish Landscape.
She currently lives outside Grantown on Spey in the Cairngorms National Park which provides the backdrop for her distinctive landscape paintings.
Carina graduated in 2006 with a BSc Honours in Conservation Biology from the University of Aberdeen.
In 2018 she had her first solo show "Following the Seasons" at the Frames Gallery in Perth. Her work has featured in the David Shepherd Wildlife Foundation “Wildlife Artist of the Year” at the Mall Galleries, London; National Exhibition of Wildlife Art, Liverpool; Art and The Animal Kingdom, Bennington Centre for the Arts, Vermont, USA.
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Carina Prigmore: Seeking Solace - 2021
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Cheek studied at Chelsea School of Art under Raymond Coxon and Ceri Richards from 1945 to 1948 and at the Royal College of Art under Ruskin Spear, Carel Weight, Robert Buhler, John Minton and Francis Bacon from 1948 to 51. From the early 1950’s he exhibited widely notably at the Royal Academy, Redfern Gallery, Leicester Gallery, Beaux Arts Gallery, Piccadilly Gallery and at the John Moores Liverpool Exhibition. His work is included in numerous private and public collections, including the Government Art Collection. He lived in West London.
Malchin's father was a member of the Mecklenburg legislature and he attended high school in Rostock, before being apprenticed to a surveyor in Schwaan, a town traditionally known as an artists’ colony.
He aspired to be a shipbuilder but was deemed not to have the requisite strength, so surveying won through. Two local artists inspired in him an interest in painting and from 1860 to 1862 he attended the Polytechnikum in Munich. Although he was ostensibly entered to study geodesy and engineering, in practice he spent more time in the local artists’ studios. He managed to complete his degree and qualified as an engineer, taking a position in the land surveying office of the Grand Duchy of Mecklenburg-Schwerin while continuing to paint in his spare time.
Malchin's paintings attracted the attention of the Ducal Court Painter Theodor Schloepke, who obtained a scholarship for him from Grand Duke Friedrich Franz II. Formal studies began in 1873 under Theodor Hagen at the Weimar Saxon-Grand Ducal Art School.
Despite the scholarship, he experienced continuing financial problems and his paintings did not prove commercially popular. Many were bought by the Grand Duke and his court for a nominal sum.
His circumstances improved considerably in 1879 when he was offered the position of art conservator and restorer for the Ducal collection. Obtaining a generous contract, he was free to pursue his own painting and he began to travel extensively.
In 1890, the new Grand Duke, Friedrich Franz III, promoted him to the rank of Professor. He retired in 1915 and was presented with the Knight's Cross of the Order of the Griffon by the Duke. A proposed retrospective of his work had to be cancelled due to the Greart War and was not presented until 1923, after his death. Approximately 260 of his paintings were in the possession of the Staatliches Museum in Schwerin. Ninety-two were destroyed during World War II. A street in Schwerin has been named after him.
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Eugenio Federico Carlo Rossi was born in Renfrewshire and entered Glasgow School of Art in 1938. The war disrupted his studies and he graduated in 1943. His father had modelled for Fra Newbery at the GSA and the young Rossi was encouraged towards full-time painting by J D Ferguson. One of the most underrated of the mid-twentieth century Scottish painters, his work has become increasingly sought after. He was elected a member of The Royal Scottish Society of Painters Watercolour and the Royal Glasgow Institute of Fine Arts.
"A teacher at primary school told me the secret to making good art is to really look. If you can learn how to look and pay attention and notice things - then you can make good art. I think that’s true.And it’s not that daunting, is it? To look at something - see it, feel it and transcribe. Anyone can do that. You’ve just got to actually do it - persistently Be prepared to fail, learn, get better, be honest about what you’ve made, what worked, what didn’t and then do the next one. That’s the work and play of it.
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So, my artistic story…
I went to Kingston to do a foundation course and try out lots of different practises and then went to Canterbury College of Art (Kent Institute of Art and Design now) and specialised in printmaking.
I love drawing and painting but there’s something about printmaking that makes you take chances – you can’t be perfect. The very process takes away some of your control – accidents happen very easily. And you are guessing what your print is going to look like, often working in a reverse image. It’s not until you ink up the plate and take a proof can you really see if it’s worked or not – there’s a magical surprise element. Ta dah!
There is some work pre-Cyprus that I’m pleased with but my real artistic journey, my real-life journey even, started there.
I specialised in printmaking at Canterbury and we had lots of facilities at the college and it was a structured course. Cyprus College of Art had no printmaking facilities and we were largely self-led. It was drawing and painting for me and I couldn’t even make a stretcher. I floundered. Stass Paraskos, the college director (who taught painting at Canterbury as well) helped me find my path and awoke my passion for making art. The other students helped me figure out how to make a stretcher.
Stass was passionate about art and he treated all the students as artists, with respect. He took us seriously so we started taking ourselves seriously. He took a child-like delight in art and the beauty of the world around him. What I most hear him say in my memory is ‘look at this, the colours are beautiful’ - about a work of art, a piece of pottery or a flowering shrub in an old oil drum. He was very alive, awake, inspiring.
Stass invited me to help him with a commissioned mural he was doing - Adam and Eve Before the Fall. It was delightful, delicious paint play in the sun and an absolute honour - I got inspired, encouraged and into a creative routine.
And then I got going with my own work.
In this website, I want to communicate my experience, share my adventures and see if they resonate with anyone else."
-Catherine Pring
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Catherine Pring: We all Have Feet of Clay, We are all Made of Stars - 2022
Catherine Pring: Lockdown Lemonade - 2021
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I paint from home, in the garden when I can, in the kitchen when I can’t. I like to listen to music when I paint and the music I listen to often has an influence on my art. As with most artists, I paint the human condition but currently my themes are largely inspired by Tarot, Indian art and Greek myths.
I love myths and legends as starting points for my paintings but I work unconsciously so I can veer off at a tangent or change course completely. Making the art is a bit like dreaming, for me. I let things suggest themselves and go with it. Go with the flow. Sometimes it works and sometimes it doesn’t. I call the process runaway muse - or amuse muse. Where it goes, nobody knows. If I don’t love the finished painting, I spin the canvas and start again. The previous painting becomes an under-layer. A hidden or partially hidden part of the painting’s history. Each canvas tells a story - yes - but some canvases have their own story of evolution as well. Their own journey. Some paintings come easily, first time - colour by numbers easy. Others are a chess game and lead me on a merry dance. Sometimes it’s very hard to know when’s painting is finished.
I hope you enjoy a little journey through the mirror with me, led by my unpredictable, runaway amuse, muse.
- Catherine Pring
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Gallery Information
PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
Our Cecil Court gallery can be found in the historic Cecil Court, a 17th Century thoroughfare running between Charing Cross Road and St Martin’s Lane. Still owned by the Cecil family it forms part of the Marquess of Salisbury’s London estate having been purchased by his ancestor the illustrious Elizabethan statesman, in 1609.
Cecil Court was a home to the young Mozart on his first visit to London and in the early 20th Century it became the centre of the nascent British Film Industry earning the nickname ‘Flicker Alley’. Now it is the high point of the Harry Potter Tour industry through J K Rowling’s admission that she used the Court as inspiration for Diagon Alley.
For Panter & Hall it has proved a successful and enjoyable expansion. Our Cecil Court gallery has provided an opportunity to mount smaller scale exhibitions by some of our younger or more affordable artists. It is also the hub of operations for our interior design source, Panter & Hall Decorative. We stock hundreds of affordable mid-century paintings that have become a one-stop-shop for our decorator clients. Three times a year we showcase recent acquisitions at the Decorative Antique & Textiles Fair in Battersea Park. Illustrated stock can be viewed with full details on Instagram at @panterandhalldecorative
Follow us on Twitter at @PanterandHall2
Gallery Information
CECIL COURT GALLERYPanter & Hall (Decorative)22-24 Cecil CourtLondonWC2N 4HEMonday to Sunday: 10AM - 6PM(Closed for lunch 2PM - 3PM)+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
Born to a French father and American mother in Corsica, from an early age he held a fascination with colour and form that led him, at age seventeen, to the École Nationale Supérieure des Arts Decoratifs for private studies. During World War II, Levier served in the French Army in North Africa, later becoming Liaison Officer with the U.S. Office of Strategic Services. After the war, Levier divided his time between the United States and France. His first one-man show opened at the Galerie Constantine, in Lyons in 1949, followed by an American debut in Los Angeles in 1950. Levier continued to have gallery shows on both sides of the Atlantic. Levier's works are represented in the collections of the Museum of Modern Art, Paris and the Menton Museum, Paris. In the United States, his work can be found in the permanent collection of the Atlanta Museum, the Seattle Museum, the Evansville Museum, the New Orleans Museum and the San Diego Museum. Private collectors have included Dean Martin and Frank Sinatra.
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After graduating from Glasgow School of Art in 1965, Charles embarked on a highly successful career in art education. While he had painted and exhibited continually throughout these years it wasn't until the 1990s that he retired to devote all his time to painting. He was elected a member of the Royal Glasgow Institute in 1983 and the Royal Scottish Society of Painters in Watercolour in 1984, serving the latter as Vice President for the East of Scotland. Charles has won many awards over a long and distinguished career including the Torrance Award and the Teacher's Whiskey Travel Award, both at the Royal Glasgow Institute. He was recently commissioned by P & O to produce two large murals for their new flagship, the Arcadia. In these recent paintings his style continues to develop in a representational direction; the views of East Coast Scottish harbours and North African games tables are instantly recognisable as such while still infused with Charles' evident fascination with abstracted pattern and design.
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Charles MacQueen: Entrances and Exits - 2013
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After graduating from Glasgow School of Art in 1965, Charles embarked on a highly successful career in art education. While he had painted and exhibited continually throughout these years it wasn't until the 1990s that he retired to devote all his time to painting. He was elected a member of the Royal Glasgow Institute in 1983 and the Royal Scottish Society of Painters in Watercolour in 1984, serving the latter as Vice President for the East of Scotland. Charles has won many awards over a long and distinguished career including the Torrance Award and the Teacher's Whiskey Travel Award, both at the Royal Glasgow Institute. He was recently commissioned by P & O to produce two large murals for their new flagship, the Arcadia. In these recent paintings his style continues to develop in a representational direction; the views of East Coast Scottish harbours and North African games tables are instantly recognisable as such while still infused with Charles' evident fascination with abstracted pattern and design.
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Videos
Charles MacQueen: Entrances and Exits - 2013
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Painter, draughtsman, etcher, especially of architectural subjects. Born in London, son of a solicitor and artist. Studied at Christ Church, Oxford, and apprenticed to the architect, Sir Ernest George. Then studied at Chelsea School of Art under Augustus John and William Orpen (q.q.v.) and later in Paris with Jacque-Emile Blanche and Walter Sickert (q.q.v.). Joined the group of artists who congregated in the Dieppe area before WWI, when he then joined the Artists' Rifles. Exhibited at the Royal Academy; the London Group and New English Art Club - he was a member of both - Leicester Galleries and Goupil Gallery. He lived in London and at Graffham, Sussex. The V&A, Ashmolean and Fizwilliam museums hold his work, as well as the British Museum.
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Charles is one of the best loved landscape painters working in Scotland today. Studying at Glasgow School of Art in the 1970s he pursued a successful career in graphic design before moving to the Scottish Borders in 1991 to paint full time. He has exhibited at the Royal Scottish Watercolour Society, the Laing and the Royal Scottish Academy.
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Charles Simpson at 70 - 2022
Charles Simpson: Painting the Light - 2019
Charles Simpson: Recent Paintings - 2017
Charles Simpson: Islands and Borders - 2014
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Charles is one of the best loved landscape painters working in Scotland today. Studying at Glasgow School of Art in the 1970s he pursued a successful career in graphic design before moving to the Scottish Borders in 1991 to paint full time. He has exhibited at the Royal Scottish Watercolour Society, the Laing and the Royal Scottish Academy.
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Charles Simpson at 70 - 2022
Charles Simpson: Painting the Light - 2019
Charles Simpson: Recent Paintings - 2017
Charles Simpson: Islands and Borders - 2014
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Even in these years of renewed longevity, reaching 70 is a significant milestone in any life. It allows a painter a little pause for reflection and where deserved, a certain amount of laurel resting. Charles has exhibited with us since our earliest incarnation in Shepherd Market, holding regular one man shows and becoming a pillar of our annual Scottish Show. We are delighted to have the honour of hosting his 70th birthday exhibition after such an enjoyable and enduring association. The exhibition is not a retrospective or survey of Charles’ decades at the easel, but a statement of where he finds himself now. A body of 44 new paintings, each a masterclass in the handling of paint, applied with a confidence that only comes from an artist of Charles’ experience and maturity. Throughout, he maintains the freshness and grasp of light and tone that have made him such a popular artist amongst collectors of contemporary Scottish landscapes. After 30 years immersed in Scottish art, I still don’t know a painter of snow who can surpass him. We wish him a very happy birthday and 30 more productive years with a brush!
Even in these years of renewed longevity, reaching 70 is a significant milestone in any life. It allows a painter a little pause for reflection and where deserved, a certain amount of laurel resting. Charles has exhibited with us since our earliest incarnation in Shepherd Market, holding regular one man shows and becoming a pillar of our annual Scottish Show. We are delighted to have the honour of hosting his 70th birthday exhibition after such an enjoyable and enduring association.The exhibition is not a retrospective or survey of Charles’ decades at the easel, but a statement of where he finds himself now. A body of 44 new paintings, each a masterclass in the handling of paint, applied with a confidence that only comes from an artist of Charles’ experience and maturity. Throughout, he maintains the freshness and grasp of light and tone that have made him such a popular artist amongst collectors of contemporary Scottish landscapes. After 30 years immersed in Scottish art, I still don’t know a painter of snow who can surpass him. We wish him a very happy birthday and 30 more productive years with a brush!
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Boyle grew up in a family business of ecclesiastical decoration and restoration, entering Glasgow School of Art to study sculpture. He taught at Glasgow and established a practice as a painter, printmaker and sculptor in Scotland for some years before moving to Australia in the 1980s. Taking up a lecturing post at the then Darling Downs Institute of Advanced Education he eventually retired from the University of Southern Queensland as a Senior Lecturer. He lives in Toowoomba, and is the Director of the Toowoomba Art Society, where he currently runs a weekly class.
This is a very early work that stands in stark contrast to the later paintings of Boyle’s Australian period. A very fine example of post war abstract painting, presumably executed during his time at Glasgow School of Art. Unique in the canon of Boyle’s painting on the market and much more consciously aware of international movements than much of the painting produced in Glasgow at the time.
Born in Uddevalla, the daughter of the physician Hugo Fabian Rönquist. She studied at Stockholm's Technical College from 1880 to 1884 and subsequently at the Swedish Royal Academy from 1884 to 1890. After graduation she spent a further five years studying, first in France then Italy. On returning to Stockholm, she painted some of her best works in the 1890s. She was commissioned to produce decorative paintings for Stockholm's Grand Hotel, Tjolöholm Castle and Steninge Palace as well as an altarpiece for Gudmundrå Church in Kramfors Municipality. She also designed a tapestry cartoon for the Friends of Handicraft as a gift for Queen Viktoria from Sveriges Landshövdingsfruar (or wives of Sweden's provincial governors).
Sadly she died of pneumonia at the height of her career aged only forty eight. A commemorative exhibition of her work was held in Stockholm the same year.
Charlotte attended Bournemouth and Poole College of Art and Design, after which she was awarded a BA at Cheltenham and Gloucester College of Art and Design. She then went on to study at the Royal Academy of Arts under the keepership of Norman Adams RA, where she received a Post Graduate Diploma in Painting. She has exhibited widely in the UK and abroad and is the recipient of numerous prizes. Her list of portrait commissions include that of the war photographer Don McCullin for The Holburne Museum and her work is included in a large number of both private and corporate collections.
“Paintings often feed off one another. It can be helpful to switch from an observed to an invented image, as the objectivity of one and the lyricism of the other remind me that good paintings need to have elements of both. I am usually hinting at a kind of poetic awareness rather than any literal narrative – to hopefully give the viewer a sense of the underlying mood and character of a place or an object. It is a case of being constantly alert to the possibilities in potential subjects; from a humble still life, to figures or the patterns and movements in nature. Here is a group of paintings where unconventional nighttime compositions of the garden became a compelling subject. Night both captivates and unsettles. The ending of our daytime activities and the onset of darkness can paradoxically mark a period of awakening, for different parts of our psyche to emerge ... a different awareness. The shadow itself took on an independent life, interacting with its surroundings, hopefully eliciting the otherworldly quality of nocturnal settings. Form and structure have merged, melded and been simplified. The intention was not to signify the dark side of human nature but to point to a more nocturnal mode of being. Light used to be rare now it is abundant. Consequently, darkness has become precious, similar to that other precious thing, silence.” Charlotte Sorapure
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We were recently asked to lend work to the current exhibition at Blenheim Palace, Paul Maze and Winston Churchill: Companions of the Brush. In selecting works for the loan, we were reminded of the extent of our current collection of original paintings and pastels in our own Maze archive. The opportunity for an exhibition of our own became irresistible and so we open our autumn season here at P & H with forty Paul Maze’s. Mostly from the estate of Jessie Maze and her family by descent, one or two from auction and private collections, all with impeccable provenance.
We do hope you will have a chance to visit the exhibition at Blenheim Palace, an opportunity to see a number of works normally in private hands and also a reminder of his close connection with Sir Winston Churchill who affectionately referred to him as the 'cher maître’ – the pair referred to by the Churchill family as ‘companions of the brush’.
In 1939 Churchill wrote of his friend:
“With the fewest of strokes, he can create an impression at once true and beautiful. Here is no toiling seeker after preconceived effects, but a vivid and powerful interpreter to us of the forces and harmony of nature.”
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Born in Perthshire, Chris is one of Scotland’s greatest living landscape painters. Initially he studied archaeology and ancient history at Edinburgh but from his earliest years he has responded to his fascination with the landscape around rural Aberdeenshire. He was accepted at Gray’s School of Art in the 1980s and forged a career painting landscapes very much in his own style and at odds with the fashionable conceptualism of the day.
Examples of his richly textured, deeply personal responses to his native land sit in many public collections and they have won him a plethora of awards at the societies. His work can be found in the corporate collections of Murray International Metals, Premier Property Group, Aberdeen Hospitals Trust, Grampian Regional Council, Edinburgh Hospitals Trust, Bulthaup, Scottish Life, the Royal Bank of Scotland, Scottish & Newcastle, Dundee City Council, Bulthaup, University of Stirling, Turnberry Hotel and Centrica. His many awards include the Morton Fraser Milligan, Russell Flint Trust, Glasgow Arts Club Fellowship, Scottish Arts Club Awards, the RSW Council Award, the RSW McManus Galleries Purchase Prize, the RSW Fotheringham Gallery Award and the RSW The Walter Scott Award. Most recently, Chris has had considerable success at the The Discerning Eye winning both the Founder’s £2500 Purchase Prize in 2015 and ING £5,000 Purchase Prize in 2016.
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Chris Bushe: Sun, Sand, Sea and Rock - 2023
Chris Bushe: Iona - 2021
Chris Bushe: Island Light - 2019
Chris Bushe: Exhibition at ING Bank, London - 2017
Chris Bushe: Islay - 2017
Chris Bushe: New Paintings - 2016
Chris Bushe: Wild Islands and Winter Lands - 2015
Chris Bushe: Over the hills and far away… - 2013
Chris Bushe: Atlantic Edge - 2011
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Chris Bushe June 2021 Blog Post
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"For a short period last summer in between lockdowns we were allowed to leave Edinburgh and travel legally within Scotland so we happily escaped over to Mull and Iona. Both islands are remarkable and inspiring, but Iona which is a very unique place in the best of times, seemed particularly magical when you visit there in the middle of the horrific year that we have all just endured - all its qualities seemed amplified.
Whether you are spiritual or not, when you set foot off the ferry onto the island you cannot help but feel somehow uplifted and at peace. The perfect beaches, emerald green seas and the wonderful panoramic views back over to Mull and Staffa always seem to me to be in perfect balance with each other.
Many generations of painters from Francis Cadell, Samuel Peploe, Sir D.Y. Cameron and George Houston to the present day have visited Iona to paint and celebrate its beauty and special atmosphere, and I am sure many more will be drawn to the island and continue to paint it. This series of paintings is my attempt to reflect the joy and fortune I felt at being able to escape the city and spend time somewhere so unique before lockdown trapped us all again!"
- Chris Bushe
If you are interested in any of the reserved paintings, it is worth contacting the gallery as there is a chance that they may become available.
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About the artist
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Born in Perthshire, Chris is one of Scotland’s greatest living landscape painters. Initially he studied archaeology and ancient history at Edinburgh but from his earliest years he has responded to his fascination with the landscape around rural Aberdeenshire. He was accepted at Gray’s School of Art in the 1980s and forged a career painting landscapes very much in his own style and at odds with the fashionable conceptualism of the day.
Examples of his richly textured, deeply personal responses to his native land sit in many public collections and they have won him a plethora of awards at the societies. His work can be found in the corporate collections of Murray International Metals, Premier Property Group, Aberdeen Hospitals Trust, Grampian Regional Council, Edinburgh Hospitals Trust, Bulthaup, Scottish Life, the Royal Bank of Scotland, Scottish & Newcastle, Dundee City Council, Bulthaup, University of Stirling, Turnberry Hotel and Centrica. His many awards include the Morton Fraser Milligan, Russell Flint Trust, Glasgow Arts Club Fellowship, Scottish Arts Club Awards, the RSW Council Award, the RSW McManus Galleries Purchase Prize, the RSW Fotheringham Gallery Award and the RSW The Walter Scott Award. Most recently, Chris has had considerable success at the The Discerning Eye winning both the Founder’s £2500 Purchase Prize in 2015 and ING £5,000 Purchase Prize in 2016.
MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10.00 AM - 6.00PMSaturdays: BY APPOINTMENT ONLY Sundays: ClosedClosed Bank Holidays+44 (0)20 7399 9999enquiries@panterandhall.com
“This new series of paintings continues my abiding passion and love for the landscape and coastlines of the Hebridean Islands and in particular Iona, Mull and Islay.There is something very liberating about travelling on a ferry from the mainland to an island and the work as a result is unashamedly escapist in nature in that they are about “being away from it all”. Like many of us who live in an urban environment when I do visit these remote and beautiful places I find a sense of joy and wonder in being able to walk on their pristine white sand beaches watching the Atlantic in all its many guises - it feels a privilege to be there.I hope that this body of work reflects that sense of joy and wonder and the sheer good fortune I feel at having spent time on these remarkable islands.”-Chris Bushe
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British artist Chris Levine has been part of art world royalty since he created a series of photographic portrait prints of Her Majesty the Queen in 2004.A self-proclaimed light artist, Chris Levine doesn’t create paintings in the traditional sense; rather, he makes art using a mixture of lighting techniques, photography and digital media. With light as his key message, Levine’s sensational portrait of Her Majesty Queen Elizabeth II presents an utterly fresh depiction of the most famous woman in the world. Shown with her eyes closed, the portrait, entitled Lightness of Being, leads the viewer into the Queen’s mind – or as Levine states, into her ‘inner realm’.
Levine has collaborated with the likes of Antony and the Johnsons, Philip Treacy, Massive Attack, Grace Jones, Asprey Jewellers and has an ongoing relationship with The Eden Project.
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Christine studied at Gray’s School of Art in Aberdeen, graduating in 1963. Soon after she won the prestigious David Murray Scholarship for Landscape painting in 1966 and then the Hospitalfield Scholarship in 1968. More recently in 1993 she was elected to membership of the RSW and two years later she won the Teachers Whisky Travel Scholarship at the RGI. This allowed her the travel opportunity of a visit to North Africa and the experience changed both her style and interpretation. The change marked a step forward in terms of recognition, and her works began to be bought and subsequently feature in a number of permanent collections. In 1996 her work was purchased for the Royal Scottish Academy as well as other similar bodies in different parts of the country. In 1999 she was elected as a Member of the RGI.
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Christine Woodside RSW RGI: My Favourite Places - 2023
Christine Woodside RSW RGI: Memories Near & Far - 2021
Christine Woodside RSW RGI: Home & Away - 2019
Christine Woodside RSW RGI: Out and About - 2017
Christine Woodside RSW RGI: Summer Heat – Winter Chill - 2015
Christine Woodside RSW RGI: New Paintings - 2013
Christine Woodside RSW RGI: Places rediscovered - 2011
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One of Scotland’s best loved landscape painters, Christine’s richly textured, colourful romps through Venetian palazzi and snow-covered Fife hills are the perfect antidote to those Winter blues.
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
A new collection of vibrant Scottish and Italian landscapes by one of the gallery’s longest serving and best loved contemporary painters. As ever she is inspired by her favourite spots – the Lomond Hills near her Fife home, the countryside around Pienza and the canals and Palazzos of Venice, all alive with her familiar white doves and faithful hounds.
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He studied at Clapham School of Art from 1934 to 1938, being awarded a London County Council three-year intermediate scholarship in 1935. In 1938 he accepted a Royal Exhibition and studied at Royal College of Art before conscription into the Army Service Corps. He served with the BEF in France before he was evacuated at Dunkirk. On demobilisation after the war he continued at the RCA until 1948.
Chamberlain taught at Camberwell School of Arts and Crafts and Bromley College of Art, ending as principal lecturer at Camberwell until his death in 1984. His visiting lectureships included Sheffield, Colchester, Bournemouth and Ravensbourne. He was also a commercial illustrator producing graphic work for Phoenix House, The Bodley Head, National Savings and Jonathan Cape.
The art historian David Buckman recalled a conversation with Chamberlain’s widow Heather Copley: 'When I interviewed her several years ago, she regretted that he had not been elected a Royal Academician, having been on the nomination list for many years. Outspoken and idealistic, however, Chamberlain was not one to say the right things and keep in with people who mattered'. His work is held in the permanent collections of The Tate, The Royal Academy, The Guildhall Gallery and both Swindon and Southampton City Art Galleries.
Chamberlain exhibited widely, was respected in the field and was known for his scenes of London. He stated, ‘I have made many studies in this area where I live, in the belief that one must learn thoroughly something about a particular and loosely limited area within one's experience. I don't believe it is possible to make much of a statement about anything unless one knows one's subject very well indeed’ (letter of 3 April 1955).
Nevinson studied at the Slade School of Art under Henry Tonks and alongside Stanley Spencer and Mark Gertler. When he left the Slade, Nevinson befriended Marinetti, the leader of the Italian Futurists, and the radical writer and artist Wyndham Lewis, who founded the short-lived Rebel Art Centre. However, Nevinson fell out with Lewis and the other 'rebel' artists when he attached their names to the Futurist movement. Lewis immediately founded the Vorticists, an avant garde group of artists and writers from which Nevinson was excluded.
At the outbreak of World War I, Nevinson joined the Friends' Ambulance Unit and was deeply disturbed by his work tending wounded French soldiers. For a very brief period he served as a volunteer ambulance driver before ill health forced his return to Britain. Subsequently, Nevinson volunteered for home service with the Royal Army Medical Corps. He used these experiences as the subject matter for a series of powerful paintings which used the machine aesthetic of Futurism and the influence of Cubism to great effect. His fellow artist Walter Sickert wrote at the time that Nevinson's painting La Mitrailleuse, 'will probably remain the most authoritative and concentrated utterance on the war in the history of painting.' In 1917, Nevinson was appointed an official war artist, but he was no longer finding Modernist styles adequate for describing the horrors of modern war, and he increasingly painted in a more realistic manner. Nevinson's later World War One paintings, based on short visits to the Western Front, lacked the same powerful effect as those earlier works which had helped to make him one of the most famous young artists working in England.
Shortly after the end of the war, Nevinson travelled to the United States of America, where he painted a number of powerful images of New York. However, his boasting and exaggerated claims of his war experiences, together with his depressive and temperamental personality, made him many enemies in both the USA and Britain. In 1920, the critic Charles Lewis Hind wrote of Nevinson that 'It is something, at the age of thirty one, to be among the most discussed, most successful, most promising, most admired and most hated British artists.'
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After studying Fine Art at Sheffield University Chris worked as an Illustrator before a visit to an exhibition of Modern Impressionists moved him towards working en plein air. He maintains a studio in Rotherham but paints all over the world, as well as running a Plein Air workshop from The Imperial Buildings during the summer and running studio workshops in the Winter. He has exhibited at the New English Art Club, the Royal Society of Marine Artists, the Royal Institute of Oil Painters and the Discerning Eye.
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After studying Fine Art at Sheffield University Chris worked as an Illustrator before a visit to an exhibition of Modern Impressionists moved him towards working en plein air. He maintains a studio in Rotherham but paints all over the world, as well as running a Plein Air workshop from The Imperial Buildings during the summer and running studio workshops in the Winter. He has exhibited at the New English Art Club, the Royal Society of Marine Artists, the Royal Institute of Oil Painters and the Discerning Eye.
Claire Wiltsher was born in Wales. She studied at Lancashire University as a mature student (1986-89). During this time, she was a finalist in the Reader's Digest young illustrators competition, and had already secured exhibitions before finishing her degree. She later trained as a Lecturer in Art, and while teaching in Durham, completed her MA at Northumbria University in Fine Art (1999).
Claire’s oil and mixed media canvases combine layers of paint with fragments of collage. She scratches through sections of the painting to allow colours from underneath to emerge. “I want to create evocative paintings of land and sea that show a sense of place; different weather conditions are key elements”. Claire uses brushes and different size palette knives to build up layers and create depth. Paint is also flicked or carefully thrown on selected areas, evidence of this can be found all over her studio floor! . Claire's work has ambiguous elements as she believes that “total recognition inhibits the imagination” however, at the same time, she works with strong structural compositions more often than not using a square format which she feels is important in creating a balance and harmony in her paintings. Inspiration comes from the outdoors, walking and travelling, and poems often accompany Claire's work to help communicate specific ideas.
Claire’s distinctive semi-abstract paintings have received national recognition and acclaim. In 2010 her forest landscape ‘’Winter snowstorm’ gained her the Rosemary & Co Award from the Society of Women Artists. In 2011 two forest landscapes were selected by the House of Lords Works of Art Committee for acquisition by the House's permanent collection. In 2012 rising demand for Claire’s landscapes and seascapes led to her giving up her part-time job as an Art Lecturer to work full-time as a professional artist. In 2018, Claire received the Artists and Illustrators award ‘Artist of the Year’.
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Claire Wiltsher: Transitions - 2022
Claire Wiltsher: Beneath the Surface - 2019
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The exhibition marks the launch of Claire's book 'Transitions through the seasons'. The gallery will be hosting a book signing on Tuesday 5th July 12.30-2.30pm
Many artists claim to be inspired by nature, but very few can truly convey the feeling of directly experiencing the natural world. Whether that sharp breath of icy air on a winter’s day that almost winds you, or the satisfying feeling of mud underfoot in a freshly rain-watered field; the experience of walking in unspoilt countryside is a pleasure most of us share, whether as a regular habit or a cherished memory.
What Claire achieves in her work is a sort of alchemy. Breathing life into inert materials, she draws us in to share her experience and love of the natural environment. Through clever manipulation of paint, she transports us to a wet woodland glade in winter or to a coastal marshland, watching waves break on a distant shore.
The paintings are alive with movement. Broad brush strokes glide effortlessly as they describe dark ponds and blue skies, while the urgent drip and splatter of liquid pigment gives form to naked winter trees and migrating birds. Her practice is intuitive, in her studio Claire draws inspiration from music and poetry as well as more conventional drawing and photographic references.
This is an artist who is completely immersed in the creative process, yet however absorbed she becomes, as a viewer we are never left behind. Claire leads us on a visual journey through our countryside as she experiences it, invigorating, beautiful and teeming with every living thing except humanity. Her landscapes, although personal to her, reference our common experience of a land unaltered for centuries. They reconnect us with perhaps our most basic inherited memories as a species – our relationship and reliance on the natural world.
- Tiffany Panter, February 2022
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DOWNSTAIRS PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Completing her foundation studies at Camberwell College of Art in 1995 she went on to study Fine Art at Leeds University in 2000. A Diploma in Fine Art at Cyprus College of Art in 2009 was followed by further studies attending the painting and drawing masterclass programmes at Hatahana School in Tel Aviv and the Jerusalem Studio School, as well as undertaking residencies in Germany and Italy.
Now London based Clare exhibits regularly and has had work selected for The Threadneedle Prize, the Lynn Painter-Stainers Prize and the ING Discerning Eye. Her prizes have included a Greenshields Foundation scholarship.
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A British painter, designer, and silk-screen printer known for his association with David Bomberg and the Borough Group. Born in Manchester he studied agriculture and Vetinary science at Reaseheath School of Agriculture in Nantwich.
In 1944 Holden met David Bomberg at the City Literary Institute in London and a year later he followed Bomberg to Borough Polytechnic where he was teaching. As a result of discussions with Bomberg, Cliff Holden conceived the idea of the Borough Group which was established in 1946. Other founder members of the Group were Edna Mann, Dorothy Mead, and Peter Richmond. Holden was nominated and elected the first President of the Group – at Bomberg’s suggestion - during 1946-48. Bomberg then succeeded to the presidency and the group extended to eleven members. The Borough Group was active for five years until disbanding in 1951, by which time they had organised more than seven exhibitions. The purpose of the Borough Group was to work out the ideas that Bomberg promoted, and provide a platform for furthering those ideas.
During the years 1952-62, Cliff Holden contributed articles to: Konstrevy, Paletten, Konstperspektiv, Art News and Review, Studio International. He also gave BBC Radio talks on Bomberg and Swedish art. Holden's memorial tribute to David Bomberg, broadcast on the BBC Third programme in 1958, was described a decade later by the art critic David Sylvester as 'the most useful analysis of Bomberg to have appeared'. For many years, Holden has promoted cultural exchanges between Sweden and England, and he was instrumental in bringing the work of Evert Lundquist to international attention.
Holden met the Swedish artist Torsten Renquist who invited him to exhibit in Sweden and from 1956 Holden lived and worked permanently in the country.He founded a design studio together with Lisa Grönwall and Maj Nilsson, which moved to Marstrand in 1959. The trio became internationally known as the Marstrand Designers and received many awards. In 1984 the studio moved to a village near Falkenberg. There Holden additionally established a school of painting and drawing - the Hazelridge School of Painting - Hässlås Målarskola - where Holden continued to paint and also inspired visiting art students.
Holden was a member of the London Group, a Fellow of the Chartered Society of Designers and the Free Painters and Sculptors. He was also a design associate of the American Institute of Interior Designers. He received an honorary doctorate from London South Bank University in 2006.
The collections of the Arts Council, Manchester City Art Gallery, Scottish National Gallery of Modern Art, Tate Britain, Victoria and Albert Museum include work by Holden.
Holden died in April 2020 at the age of 100
We have always strived to be a pretty broad church here at P & H and, within the physical limitations of painting as a medium, we like to offer an aesthetic Smorgasbord that reflects the diversity of tastes amongst our clients.The gallery has a reputation for regularly championing figurative painting and our recent collections have certainly favoured the plein air tradition, so this exhibition goes some way to redress the balance.
Abstraction can sometimes prove the sanctuary of the unskilled painter. In the past bemusement or criticism from the prospective buyer could be rebuffed by an accusation of ignorance or even philistinism on their part. After more than a century of living with abstract painting in our mainstream culture, we are inured to any of the shock or sense of the modern that the public felt on first encountering a Malevich or Rodchenko. Indeed, abstraction is now positively mainstream and is perhaps more attuned to the 1950s and 60s than the present.
This familiarity gives us a sense of what a good abstract painting looks like, there is a rightness in composition, scale and colour tone that we feel is present or lacking without instruction from a dealer or even the artist in question. Abstraction is a progression in philosophy and style from figuration in painting, but it can only be successful if grounded in the basic skills of the easel.
In curating this collection, we have selected work as far to the pure abstract end of the spectrum as our stock room allows. The artists included all pass that acid test of artistic integrity, using abstraction as a progression to explore the boundaries of their practice not a means to mask technical incompetence.
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"Casimir grew up on the Dunin Markievicz family estates in Malopolska Province in modern day Ukraine. He studied law at the University in Kyiv but in 1895 transferred to the École des Beaux-Arts in Paris. In the Bohemian melee he met, married and lost a wife before meeting the Anglo-Irish aristocrat and political activist Connie Gore-Booth. They married and lived in Dublin from 1902, finding themselves in a literary circle literary circle that centred on W. B. Yeats and J.M. Synge. Despite founding a theatre company for Connie to perform his plays, he removed himself to Poland semi-permanently in 1913. His wife was a famous Irish revolutionary and nationalist who was elected Minister for Labour in the First Dáil, becoming the first female cabinet minister in Europe. In 1918 she became the first woman to be elected to the Westminster parliament but as she was held in Holloway Prison at the time and in accordance with party policy, she did not take her seat."
-Matthew Hall
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Although we like to claim a certain dominance in selling contemporary Scottish paintings south of the border Craig Mulholland always eluded us. He was represented for years by a much more grown-up dealer in Colourist paintings and the ilk around the corner. His figurative oils and drawings have always fascinated me, distorted faces and tortured souls, each imbued with that vein that seemed to run through all the New Glasgow Boys’ painted figures in the 1990s. These days his work is in a different realm altogether and he now uses every medium except oils, so this is likely to be a one and only appearance at P & H. A serious work and a fine example of the 1990s Scottish School.
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Elisabeth Frink was a leading figure in British sculpture. She studied at the Chelsea School of Art from 1949-1953 and was part of the post-war group of British sculptors, which included Kenneth Armitage and Eduardo Paolozzi, who became known as the Geometry of Fear school. Her sculptures, drawings and prints were and continue to be widely exhibited and purchased for public and private collections throughout the world.
During her lifetime she was awarded many public commissions to create sculpture for public spaces and buildings worldwide. Inspired by her upbringing surrounded by nature but also the horrors of World War II, the subject matter of her roughly cast bronze sculpture ranged from sculptures of animals to torture and state tyranny for Amnesty International in the 1970s. Her sculptures embody the great themes that she explored throughout her career; the ambiguities of human relationships, injustice and impermanence that also have such impact on the animal world and the earth. Using the forms of men, animals and birds, she employed their shapes as vehicles to convey emotion, vulnerability, aggression.
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Elizabeth Blackadder was born in Falkirk in 1931. She studied at the Edinburgh College of Art from 1949 until 1954 under Robert Henderson Blyth and William Gillies. In 1956 she married the artist John Houston and began teaching in Edinburgh. One of Scotland’s greatest artists, she is perhaps best known for her detailed yet lyrical watercolours of flowers and paintings of her beloved cats. She is known as an inspired and skilful maker of original prints of which this is one of her best known examples.
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An English artist who worked in oils, watercolours, etching, engraving and drypoint. Knight was a painter in the figurative, realist tradition and who embraced English Impressionism. In her long career, Knight was among the most successful and popular painters in Britain. Her success in the male-dominated British art establishment paved the way for greater status and recognition for women artists. In 1929, she was created a Dame, and in 1936 became the first woman elected to full membership of the Royal Academy since its foundation in 1768. During the war, her popularity and distinguished career made her an obvious choice for the War Artists Advisory Committee, who tasked British artists with recording the war. In 1945 she asked to record the trial of Nazi war criminals in Nuremberg. Her large retrospective exhibition at the Royal Academy in 1965 was the first for a woman. Several long biographies have been written on her fascinating life and her work is represented in most decent public collections.
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A niece of the writer Somerset Maugham, Daphne began studying painting in France at the Académie Ranson, with Polish expressionist Apple Mutter at the studio of André Lhote and at the Académie Notre Dame des Champs. In 1914 she exhibited in the company of some students of the Académie Ranson, at the Galerie Druet in Paris and in 1921 her work was accepted at the Salon d'Automne. The following year she returned to London and graduated from the Slade School of Art. In 1925 she joined her sister, a dancer with the Sakharoff Company, in Italy and while at Turin began studying at Casorati’s art school. Eventually marrying her tutor the great Italian painter Felice Casorati she began to exhibit successfully internationally. Her work was shown at the Rome Quadrennial from 1935 to 1965 and at the Venice Biennale from 1928 to 1950. Maugham’s work was also exhibited in Palazzo Strozzi in 1967 during Carlo Ludovico Ragghianti’s famed exhibition Modern Art in Italy (1915–1935).
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David Abercrombie Donaldson was born in Lanarkshire and studied at Glasgow School of Art from 1932 to 1937. He was awarded a Travelling Scholarship to Florence and Paris which he fitted in around his part-time teaching at the GSA from 1938 until he took on a full-time position from 1944 and became the highly influencial Head of Drawing and Painting there from 1968. Donaldson was appointed Her Majesty's Painter and Limner in Scotland from 1977 until his death in 1996. A society portrait painter Donaldson was commissioned to paint the Queen in 1966 and amongst his other notable subjects were Prime Minister Margaret Thatcher and many and prominent figures in Scottish public life. Shortly before his death after celebrating his 80th birthday in 1996 he was awarded the City of Glasgow Lord Provost’s Award for the Visual Arts. A biography by W. Gordon Smith was published in the same year.
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David has painted since a teenager and worked as a draughtsman and land surveyor from the age of sixteen. He worked as a chartered civil engineer until he giving up his career in 1989 to paint full time. Working in pastels and oils, he paints en plein air before working up larger pieces in his Yorkshire studio. He is an elected member of the Royal Society of Marine Artists in London and the Fylingdales Group of Artists in Whitby. His paintings have won numerous prizes and awards.
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David has painted since a teenager and worked as a draughtsman and land surveyor from the age of sixteen. He worked as a chartered civil engineer until he giving up his career in 1989 to paint full time. Working in pastels and oils, he paints en plein air before working up larger pieces in his Yorkshire studio. He is an elected member of the Royal Society of Marine Artists in London and the Fylingdales Group of Artists in Whitby. His paintings have won numerous prizes and awards.
Virtually anonymous on-line, so I’m presuming he likes it that way. The only clues to his existence are the paintings that do appear on the market fairly regularly, mainly Fife scenes and views, like this, of the harbour at Largs. He is represented in the Aberdeen Art Gallery & the University of Dundee Fine Art Collection. The latter might point to an education or even teaching post at Duncan of Jordanstone.
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Although born in London David is very much a New Yorker. He was educated at the Universities of Cincinnati, Manchester and Virginia in the early 1970s. His highly distinctive figurative paintings have been exhibited across the United States. His work can be found in the corporate collections of the American Express Company, AT & T, the Chase Manhattan Bank Corporation, Citibank Corporation, Columbia Broadcasting System, Dupont Chemical, the Exxon Corporation, Hilton Hotels International, the Mobil Corporation, the Museum of the City of New York, the Prudential Insurance Company and Trans World Airlines amongst many others.
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Spring and Greenwich - 2013
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Born in London to a Welsh father and a Scots Mother, he won a scholarship to study fine art at Durham University. After Graduating he taught art in London before devoting himself entirely to painting in the 1970s. Humphreys’ work is rooted in the landscape, celebrating the land as a life force and is influenced by the poetry of Edward Thomas. He is a lyrical painter in the British pastoral tradition and has exhibited widely, in New York, South America, Australia and the South Seas, however he returns again and again to Pembrokeshire. He is represented in several public collections including The Art’s Council of Great Britain and The National Library of Wales. Corporate collections include The Royal Bank of the Netherlands and American Express.He was invited to show with The Royal Cambrian Academy by Sir Kyffin Williams and has regularly been selected to show in the Royal Academy Summer exhibition.
David Jagger was and English portrait painter. He was born in Kilnhurst, Rotherham, but later lived in London. Aged 14 he was apprenticed to a lithographer before turning his attention to pastel works. He studied at Sheffield School of Art and was a contemporary of Stanley Royle. Jagger’s older brother and younger sister Charles and Edith were also successful artists. For several years Jagger worked in Sheffield painting portraits of local dignitaries and businessmen like John Graves. He was snubbed by some for painting portraits from photographs but quickly developed a reputation for crisp brushstrokes and the ability to capture his sitters’ poise and dignity.
David Jagger specialised in portraits of royalty, painting Queen Mary twice (in 1930 and 1932) and began a portrait of the Duke of Edinburgh but died before completing it. His unfinished portrait of Prince Philip is displayed at the Cutler’s Hall in Sheffield. Jagger said: ‘Anyone who wants me to undertake a commission must be prepared to wait.’
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David Martin entered Glasgow School of Art in 1940. His education was interrupted by service in the RAF. After the war he returned to GSA where he was tutored by David Donaldson. Regarded by many as one of Scotland’s finest twentieth-century still life and landscape painters, his work is held in many major collections including the Arts Council of Scotland, the City of Edinburgh Art Collection, Perth Museum and Art Gallery, the Fleming Collection, Linklaters, the Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999.
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Born in Renfrewshire, David studied at Edinburgh College of Art from 1947 until 1953. Travelling scholarships to Spain and Italy from 1952 until 1953 were followed by the Andrew Grant Fellowship Award, which allowed David to paint in Florence and Sicily. From 1957 until 1983 David held the position of lecturer in painting at Duncan of Jordanstone College of Art in Dundee. He exhibited widely worldwide – a memorial exhibition was held by The Scottish Gallery in 2000.
Exhibitions
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Works from the Estate of David McClure - 2015
From a Private Collection - 2015
Works from the Estate of David McClure - 2015
From a Private Collection - 2015
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David has gained recognition largely as an abstract painter though this fails to cover the breadth of his abilities. He has had numerous one person exhibitions throughout the UK and has won praise and acknowledge through many prizes and commissions. He was regional prizewinner in the Laing Competition from 1990 - 1994 and more recently an invited artist for four years running at the Glyndebourne Opera Festival.
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David Ralph Simpson - 2020
Péntaque - 2014
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David Remfry studied at Hull College of Art from 1959 to 1964. Remfry had his first solo show in London in 1973 and has since had more than 50 international solo exhibitions. His first show in the United States was at the Ankrum Gallery, Los Angeles in 1980. He has exhibited regularly since then at galleries in New York, Los Angeles and Florida and in 2002 had a solo exhibition at P.S.1 Contemporary Art Center, NY, Museum of Modern Art affiliate, which was curated by Alanna Heiss and Daniel Marzona. Solo museum shows in England include the Fitzwilliam Museum, Cambridge, Ferens Art Gallery, Hull, (1975 and 2005) Middlesbrough Art Gallery, the National Portrait Gallery and the Victoria and Albert Museum, London. He has exhibited many times at galleries in Holland and Germany.
An international touring retrospective of his DANCERS paintings opened in 2002 at the Boca Raton Museum of Art, Florida and at the Butler Institute of American Art, Youngstown, OH in March 2004. The exhibition toured to the Fitzwilliam Museum, Cambridge, England in May 2005 and the Ferens Art Gallery in November 2005. An extensive catalogue of the DANCERS series has been published by the Boca Raton Museum of Art to coincide with its tour and includes essays by Dore Ashton, Edward Lucie-Smith and Carter Ratcliff and an interview with Alanna Heiss. Remfry lives and works in London and New York.
David Riches was born in 1959. He studied graphic design at Norwich School of Art. For 18 years he and his business partner Martin ran the successful design practice, Visible Edge, in the City of London. He now divides his time between Saffron Walden in Essex and Walberswick in Suffolk, where he paints both people and landscapes from life.
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Nine New Painters to Panter & Hall - 2019
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Born in London, David graduated from Canterbury College of Art in the early 1980s. Since then, he has worked continually as a fine artist including a brief period as a scene painter. He has held numerous solo exhibitions in private galleries and exhibited widely with public institutions, notably the New English Art Club, The Royal Society of British Artists, The Royal Institute of Painters in Watercolour, and the Chelsea Art Society. He has won many prizes at the societies’ annual shows and is an elected member of both the Royal Society of British Artists and the Chelsea Art Society. Past commissions include a series of London views for a City boardroom in the Fried Frank building and paintings for the State Rooms of Cunard’s new Queen Mary II.
He writes regularly for the national art press and his articles on painting technique are well known amongst his peers. Regarded as one of Britain’s leading contemporary landscape painters, David works between a small studio space in London, where he formulates his ideas, and a large studio in south-west France, where he develops grander-scale works. His primary interest has been in architectural subjects, how light reveals form and structure of buildings and develops the mood and atmosphere around our experience of them.
In 2019, David had the honour of accompanying TRH The Prince of Wales and The Duchess of Cornwall on their tour of St Lucia; Barbados; St Vincent and The Grenadines; St Kitts and Nevis; Grenada; the Cayman Islands; and Cuba. David has exhibited with Panter & Hall since we began 20 years ago and it was a great privilege to have held his first tour exhibition here in Pall Mall.
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British Impressionists - 2020
David Sawyer: The Caribbean - 2020
Tradition - Modern figurative painting in Britain - 2014
David Sawyer: Inspired by Spires - 2012
David Sawyer: Spirit of the River - 2011
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"My paintings are an exploration of memory. They offer ‘glimpsed’ or half-remembered figures and faces – re-imagined people standing on the edge of living memory, rescued from a personal archive of the forgotten.
Ideas originate from random material that comes to hand, an old photograph for example might chime or resonate. I’m drawn to historical images that are slightly out of my time, or from my time but when I was young – that way my response can be more detached. Having chosen an image I then embark on a quest to unlock the essence in a way that is somehow extra-visual. This journey of development and discovery can take anything from 5 days to 5 years until a kind of alchemy takes place and things seem to harmonise of their own accord in a way that can be very rewarding.
I like to paint in an expressionistic way using rags and sponges because the physical marks and textures are a fundamental element of what I am trying to achieve. The challenge for me though is to retain an economy of execution – an effortless effort.
After studying art at Hornsey College of Art and Middlesex University in London I worked as a record sleeve artist – but for the last 25 years I’ve focused entirely on painting, developing a way of working that continues to evolve."
" – David Storey
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David Storey: In Fading Light - 2021
David Storey: A Fleeting Glimpse - 2019
David Storey: The Edge of the Night - 2017
David Storey: Shadowplay - 2015
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My paintings are an exploration of memory. They offer ‘glimpsed’ or half-remembered figures and faces; re-imagined people standing on the edge of living memory, recovered from a personal archive of the forgotten.
My ideas come from material that accidentally comes to hand, an old photograph, for example, might chime or resonate. I then embark on a quest to unlock the essence of the image in a way that is somehow extra-visual. This journey of development and discovery can take anything from five days, to five years, until a kind of alchemy takes place and things seem to harmonise of their own accord in a way that can be very rewarding.
I like to paint in an expressionistic way using rags and sponges because the physical marks and textures are a fundamental element of what I am trying to achieve.
The challenge for me, though, is to retain an economy of execution–an effortless effort.
After studying art at Hornsey College of Art and Middlesex University in London I worked initially as a record sleeve artist–but for the last 25 years I’ve focused entirely on painting, developing a way of working that continues to evolve.
- David Storey
If you are interested in any of the reserved paintings, it is worth contacting the gallery as there is a chance that they may become available.
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MAIN GALLERYDownstairsPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
David was born in the mining town of Workington, Cumbria, growing up on the coastal plain between the Irish Sea and the English Lake District – a bleak area of dark sandstone architecture and heavy rainfall.His paintings explore a twilight zone of memory. Canvases peopled by blurred figures rescued from the past, staring back at the viewer like so many statues of antiquity, contemplating eternity.Much of his darker toned work is tenebristic in style, contrasting the dominant sombre palette with flashes of light to great dramatic effect.It has been said that art is the moment between a question and the answer, and this is where we find David’s paintings.
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CECIL COURT GALLERY22-24 Cecil CourtLondonWC2N 4HEMonday to Saturdays: 10AM - 6PM (Closed for lunch 2PM-3PM)Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
From an early age he studied at various schools before entering the Royal Academy of Arts in Stockholm for three years from 1913. He studied etching under Axel Tallberg, finding he had a real talent for the medium he was soon considered one of Sweden's foremost graphic artists in drypoint engraving. Around 1920 he abandoned the graphic arts to become a portrait painter. Five years later, the award of the Uno Troilis scholarship at the Academy of Arts allowed him to travel to America to hone his craft. On his return to Sweden in the late 1920s he began a long and successful career, painting the great and the good (and possibly also bad) of the Swedish hierarchy. Commissions came from the Swedish parliament, universities, hospitals and all the senior members of the Royal Family. He was elected a member of the Academy of Fine Arts in 1937 and is represented in many Swedish public collections including three portraits in the National Museum and a Princess in the National Portrait Collection at Gripsholm Castle.
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Born in London, she painted from an early age, training at St Martin's School of Art in the late 1970s. She continued her studies at the Byam Shaw School of Art, Putney School of Art and the Oliver Bevan Studio. She worked at the BBC Design Department from 1982 to 1986. She has shown regularly with private galleries in London and undertaken a number of commercial commissions, including for the Park Lane Hotel.
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Originally from the UK, Dee Stanford has spent most of her adult life living in Cape Town where she worked on her sculptures and paintings, learning primitive methods and blending them with a more Western approach.She is a trained architect and a committed artist.
Like all artists the flavour, the style, the subject matter itself of Dee’s work are reflective of her life experiences, her ‘take on life’.
The art provides a subtle but vociferous comment on what the human race is up to. Not always heart warming but always mind stirring - what is certain is that the artworks are unique, vibrant, animated, often puzzling and extremely highly rated. There is a strong sense of structure and physics in her sculpting. Dee creates powerful and robust shapes and concepts but with balance which is ever present in natural physics. Incorporating unorthodox materials from steels to rusty HGV chains, she creates fantastical works that tell a personal story.
Prizes
• Winner of the Best Sculpture Award at the Society of Women Artists exhibition at the Mall Galleries 2014• Winner of the Cork Street Open Exhibition Prize 2013 and the Visitors Choice Prize.• Winner of the Best Sculpture Prize at the ING Discerning eye exhibition at the Mall Galleries 2013 One of Dee's sculptures can be seen at the Museum of Modern Art (MOMA) in Cyprus.Dee has enjoyed great success through her many sales in the last few years as well as completing a number of commissioned works.
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Painter, born in Kimberley, South Africa of Welsh parentage. In 1927 he relocated to Manchester and shortly afterwards to Huddersfield. He studied at Huddersfield School of Art, 1938-41 where he studied under Reginald Napier. Following service during World War II in the Royal Navy, Bowen furthered his studies Royal College of Art, 1948-48. He taught at various art colleges in the 1950’s including Kingston School of Art, Hammersmith, Ealing, the RCA and at the Central School of Arts & Crafts. In 1952 he acted as Secretary to Paule Vezelay for Groupe Espace and he was a founder member of the Free Painters & Sculptors originating at the ICA 1953-56. Bowen was an early exhibitor at the Loggia Gallery and also directed the New Vision Centre, London for a decade from 1956 in the 1960’s and around this time he had a transient brush with Op Art and Kinetic Art, where he experimented with relief and with new, optically vibrant, fluorescent or luminous paints.
Between 1969-72 he was appointed an Associate Professor at Victoria University, Vancouver Island, British Columbia, Canada. His numerous group and solo exhibition venues include the John Whibley Gallery, New Vision Centre, London, Redfern Gallery, London, Lawrence Adler Galleries, Johannesburg, South Africa, Drian Gallery, London, Greater Victoria Art Gallery, British Columbia, Canada, Birch and Conran Fine Art, London, Huddersfield Art Gallery, Yorkshire, Examples of his work are in the public collections of many galleries around the world including BM, V&A, CAS, Huddersfield Art Gallery, Towner Art Gallery, Eastbourne, Wakefield Art Gallery, Corpus Christie College, Crawford Art Gallery, Cork, Ireland and at galleries in the USA, Israel and across central Europe. A book and retrospective exhibition held at the Belgrave Gallery, London in 2001, together with the belated acquisition of work by the Tate Gallery, finally fêted his broad, but undervalued, contribution to post-war abstract art in Britain. KHG, Marlborough has also shown his work in their group exhibitions.
Buchan was born in Arbroath and studied at Duncan of Jordanstone College of Art in Dundee under Alberto Morrocco. After teaching in various schools, he returned to Dundee as a lecturer. Dennis has studied abroad in New York, Barcelona, Belgium, and Holland. He is now a member of the Royal Scottish Academy. His work fuses Scottish Colourist tradition with more modern, abstract expressionism and pop art, and can be seen in collections in the UK and the USA. His paintings, inspired by landscapes and seascapes, use everyday objects to create bold juxtapositions of form and colour. This is an early landscape entered into a competition in the Royal Scottish Academy in the 1960s.
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Denver was born in Hertford, Hertfordshire in 1976. He studied Art & Design at Ware College and St Albans. Graduating in the late 1990s he established himself as a serious mural painter and trompe l'oeil artist, painting mainly classical motifs and themed interiors for nightclubs and bars in and around London.
By the age of 21 Denver was working directly with Bacardi Martini painting Post war drinks advertising murals, some of which still remain in place today. Tiring of the unsociable hours that the painting of bars and clubs demanded and along with the birth of his first daughter, he swapped his paintbrush for a technical pen to eventually become a leading designer and inventor of engaging 'point of sale' concepts for global drinks and retail brands.
Throughout this time Denver never really stopped painting - he would paint as often as he could in his spare time and painted works for commission for family and friends. Then in 2018 he decided to paint professionally, launching himself with a series of successful solo and group exhibitions. His work is now widely collected in the UK and internationally.
"My art is my life both literally and physically, I’m no longer sure where the paint ends and life begins or vice versa. I am for the most part a figurative painter with a particular penchant for painting the unknown. I paint figures that embody no particular persona, but are comprised of bits, pieces, line and colour. The amalgamated resulting figure is both familiar, strange, and often enigmatic."
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Denver Sorrell: A Feast of Friends - 2022
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Denver's surreal abstractions are painted with a warmth and humour, always with an eye to the mid-century aesthetic of post war Western art and an obvious love of the champagne fuelled lifestyle of the demi-monde. His frenzies of colour and movement are the embodiment of a lost age of carefree decadence, a visual soundtrack of vintage jazz and clandestine rendezvous.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
A successful UK based freelance illustrator for more than forty years with clients from Tokyo to Toronto, Derek now directs his entire creative attention to hand built ceramics. Inspired by an interest in folk art, religious and tribal art along with a good dash of whimsy his ceramics often have a narrative element that’s imagined, half remembered, carefully researched or commissioned.
Other influences, including the physical nature of the clay and his background in illustration all add to the creative mix and his earlier long term involvement with pop-up books has helped refine his approach to ceramics. “Every piece starts life as a sheet of clay which I roll by hand. Then I cut, fold and construct. I rarely sculpt”
He uses a variety of clays into which other fragments of additional material are added. These ”inclusions” plus the use of oxides and multiple firings add to the alchemy and often give the clay a distressed or patinated surface. “I tend to work on one piece at a time so my output is slow and low ”
His works have found an appreciative audience in the UK and America and are now in many private collections.
“I like the idea of my work having an underlying logic or an implied symbolism. Artefacts or relics retrieved from a place that may…. or may not have existed”
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Lees was born in Hobart, Australia and was educated at Melbourne Grammar School. He moved to London in 1905 and began studies at the Slade School of Fine Art, joining its staff in 1908. He was a member of the New English Art Club from 1911 and a frequent exhibitor at Vanessa Bell’s Friday Club. He was a friend of Augustus John and James Dickson Innes, and spent the period from late 1910 to 1912 with them at a cottage called Nant Ddu in north Wales where they were known as the Arenig school of painters (named for Arenig Fawr, a mountain in Snowdonia). In 1912 Innes and Lees went on another painting trip to Collioure in Southern France. His wife Lyndra was one of Augustus John's former models. He was the only Australian artist represented at the seminal 1913 Armory Show in New York. His artistic career was curtailed by a mental health problem, possibly schizophrenia, which saw him confined to an asylum from 1918 until his death in incarceration in 1931. He is represented in the National Gallery of Australia, Canberra, the National Gallery of Victoria, Melbourne, the Fitzwilliam Gallery, Cambridge, the Glynn Vivian Art Gallery, Swansea. The Hepworth Wakefield, the Ferens Art Gallery, the Government Art Collection and the Tate.
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Dmitriy Lisichenko was born of Ukrainian heritage into a musical family in Moscow in 1976. He trained at the Moscow State Academic Art Institute, attended the Moscow Art Lyceum, and later the Surikov Art Institute, where he came under the influence of distinguished professors, Eugeny Maximov and Ivan Lubennikov. He initially worked on restoring the murals in Moscow Cathedral.
An artist and lover of art since childhood, over time he developed his delicate, romantic style. Lisichenko’s pieces are often of elegant, mysterious women in atmospheric surroundings and he uses a distinctive palette of soft, pastel shades. His paintings follow in the tradition of the Russian Romantic Realists, such as the writer and philosopher Ayn Rand.
Lisichenko is a popular artist, whose work is exhibited internationally and held in collections in the UK, Switzerland, France, Italy, Japan, America, Ireland, Hong Kong and South Africa. The quality and the technical mastery of Lisichenko’s paintings means that his work is much admired.
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Dominique's remarkably naturalistic portraits of animal subjects are depicted on a clean white background, which not only creates a dramatic graphic image, but conveys her modern aesthetic. Each image has an almost snap-shot quality, showing her unique ability of capturing the personality of each animal and imparting humour, character and whimsy to many of her pieces. " I have always seen the human side in animals - the way they make you laugh or sympathise with them with an action or an expression. I paint mainly from my own photos but can sometimes spend hours watching the subject as it's all about capturing that single moment."
Dominique frequently spends her summers in Africa where she is able to spend days and weeks watching her chosen subjects. Being one of her favourite animals to draw, Dominique has done a lot of work with a few elephant charities. Over the years, she has donated works to Tusk, had a recent solo exhibition in aid of the David Sheldrake Wildlife Trust and had the privilege to be asked to design one of the elephants in the 2010 London Elephant Parade. Her design went on to be sponsored by Traffic and bought at auction by a private collector for £14,000.
Dominique has quickly become an acclaimed wildlife artist and consequently her paintings are now highly sought after by private collectors and art dealers worldwide. She has exhibited in London and New York and Paris, has been highly commendedin the David Shepherd Wildlife Artist of the Year, several years in a row and is winner of the BBC Wildlife Artist of the Year 2009, World Mammals category. In 2013, her ostrich painting “Rubbernecking” was chosen to for the international Birds in Art exhibition at the Leigh Yawkey Woodson Art Museum in Wisconsin.
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Fraser studied at St Martin’s School of Art from 1949 to 1952 alongside Frank Auerbach, Joe Tilson, Sheila Fell and Leon Kossoff. After graduation and a period in Paris he began showing regularly at Gimpel Fils in London and Paul Rosenberg Gallery in New York. He was fascinated at this time with Franco-Russian painter Nicolas de Staël and Fraser’s early abstracts demonstrate his influence.
In 1958 Carel Weight took him on as a tutor in the painting school at the RCA where he remained for the next 25 years, teaching alongside Peter Blake and Julian Trevelyan. His many pupils included David Hockney, Patrick Caulfield, Therese Oulton and Ron Kitaj. Fraser was made a Fellow of the Royal College of Art in 1970 and an Honorary Fellow in 1984. He was Honorary Curator at the Royal Academy from 1992 to 1999 and a Trustee there from 1994 to 2000. He served on the Royal Fine Art Commission from 1986 to 2000.
A respected ballet critic, he also developed a series of studies of ballet dancers that proved popular towards the end of his career, many being reproduced successfully as prints.
Exhibitions
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Twentieth Century British Painting - 2019
Anonymous Muse - 2018
Paintings from the Estate of Donald Hamilton Fraser RA - 2015
Twentieth Century British Painting - 2019
Anonymous Muse - 2018
Paintings from the Estate of Donald Hamilton Fraser RA - 2015
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Donald was born on the Isle of Lewis in 1976 and after a short time in the Scottish Infantry, he moved to Aberdeen and gained a BA Hons degree in Fine Art. After living and painting in Denmark and Glasgow for several years he returned home to the north of Scotland where he is now based.
Donald’s paintings are held in many private collections worldwide. In addition to this, he was selected as the Scottish representative for the Johnson and Mead International Exhibition in the USA, and in 2009 his painting Broken Heart was accepted into the BP Portrait Award Exhibition. In 2013 he exhibited a commissioned painting in the Imperial War Museum in Manchester and later won a place in the 7th Figurativas painting and sculpture exhibition, held in the European Museum of Modern Art, Barcelona. In 2017 he won the Public Choice Award at the Art Gemini Prize and more recently he has been invited to show at the Columbia Threadneedle Prize (2018), The Lynn Painter-Stainers Prize (2019), The Scottish Portrait Awards (2019), The Westmorland Landscape Prize (2019) and The Royal Scottish Academy (2019 & 2020).
"I have always been fascinated by photorealism, even as a child I would sit for hours meticulously drawing images from encyclopaedias and copying my siblings' school photographs, desperately trying to capture every detail to capture their likeness. It was not until studying painting at Gray's School of Art that I really discovered expressive art and working loosely from memory, the contrast between these two very different methods of working immediately appealed and I have been studying and trying to push its boundaries ever since. I create three-dimensional scenes using sketches and folded paper that I have previously drawn from memory and place them in compositions and scenarios which are then painted. I like to use this method to convey feelings, emotions, all the while recreating and copying life's events in some way."
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Donald Macdonald: Beatha Beag Beathoch: A Little Bit of Life - 2018
Donald Macdonald: Cats, colour, love and life - 2016
Donald Macdonald: Paper People - 2014
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Donald was born on the Isle of Lewis in 1976 and after a short time in the Scottish Infantry, he moved to Aberdeen and gained a BA Hons degree in Fine Art. After living and painting in Denmark and Glasgow for several years he returned home to the north of Scotland where he is now based.
Donald’s paintings are held in many private collections worldwide. In addition to this, he was selected as the Scottish representative for the Johnson and Mead International Exhibition in the USA, and in 2009 his painting Broken Heart was accepted into the BP Portrait Award Exhibition. In 2013 he exhibited a commissioned painting in the Imperial War Museum in Manchester and later won a place in the 7th Figurativas painting and sculpture exhibition, held in the European Museum of Modern Art, Barcelona. In 2017 he won the Public Choice Award at the Art Gemini Prize and more recently he has been invited to show at the Columbia Threadneedle Prize (2018), The Lynn Painter-Stainers Prize (2019), The Scottish Portrait Awards (2019), The Westmorland Landscape Prize (2019) and The Royal Scottish Academy (2019 & 2020).
"I have always been fascinated by photorealism, even as a child I would sit for hours meticulously drawing images from encyclopaedias and copying my siblings' school photographs, desperately trying to capture every detail to capture their likeness. It was not until studying painting at Gray's School of Art that I really discovered expressive art and working loosely from memory, the contrast between these two very different methods of working immediately appealed and I have been studying and trying to push its boundaries ever since. I create three-dimensional scenes using sketches and folded paper that I have previously drawn from memory and place them in compositions and scenarios which are then painted. I like to use this method to convey feelings, emotions, all the while recreating and copying life's events in some way."
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Donald Macdonald: Beatha Beag Beathoch: A Little Bit of Life - 2018
Donald Macdonald: Cats, colour, love and life - 2016
Donald Macdonald: Paper People - 2014
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"I have always been fascinated by photorealism, even as a child I would sit for hours meticulously drawing images from encyclopaedias and copying my siblings' school photographs, desperately trying to capture every detail to capture their likeness. It was not until studying painting at Gray's School of Art that I really discovered expressive art and working loosely from memory, the contrast between these two very different methods of working immediately appealed and I have been studying and trying to push its boundaries ever since."- Donald Macdonald
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Born in Yorkshire of Scottish parents, he spent the most memorable years of his childhood in the west of Scotland. He took evening classes at Glasgow School of Art under James Wright RSW but he eschewed an art career for dentistry, qualifying in Glasgow in the 1940s. He then practised, first in the army and then in the school service before retiring at 40 to paint full time. In the late 1950's McIntyre moved to North Wales but continued to summer in Iona to paint. He was a member of the Pastel Society, the Royal Institute of Painters in Watercolour, the Royal Society of Marine Artists, and for many years until his death, The Royal Cambrian Academy. He exhibited regularly at the Royal Academy and the Royal Scottish Academy and his work can be found in the collections of HRH The Duke of Edinburgh, The National Library of Wales, Newport Art Gallery and Kirkaldy Museum.
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Twentieth Century British Painting - 2019
Twentieth Century British Painting - 2019
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Moodie was born in Edinburgh and studied George Heriot’s and at Edinburgh College of Art winning a postgraduate scholarship in 1914. He joined the staff in 1919 after seeing action in Gallipoli and being wounded in France where he was mentioned in dispatches with the 5th Royal Scots. Fellow teachers included John Maxwell and Sir William Gillies, the latter becoming a great friend and painting companion. He was an elected member of the Royal Scottish Academy where he was secretary for the last five years of his life and served as President of the Society of Scottish Artists from 1937 to 41. He received the Academy’s Guthrie Award in 1924. He is represented in Aberdeen, Glasgow, Kirkaldy and Edinburgh City Art Galleries.
Donald is a graduate and postgraduate of Edinburgh College of Art. He has had several solo shows and has widely exhibited in group shows across the UK. A regular prize winner, he was awarded the David Cargill Award and the 2002 Cuthbert Award for ‘New Young Artist’ both at the Royal Glasgow Institute. He received the Canadian Elizabeth Greenshields Foundation grant in 1987 and 1992. His work is largely concerned with water, divided neatly between those paintings concerned with ‘above’ the water and those, always tightly observed fish, concerned with the world below the surface.
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Donald Provan: Wee Fish - 2020
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Donald is a graduate and postgraduate of Edinburgh College of Art. He has had several solo shows and has widely exhibited in group shows across the UK. A regular prize winner, he was awarded the David Cargill Award and the 2002 Cuthbert Award for ‘New Young Artist’ both at the Royal Glasgow Institute. He received the Canadian Elizabeth Greenshields Foundation grant in 1987 and 1992. His work is largely concerned with water, divided neatly between those paintings concerned with ‘above’ the water and those, always tightly observed fish, concerned with the world below the surface.
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Donald Provan: Wee Fish - 2020
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Always one of the most sought after artists in our annual Scottish Show in the Spring, Donald is an original and thoughtful artist whose evident craftsmanship and wit has won him an international following. His highly finished fish paintings are the perfect ‘green’ art work - executed as they are on old paint tubes and recycled found objects.
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One of the most fashionable portrait painters of the inter-war years, Zinkeisen won a scholarship to the Royal Academy Schools in 1917, graduating into the exotic London art world of the roaring twenties. She was a creative power house, designing posters for the various British railway companies of the day, painting murals and interior designing schemes for two of the great ocean liners of the 1930s and becoming celebrated as the leading set and costume designer for British stage and screen. During the Second War she worked as an official war artist with the Red Cross, recording its activities in the northern European theatre. In this capacity she found herself in the newly liberated Bergen-Belsen Camp where she produced a number of harrowing works now in the Imperial War Museum. Her self portrait in the National Portrait Gallery enjoyed a recent high profile on dozens of posters covering billboards during the recent refurbishment closure.
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We are planning on hosting a retrospective of Edward's work in the not too distant future. If you would like to receive notification of when the paintings become available please contact the gallery.
Edward Beale was a London painter born and bred. His paintings of London were worked from locations near his studio in Lambeth and along the Thames from Millbank to the Royal Docks. He works in situ and subjects for his landscapes include the Western Isles of Scotland, the English countryside and southern France. People talk about the power and energy in his landscapes and this is just as evident in his other work. His portraits, life studies and still lifes are full of a sense of rhythmic movement. Edward studied painting at Camberwell School of Art and the Royal Academy Schools. His work is in collections all over the world including the United States, France, India and China.
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Edward Beale: Recent Paintings - 2015
Edward Beale: Journeys with Oil Paint - 2014
Edward Beale: Recent Paintings - 2015
Edward Beale: Journeys with Oil Paint - 2014
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He studied at the Chicago Art Institute at the turn of the twentieth century where he was fortunate to be taught by John Henry Vanderpoel, whose enthusiasm for figure drawing matched that of Tonks at the Slade a generation later. Stevens moved to New York with his brother, also an artist, and immediately they began work as commercial illustrators on magazines and books. During the 1920s Dalton Stevens painted covers for several magazines that we now think of as pulp fiction, True Confessions, True Detective, Physical Culture, and Ghost Stories becoming a master of the genre. His talent saw him through the Great Depression, illustrating popular American magazines throughout. Tragically during the 1930s he began to lose his sight, until in 1939 he became totally blind and in despair took his own life at the age of sixty-one.
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Probably the best known of the late twentieth century landscape painters, he was an East Anglian artist by heritage and inclination. Without formal training he took private tuition from Bertram Priestman RA and was encouraged by the local celebrity, Sir Alfred Munnings. Munnings advice and contacts led to a lucrative early career in equestrian portraiture. Service during the second war led to his attachment to Field Marshall Alexander of Tunis to record the Italian Campaign. In peacetime Seago enjoyed a celebrity status in the London art world of the 1950s and 60s. His shows at Colnaghi’s enjoyed the previously unknown phenomenon of queues of excited buyers waiting for the doors to open. He was a great friend and favourite of the Royal Family, accompanying HRH Prince Philip on Britannia’s 1956 tour of the South the Antarctic, the south Atlantic and West Africa. As a result many of his paintings are held in the Royal Collection as well as the Guildhall Art Gallery, the Government Art Collection, the National Portrait Gallery, the Imperial War Museum, Pallant House and the Yale Centre for British Art amongst many others.
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Twentieth Century British Painting - 2019
The Sea, The Sea - 2003
Edward Seago - 2001
Twentieth Century British Painting - 2019
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Born in Johannesburg, he moved to England during the First World War and studied at the Regent Street Polytechnic before moving on to the Slade from 1916 to 1918. While there he was invited by Nina Hamnett and Roger Fry to join the Omega Workshops. Fry and other members of the Bloomsbury Group had established Omega in 1913 with the intention of providing graphic expression to the essence of the Bloomsbury ethos. Wolfe first exhibited with the Omega Workshops in 1918.
After a long career exhibiting commercially around the world, Wolfe was elected to the Royal Academy, first as an associate in 1967 and then as a full member in 1972.
His work is held by the Tate Gallery, the Royal Academy, the National Portrait Gallery, London and many other public and private collections.
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Born in Rotherham, Yorkshire, he attended Sheffield School of Art. In 1935 he won a scholarship to the Royal College of Art under John Nash. He later became head of the Department of Lithography at the College from 1948 until his death. La Dell was appointed as an official war artist during the Second World War, working on both public murals and camouflage,[1] but his best known works are those from the post-war era, in particular the lithographs he created for the coronation of HM The Queen, for the School Prints scheme and for Lyons Tea Rooms. His work is currently held in many collections, including those of the Royal Academy, the Government Art Collection and the V & A.
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Born in London into an artistic and successful family, her grandfather designed the Dorchester Hotel, and her father, a distinguished architect in his own right, practised with Edwin Lutyens, her godfather. She attended Chelsea School of Art from 1946 to 1949 under Robert Medley, Henry Moore and Ceri Richards. Fellow students were Elisabeth Frink, John Berger and Anthony Rossiter. From 1949 to 1952 she studied at the Royal College of Art under Carel Weight and Ruskin Spear and specialising in mural design. While still a student, she undertook three major mural commissions at the Chelsea Pensioners' Rest Hall, the Tote Investors' Board Room and (the largest) for the National Farmers' Union, depicting a history of agriculture. In 1965 she started teaching on the foundation course at the Central St Martin's College of Art and Design where she remained all her life. She served as a visiting lecturer to Aberdeen, Stirling and Surrey Universities, as well as Cambridge College of Art and the Yehudi Menuhin School.
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Elizabeth studied Fine Art Painting at the University of Wolverhampton and went on to complete a PGCE in teaching Art in 2000. After an 18 year career in teaching Art, in 2019 Elizabeth decided to fulfil her lifelong dream and become a dedicated, full time practising painter.
During this initial period, she studied with the Florence Academy, which enabled her to return to her roots, focusing on the classical methods of painting, studying the old masters and breaking an image down to it’s simplest form. It was this concept which became a formative moment in her practice which then led her on to experiment with deconstruction and abstraction.
Elizabeth’s work now focuses predominantly on the investigation and deconstruction of the human form, resulting in work somewhere between the figurative and abstraction. As well as using classical methods and influences in her painting, her work clearly shows inspiration drawn from Modern British painters, particularly the traditions of the 1950’s and St Ives Schools.
She works predominantly with oils and acrylics and enjoys playing with the surface quality of the paint to highlight and accentuate the forms that have been created in the process.
Her abstract works now feature in numerous private collections both nationally and internationally.
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Elsa grew up in Sweden, the daughter of a successful government surgeon who took his family off to Boston in the early 1890s. The young Elsa was educated there, spending three years at the Boston Conservatory of Music from 1903. Marriage in 1907 took her back to Sweden where she studied at the Royal Academy of Arts before embarking on a career as a professional painter and portraitist. Her later work is pretty inconsequential but her rare paintings from the 1920s and 30s are very strong, evidenced by her portrait of her niece Hjördis in the Swedish National Museum, Stockholm.
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Born in England in 1961, Emma graduated in 1984 with a BA (hons) in Fine Art Printmaking from West Surrey College of Art and Design.
Since then she has worked full time as an artist and exhibited throughout the UK . Her paintings have been internationally reproduced as greetings cards, posters, limited edition etchings and even fabric designs.
"What excites me about making pictures is trying to capture the essence of a place, a feeling, a thing. I am attracted to vivid colours and the decorative qualities in everyday objects. I enjoy rearranging my ingredients, for instance moving all the red boats on the beach next to the pink tractor for a stronger effect. Birds, shells, flowers and fish might be placed against true landmarks as focal points. My pictures are therefore more atmospheric than literal.
My aim is to end up with my gathered ingredients – glimpses of journeys, patterns from familiar settings and objects collected along the way – converging to create an image that communicates the richness of the original source of inspiration.
I work mainly on board in acrylic, occasionally incorporating collage with gold and silver leaf. My training as a printmaker is evident both in the use of blocks of flat colour and in the way I scratch through surfaces to reveal pre-laid colours underneath.
My influences come from traveling in India , Cornish holidays and the chaos of cats and children wandering onto wet paint. I have also drawn inspiration from the work of favourite artists, including Mary Fedden, Milton Avery and Daphne McClure."
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Emma Dunbar & Fiona Millais: Colour and Light - 2018
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Painter and draughtsman, born and lived in London. She studied at Camberwell School of Art, 1978–9, and Slade School of Fine Art, 1979–83. In 1981 she won the Imperial Tobacco Award and the National Portrait Gallery Painting Competition. She had a first solo show at Agnew, 1984, with others including Paintings from Afghanistan, 1986, a subject repeated at Mona Bismarck Foundation, Paris, 1987, Gods, The Newhouse, Gallery, New York, America, and Agnew, both 1996, Dolphins, Fine Art Society, 1998, From the Sea, Fine Art Society, 1999, Scenes from a Hittite Court, The Prince’s Foundation, 2001, and Shades of Grey, Fine Art Society, 2004. Commissions included Lord David Cecil and Lord Olivier for National Portrait Gallery, two portraits for Oxford University Press and Sir William Deacon, for St Anthony’s College, Oxford.
Emma has exhibited widely throughout England and Ireland and her works can be found in many private collections including Norwich Union, Norfolk and St James’ Hospital, Dublin. Emma’s year spent studying printed textile design at Huddersfield University is in strong evidence in her paintings, using flat perspective and bold colour with dramatic effect.
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He was the son of the well-known Swedish portrait and figure painter Arvid Fougstedt and Gerda Wessel. After graduating in 1936, Wessel-Fougstedt studied archeology and art history at Stockholm University . He started art studies at the Technical School in Stockholm in 1938 under Aron Sandberg, mainly concentrating on sculpting. In 1939 he studied figure painting under Edvin Ollers and the following spring, enrolled in the Academy of Fine Arts in Copenhagen. There he studied drawing under Aksel Jørgensen but the outbreak of war put an end to his education. He made study trips to Switzerland, France and Belgium in 1947.
He exhibited in the Swedish open exhibitions from the 1930s, showing at the Stockholm Artists Exhibition, the National Museum's Young cartoonists exhibition at the Galerie Moderne. The latter was a leading commercial gallery in Stockholm and gave Wessel-Fougstedt his first solo show in 1949. His work is represented by the Swedish National Museum, the Modern Museum in Stockholm, the Gothenburg Art Museum, the Vänersborg Museum and the Kalmar Art Museum.
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Esther Erlich is a Melbourne-based Australian artist who has been exhibiting since 1985. She is best know for her gritty style of portraiture which has won her the prestigious Doug Moran National Portraiture Prize and finalist positions in the Archibald Prize multiple times.
Erlich's iconic style is raw, vital and spontaneous, yet also displays the skill and gloss of a well-seasoned artist. It is the brilliant combination of striking, even haunting portrait-like features with the light, grace and somewhat abstract fluidity of her more decorative style that makes her work so inspiring.
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Esther Erlich: The Beholder - 2020
Esther Erlich: Four Paintings - 2014
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Topolski was born in Warsaw where he studied at the Academy of Art while also serving as a cadet at the Artillery Officers' School from 1927 to 1932. He spent time studying on his own in France and Italy before being sent to England in 1935 to record George V's Silver Jubilee for a Polish magazine. He stayed in London permanently, frequenting a literary group at the Café Royal that included Graham Greene, Evelyn Waugh, J B Priestley and Anthony Powell. They began to commission illustration for magazines and plays, including Bernard Shaw who used him on three works including an edition of Pygmalion. On the outbreak of war in 1939 Topolski began working as honorary official artist to the Polish forces in Britain before being employed by the War Artists Advisory Committee from 1940 as an official war artist for the British. Given Stalin’s reluctance to allow photographic illustrations of conditions in Russia following the Nazi invasion in the summer of 1941, the British assigned Topolski to accompany the first Allied aid convoy to the Soviet Union. From then he travelled frenetically across all theatres of operations throughout the war, sketching the common soldier and the general staff alike, in Egypt, East Africa, Palestine, Lebanon, Syria, Iraq, India, the Burma Front, China, France and Germany. He was commissioned to record the London Blitz in 1940 and was wounded while sketching. He followed the Polish 2nd Corps in Italy in the fiercest of fighting and was at Bergen-Belsen concentration camp in the weeks after its liberation. One of his final official commissions involved visually recording the proceedings at the Nuremburg Trials. He became a naturalised British citizen in 1947.
In peacetime he attended both the Congress of Europe in The Hague for Vogue magazine and the International Congress of Intellectuals for Peace in Wroclaw, Poland, the resulting drawings for the latter were published as Confessions of a Congress Delegate in 1949. A year later he was invited to India by Prime Minister Jawaharlal Nehru, to record the transition from Raj to Independence and produce a mural 'The East'. The two became great friends and Nehru's daughter, Indira Ghandi, would often visit Topolski's studio when in London.
Throughout the latter half of the twentieth century Topolski established himself as the artistic chronicler of world events. He recorded the liberation conflicts in Malaya and Indo-China, Pope Paul VI’s visit to the Holy Land in 1964 and the start of Mao’s Cultural Revolution in China in 1966. He travelled to America in 1968 and documented the Democratic Convention riots in Chicago, before going to San Francisco to meet members of the Black Panther Party.
He produced two public murals in London, the 'Cavalcade of Commonwealth' for the Festival of Britain 1951 and 'Coronation of Elizabeth II' in 1959. The latter had been commissioned by the Duke of Edinburgh for a corridor in Buckingham Palace. His magnum opus, the 'Memoir of the Century', was a summation in oils of all his memories and records of events that he had witnessed, on dozens of large scale painted panels. Begun in 1975 under the arches of the Hungerford Railway Bridge it was his personal legacy to history and is still looked after by the Topolski Family and the South Bank Centre today.
Twelve of his portraits, including images of H G Wells, E M Forster, Harold Macmillan and Graham Greene are held in the National Portrait Gallery permanent collection. It is testament to the regard to which he was held by his contemporaries that fifteen works in the same collection are portraits of Topolski himself by fellow artists. Feliks Topolski is also represented in the Permanent collections of the British Museum, the Imperial War Museum, the Tate, the V&A and the Museum Narodwe Warszawie amongst many others. He received an honorary doctorate from the Jagiellonian University in Krakow, Poland in 1974 and the Gold Medal of the International Fine Arts Council in 1955.
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Feliks Topolski - 2016
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Fiona Millais’ paintings are based on landscape and still life, or sometimes a combination of both. The paintings are produced in her studio, sometimes on the completion of a journey, perhaps to the landscapes and coasts of Cornwall and the west of Scotland or further afield. Her daily walks out with her dog, in and around the farm, woods and heathland near her home, provide a rhythm and are source of inspiration throughout the seasons. Her works are rarely directly representational, they evolve from memories, drawings and notes. Small objects noticed on her walks will find their way into her compositions, which when painted add a sense of place and time.
Fiona is the great-granddaughter of the Pre- Raphaelite painter Sir John Everett Millais.
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Emma Dunbar & Fiona Millais: Colour and Light - 2018
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A brief exploration of Flora Heilmann’s online presence is entirely depressing. Her stock in trade were floral still life paintings in the late Victorian fashion that ‘Twee’ doesn’t begin to cover. Anyone still wondering why IKEA wiped out Laura Ashley should look no further. Having said that there was clearly so much more to her as an artist. Born in Copenhagen she was the daughter of one successful Danish painter and the pupil of another, Frederik Vermehren. In 1896 she married a priest and accompanied him to the Faroe Islands where they settled for a decade. Her paintings from this time recorded the historic traditions, folk costumes and ways of life of the Islanders and are now held in the library at their Capital, Tórshavn. The collection is considered a priceless cultural archive depicting a world now largely gone from the Islands.
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A collection of works we will be exhibiting at the forthcoming FOCUS fair in collaboration with Turner Pocock interior design studio.
Design Centre Chelsea Harbour Lots RoadLondon SW10 0XE
Opening hours: Monday to Friday 10am-6pm
Stockholm School of Art in 1927-1930 Represented at The National Museum and Modern Museum in Stockholm, Gothenburg Art Museum, Malmö Art Museum, Gävle Museum, Norrköping Art Museum and Ystad Art Museum.
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Cadell studied in Paris and lived in Munich before settling in his native Edinburgh around 1909. Cadell's pre-war work is influenced by the Impressionists. From around 1920, his work became brighter and bolder. Shadows were suppressed to such an extent that the paintings of this period are comprised of areas of flat colour. Cadell made regular trips to France and Iona with fellow Scottish Colourist S. J. Peploe. Both artists were influenced by the effects of strong sunlight, which led them to use areas of bright colour in their paintings.
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Born in Anglesey, the son of a Wesleyan minister, Dodd trained at the Glasgow School of Art alongside Sir Muirhead Bone who married Dodd's sister. While at Glasgow, Dodd won the Haldane Scholarship in 1893 allowing him to travel around France, Italy and Spain, returning to England in 1895. After a period working and teaching in Manchester he moved to Blackheath, London in 1904 and in 1916 was appointed an official war artist by the War Propaganda Bureau who sent him to the Western Front to paint a collection of portraits later published as ‘Generals of the British Army’ soon followed up by ‘Admirals of the British Navy’. In peacetime he worked as a curator at the Tate becoming a trustee in 1929, a position he held for the next six years. His portrait of Virginia Woolf is amongst many of his works held at the National Portrait Gallery. The Imperial War Museum, the British Museum and the Walker Art Gallery in Liverpool all hold his work.
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Born in London, Fred attended Sidcup School of Art from 1945 to 1949. After having completed his National Service, he attended the Royal College of Art in 1951, winning a Rome Scholarship and an Abbey Minor Scholarship. In 1964, he was elected an Associate of the Royal Academy, and ten years later achieved full membership, the youngest to have been so honoured at the time. In 2001 he was given the honour of being the 'Featured Artist' by the Royal Academy and unusually an entire gallery within that year’s Summer Exhibition’ was given over to a solo show of his work. In 2004, he was awarded an Honorary Doctorate of the Arts at the University of Kent in Canterbury, in recognition of his status as an artist and his lifetime contribution to the Arts. Among his many awards are the Grand Prix Fine Art, the Royal Academy’s House & Garden Award and the Sir Brinsley Ford Prize at the NEAC. Institutional collections include Monte Carlo Museum, the Royal Academy of Arts, the Department of the Environment, the Guinness Collection, Lloyds of London and W H Smith. He was also an elected member of the New English Art Club and an associate of the Royal College of Art.
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Twentieth Century British Painting - 2019
Tradition – Modern Figurative Painting in Britain - 2014
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Educated at Whitgift in Croydon he was conscripted in 1944, not being demob’d until 1948. He attended Croydon School of Art which led to the offer of a place at the Royal College of Art where he studied from 1950 to 1953.After graduation, he taught part-time at various art colleges, including the Royal College, enabling him to concentrate on his own painting. He exhibited regularly at the Royal Academy from 1951 and at the New English Art Club where he was elected a member in 1956. He was invited to become a visiting tutor at the Royal Academy schools by the Keeper, Peter Greenham RA and was appointed Professor of Perspective there in 1984.Known amongst his peers as a ‘Painter’s Painter’ he insisted that his work "spoke for itself" making no pompous statements of "intent". Rather, importance was placed on the paint achieving mood and mystery and a sense of air.Together with his friend, John Williatts, Fred was author of two books, "Drawing Systems" and "Perspective and other Systems" exhibiting his deep interest in the problem.In 2013 a Retrospective Exhibition of over sixty works was mounted at Clare Hall, Cambridge, by invitation from the Arts Committee and forwarded by by the art historian Francis Spalding.
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Fred Laurent was born in Brussels in 1922 and trained as an artist, but at the start of the Second World War he fled Belgium for England. He saw war service as a commando in the British army. In peacetime he became a well-established illustrator, specialising in women's magazines and romantic book covers.
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Born in 1922, Fred Yates grew up in Urmston, a suburb of Manchester. His career as an insurance clerk was cut short by the outbreak of war and he served in the Grenadier Guards until 1945 when he returned to Manchester as a painter and decorator.Untutored, but with tremendous self-discipline, Fred began to paint pictures of the rich industrial architecture of Manchester, the red brick terraces and the commotion and humour of street life - a theme that the artist is still concerned with, even in his recent paintings. He subsequently enrolled on a teacher training course at Bournemouth College of Art and in 1950 won a travelling scholarship to Rome and Florence.He taught for twenty years battling continuously against artistic sophistication, for him, beauty resided in simplicity and a child's mind. In 1969 Fred gave up teaching and moved to Cornwall to enable him to devote all his energy to painting. While he still painted scenes, remembered from his childhood in Manchester, he also worked on sunnier landscapes, new faces and activities that surrounded him.His paintings are included in many private and public collections including Brighton and Hove Art Gallery, Liverpool University, the University of Warwick, Torquay Art Gallery and Russell Coates Gallery Bournemouth.Fred died in London on 7th July 2008
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Born in Ottawa, Ontario, in 1906 he graduated in architecture from McGill University in 1930. Travelling to London he furthered his art education at the University of London, Goldsmiths College of Art, London Central School of Arts & Crafts and at the Byam Shaw School of Painting. On his return to Montreal he was heavily involved in early lobbying efforts to establish an official war art program, but never employed in it himself, Taylor's personal goal was to ensure a painted record of Canada's war industry workers. He took up a position teaching at McGill University's School of Architecture from 1940 to 1943. From 1932-1963 Taylor's work was exhibited in fourteen solo exhibitions in Montreal, Toronto and Ottawa. He received commissions executed for the Government of Canada and many major industrial corporations in Canada and the United States.
Taylor became a member of the Society of Canadian Painters, Etchers and Engravers in 1934 and a life member in 1959. In 1943, he became a member of the Canadian Society of Graphic Arts. He joined the Royal Canadian Academy of Arts, first as Associate Painter in 1938 and then as Academician Painter in 1966.
A number of works are held in public collections including the permanent collection of the National Gallery of Canada and the Beaverbrook Collection of War Art at the Canadian War Museum.
Born into a life of wealth he embraced communism and spent a life time at odds with his brother Edward or ‘EP’ a well-known Canadian businessman. Arguments over allowances ensued and in 1960 Fred moved permanently to Mexico where in 1987 he took his own life.
Gore was a painter of urban scenes, figures and landscapes in oils. The son of Spencer Gore, he studied at the Ruskin School of Art while at Oxford, the Westminster Schools of Art and at the Slade where he came under the influence of Mark Gertler and Bernard Meninsky. He held his first solo exhibition in 1937 at the Redfern gallery the year he left the Slade and where he exhibited until 1962; had his first international show the following year at Galerie Borghèse in Paris. He has also shown at the Mayor Gallery, the Tate Gallery (1954, 1956, and 1958) and exhibited at the Royal Academy regularly since 1945, becoming an RA in 1973.
After returning from army service in 1946, Gore taught at the St Martin's School of Art and at the Epsom and Chelsea Schools of Art (1946-1979). He became the Head of the Painting Department at St Martin's in 1951. He became Chairman of the Royal Academy's Exhibition Committee from 1976-1987 and was a Trustee of the Imperial War Museum from 1967 to 1984 and Chairman of its Artistic Records Committee (1972-86). Gore was awarded the CBE in 1988. A major retrospective of Frederick Gore's work was held at the Royal Academy, London in 1989. He has had works published including Abstract Art by Methuen in 1956, Painting: Some Basic Principles Vista / Rheinhold 1965, Piero Della Francesca's The Baptism Cassel 1969 and British Art in the Twentieth Century, 1987.
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‘Willis attended the Vesper George Art School and gravitated toward the film industry in California. As a handsome young man, he landed some small roles as an actor, including a part in Alice Adams with Katherine Hepburn. Art was his prime interest, however, and he found work at Warner Brothers Studio in publicity and in making compositional set designs. He worked alongside another ambitious young artist, Joe DeMers, and they began to collaborate, often doing parts of the same drawing. They continued the practice after Esquire asked them to create a series of pin-ups for a new “Esquire Gallery” series to which both signed their names. The pin-ups were a great popular success, but eventually the two went their separate ways.
Willis went on to illustrate for Collier’s, Redbook, The Saturday Evening Post, and for many advertisers, such as Pepsi Cola, Springmaid Cotton Mills, Gilbert Quality Papers, Max Factor, Crown Zellerbach, Rose Marie Reid, and the Ice Follies program covers. He did a fifteen-year series of calendars for Brown & Bigelow, including an “Artist’s Sketchbook” pin-up series. Among his books were instruction titles for Walter Foster publishers, such as Art Shortcuts, Secret to Still-life Painting, and Faces and Features. He also wrote and illustrated a children’s book, ‘Me, Too’.’Biography found on www.illustratedgallery.com
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As a figurative painter, Gary Long is involved in the making of images. Particularly those concerned with the atmosphere with coast, the sea, the sky, the weather, andalso the impressions that they leave. Gary says on his artwork:
"Working from sketches, memory and intuition, the initial image becomes secondary to the paint and the surface. It is with the push and drag of the paint, building the surface to a point where I have arrived close to the essence of my first vision."
Drawing from life plays an important place in Gary's practice and since 2000 he has been the life drawing tutor for BA Hons Illustration at University College Falmouth 2 days a week. Gary has also taught more recently at St Ives School of Painting in Cornwall and the Verrocchio art Centre in Tuscany.
E Catalogues
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Nine New Painters to Panter & Hall - 2019
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Born in Glasgow, George Devlin studied at Glasgow School of Art from1955 to1960 during which time he won a number of major art awards including the Haldane Scholarship, Chalmers Prize and Carnegie Travelling Scholarship. He continued his studies while painting and travelling in Italy and Greece, later crossing the Sahara and living in West Africa.
His work is held in the permanent collections of HM The Queen, the Scottish National Gallery of Modern Art, the Fleming Collection, the London Stock Exchange, Prudential plc, De Beers, Aberdeen Art Gallery, Edinburgh City Collection, Teachers Whisky, Bank of Scotland, Clydesdale Bank, The Royal Bank of Scotland, and Aberdeen Asset Management amongst many others.
George is a painter and printmaker whose world travels have given him an international reputation. He trained at Edinburgh College of Art in the sixties before going to Hornsey College of Art, (at that time a centre for new thinking and radical ideas in visual education). Subsequently he took a postgraduate degree at Edinburgh University, examining the theory that underlies the practice of teaching art.
An enthusiastic traveler, he has drawn inspiration from cultures in such diverse countries as Mexico, China,Thailand, Japan and Australia. George’s early influences of the vivid colours, textures and patterns of his Indian childhood have remained indelible in his work. Always there is a spirit of experimentation, private myth, and a search for new kinds of mark making
His work can be seen in public and private collections in UK and abroad, including the V&A, London, Aberdeen Art Gallery, CAC Edinburgh, Miro Foundation, Spain, University of Edinburgh, Leeds City Council, University of Central Florida, ICI, and the BBC. He exhibits annually at the Royal Scottish Academy and Royal Scottish Society of Painters in Watercolour.
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A Swedish painter and illustrator, Lagerstedt was born in Agunnaryd, Kronoberg County. He studied at the Gothenburg museum painting school and the School of Fine Arts, where he studied under Gunnar Hallström, Anders Trulsson and Axel Erdmann. After military service in the First World War he continued his studies in Copenhagen. He travelled south in the company of fellow painters Torsten Palm, Hugo Zuhr and Sixten Lundbohmsvägen, painting intensively in Spain and Morocco, and in Paris under André Lhote. After his first show in Stockholm in 1921, he held ten solo exhibitions and participated in additional seventy exhibitions in Sweden and abroad. Lagerstedt became one of Sweden's most sought after illustrators and cartoonists with a speciality in sporting subjects.1 - ‘The Jubilee Singers’ Oil on canvas 50cms x 60cms, Signed and dated ‘Coloseum, London, 1924’
The Fisk Jubilee Singers are an African-American a cappella ensemble, consisting of students at Fisk University. The first group was organized in 1871 to tour and raise funds for college. Their early repertoire consisted mostly of traditional spirituals, but included some Stephen Foster songs. The original group toured along the Underground Railroad path in the United States, as well as performing in England and Europe. In 2002 the Library of Congress honored their 1909 recording of "Swing Low, Sweet Chariot" by adding it in the United States National Recording Registry. In 2008 they were awarded a National Medal of Arts.
‘Variety’, July 1st 1924 reported that the ’… Jubilee Singers, four men and a woman, harmonizing minus instrumental accompaniment, were accorded substantial applause.’
2 - ‘The Boxing Match’ Oil on canvas 81cms x 65cms Signed and dates 1929
Exhibited Los Angeles Olympic Games 1932
Art competitions formed part of the modern Olympic Games during its early years, from 1912 to 1948. The competitions were part of the original intention of the Olympic Movement's founder, Pierre de Frédy, Baron de Coubertin. Medals were awarded for works of art inspired by sport, divided into five categories: architecture, literature, music, painting, and sculpture.
The juried art competitions were abandoned in 1954 because artists were considered to be professionals, while Olympic athletes were required to be amateurs. Since 1956, the Olympic cultural programme has taken their place.
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Manchester was a painter of landscapes and coastal scenes in oil. He studied at Beckenham School of Art 1946-50 and then at the Royal College of Art in London 1950-53 under John Minton and Ruskin Spear. Manchester exhibited at the Royal Academy, Leicester Galleries, Beaux Art Gallery, and had a one man show at the Redfern Gallery, London. He painted widely along the English coast, and in France, Spain and Italy.
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A painter and sculptor educated at Edinburgh College of Art, Watson was a member of the 1922 Group. A founding tenant and early pre-cursor to the Edinburgh School, the Group centred around a core of nine fellow Edinburgh students that included William Crozier, William Gillies, William McTaggart and John Maxwell. Many members had won travel scholarships to Paris, particularly the atelier of André Lhote. They aimed to champion the new ideas of French modernism they had absorbed in France against those of the traditional academic institutions of the Edinburgh establishment. Their exhibitions were held mainly at the New Gallery in Shandwick Place, an artist run space that was home to the Society of Eight founded by, amongst others, Sir John Lavery and the Scottish Colourists. The 1922 Group showed together for nearly a decade by which time many of its members were themselves leading lights of the Edinburgh art world.
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"My paintings are impressions of places and events from everyday life. Many are painted 'plein air' with a sense of what I like to call 'casual reality' through which I aim to catch the essence of my subjects with the use of light to energize and invigorate the work". - Gerald Green
In 1986 British artist Gerald Green relinquished his career as an architect to follow his passion for painting. Gerald is represented by a number of commercial galleries in the UK and has exhibited with several London Art Societies, together with being a finalist in a variety of National Arts Competitions. His work has been shown in Europe, USA and in 2010 he was an invited artist for the inaugural International Watercolour Biennial in China. In addition, he has undertaken numerous commissions for National and International Property Development Companies.A published author, Gerald's work features in 9 books and for several years he has been a regular contributor to arts magazines. Furthermore, he has appeared on television and taken part in radio interviews about his work.
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Known as ‘Lulo’, he was born in Venice, Italy, the son of the famous Italian classical painter Eugene de Blaas (1843–1931). His father has work in some of the greatest public collections worldwide and is still highly collected today. Naturally his first artistic instruction came at his father’s knee, but he soon began travelling Europe, studying in Munich and Paris. In 1912 he exhibited at the Rome Biennale and in 1913 at Ca' Pesaro in Venice at the V Exhibition of the Bevilacqua La Masa Foundation. He spent the Great War in the Italian navy who commissioned a series of battle scenes that were reproduced as prints. A short-lived venture in fabric manufacturing came to nothing and in 1922 he moved to New York, conceivably to escape the shadow of the great man and carve his own reputation as a painter. Over the next decade he established a highly lucrative portrait practice on the east coast.
His father had married a countess with her own large fortune so no doubt his social credentials did much in opening doors to the salons of the wealthiest New York families. Giulio’s greatest patron was the feted businesswoman and tastemaker of her day, Marjorie Merriweather Post. Commissioning many portraits of her family and herself she chose the young Blaas to record her in full bejewelled splendour, to mark her presentation at the Court of St James in 1929. Post was also remembered for building the fabulous Mar-a-Lago in Florida. Giulio’s glittering career was tragically cut short by a botched surgical operation in New York in 1934. He was buried in the family tomb in San Michele, Venice.
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Born in Sydney in 1957, Glen started painting when he was ten and sold his first three paintings in an exhibition in Sydney. During his later studies in Sydney, he was initially condemned by his tutors as ‘too traditional’, but his talent was quickly recognized by the late John Brackenreg. A hugely influential figure in Australian fine art, Brackenreg immediately gave the prodigious Preece a solo show – it sold out on the opening night.
Representational art, mainly the French and Australian Impressionists, inspired Glen’s work for many years. He is also fascinated by movements such as Expressionism and Fauvism. His interiors hint, as the German Expressionists did, at a seamy underbelly of city life - Left Bank cafes that suggest the abandoned feel of after-hours isolation. However, Glen seems to reject the cynicism of the Expressionist movement, imbuing his paintings instead with the warm ochres and umbers which originate in the rich earth of his home country.
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Glen Preece: Symphony - 2022
Glen Preece: Recent Works - 2018
Glen Preece: Recent Paintings- 2015
Glen Preece: Twelve Paintings- 2013
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A magical collection of musical fantasia by one of Australia’s leading figurative painters. Twenty six new works bursting with verve and movement and suffused with the Glen’s characteristic wry wit.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
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Glen was born in Glasgow and studied at Glasgow School of Art from 1968 to 1973. In 1972 he won the Royal Scottish Academy Painting Award and in 1973, the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. He was also awarded the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts in 1987. His works are held in a number of public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
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Born in Kendallville, Indiana, Sheffer was a successful artist and illustrator of whom very little biographical detail is known. Academically a product of the Art Institute and the Art Academy of Chicago, his further studies were largely self-conducted, though materially assisted by such masters as Hans Larvin of Vienna, Albert Gartmann of Berlin and Walter Goldbeck of New York. He lived and died in Chicago where he was a president of the Palette and Chisel Club of Chicago, and also a member of the Painters and Sculptors club. He is best known for producing a famous poster advertising the 1933 Chicago World’s Fair, copies of which are highly sought after today. He produced numerous illustrations for the magazines of the day and worked for publications by the Kappa Sigma Fraternity.
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Gordon’s interest in the Scottish countryside can be traced back to his earliest childhood memories of family rail and steamer excursions courtesy of the free and subsidised rail travel that his father’s job on the railways allowed, and these early travels gave him a love and intimate knowledge of his native Scottish landscape that has remained with him all his life.
On leaving school after the War, Gordon joined the newly formed Welfare Department of Greenock Corporation. His subsequent experiences in dealing with the mentally ill, the homeless and the underprivileged in this austere period of post war Glasgow led him to re-evaluate his own priorities. A planned university career in Mathematics was abandoned in favour of a place at Glasgow School of Art.
Gordon spoke highly of the School and his experiences there, “There was a lot of plain speaking about for it was in the years before the advent of gobbledygook. I suppose criticism might be levelled against the place that we were not introduced to the most up to date movements in Art but we were certainly given the technical equipment to develop ourselves in due course”. He was taught life drawing by Edward Odling and significantly came under the influence of the great Mary Armour a formidable character and excellent teacher who became, with her husband, close friends of Gordon later in life.
Graduating in 1953, Gordon was awarded the Post-Diploma or Masters course and in the same term he won both the Royal Scottish Academy Award and the most prestigious award of the School, the Newbery Medal. That year he was also awarded the scholarship to study at Hospitalfield College of Art in Arbroath, a highly respected summer school, then under the direction of Ian Fleming RSA. The experience had a profound effect on the young student’s painting, to Gordon the landscapes of the Angus countryside and the fishing villages along the coast were a revelation. “The whole atmosphere was totally different from what I had been used to in the West and the light was completely different…..Fleming was a great talker and he encouraged us all to follow our own particular ways of developing. He certainly encouraged me to think about the abstract qualities of the harbour scenes and it was at that point that I began to think about the colours and the tones and textures abounding along the coast. I came away from that place with a completely different notion of what I was going to do.”
Inspired with a new artistic vision Gordon began to paint large scale abstract works which met with little commercial success, the Scottish public still struggling with an understanding of Impressionism and Post Impressionism in the early nineteen fifties.
The untimely death of his father left Gordon with new responsibilities and he was forced to give up his postgraduate studies and a travel scholarship in favour of a regular salary. Becoming a teacher, Gordon joined that generation of his profession that became largely responsible for the renaissance in art that began to appear in Scotland from the 1960s onwards. This phenomenon he attributes to the practice of teachers continuing to paint actively while teaching full time. For many years Gordon served on the examination board culminating in his appointment as Principal Examiner in Art & Design for Scotland, an influential position that he held for ten years.
The construction and composition of the land that sparked his early interest in abstraction has developed into a fascination with the ever-changing colours, textures and patterns of Argyll and Kintyre in the West. Gordon had a great passion for croft houses that “seem to have grown out of the landscape” in the area, an enthusiasm tempered only by a concern for their future. “The 'discovery' of white paint has transformed most of our 'wee hooses' over the last half century yet they are still absolutely right in their settings. Alas, it will not always be so for they are now an endangered species and all over Scotland we find bungalows and houses that seem to be alien to this land and more suitable to the South than here.” Gordon’s richly textured jewel-like images are a lovingly crafted record of these isolated local communities.
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Gordon Hope Wyllie RSW (1930-2005): Retrospective - 2021
Twentieth Century British Painting - 2019
Alexander Galt RGI and Gordon Wyllie RSW - 2013
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A graduate of Glasgow School of Art, Graeme has exhibited in London, New York, Paris and Russia. He was awarded the Arthur Andersen Prize for Best Young Artist at the Royal Glasgow Institute in 1998. His distinctive freeze frame figurative tableaux are collected worldwide and are represented in the permanent collection of the Royal Bank of Scotland.
His recent works depict certain figures and particular events carried out in public spaces around Glasgow, the city in which he currently resides. His figures are often engaged in ambiguous actions in half-remembered spaces but are moments that have lodged in Wilcox’s memory, maintaining a poignancy that cannot be dismissed. The resulting paintings maintain a paradoxical nature as Wilcox attempts to balance a complete stillness with a sense of motion.
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A graduate of Glasgow School of Art, Graeme has exhibited in London, New York, Paris and Russia. He was awarded the Arthur Andersen Prize for Best Young Artist at the Royal Glasgow Institute in 1998. His distinctive freeze frame figurative tableaux are collected worldwide and are represented in the permanent collection of the Royal Bank of Scotland.
His recent works depict certain figures and particular events carried out in public spaces around Glasgow, the city in which he currently resides. His figures are often engaged in ambiguous actions in half-remembered spaces but are moments that have lodged in Wilcox’s memory, maintaining a poignancy that cannot be dismissed. The resulting paintings maintain a paradoxical nature as Wilcox attempts to balance a complete stillness with a sense of motion.
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Painter of imaginative landscapes, still life, figure pieces and portraits. Born 24 August 1903 in London. Abandoned a railway engineering apprenticeship after a year and studied at Goldsmiths' College School of Art 1920–5, where he specialized in engraving and etching. Formative influences on his early work were Blake, Samuel Palmer, the late Turner, Paul Nash and Henry Moore.
Held his first and second exhibitions of drawings and engravings at the XXI Gallery, London, in 1925 and 1928. Member of the Royal Society of Painter-Etchers and Engravers 1926–33. Taught engraving at the Chelsea School of Art from December 1926 and composition and book illustration 1935 to July 1940. Exhibited at the N.E.A.C. 1929–33 and with the London Group from 1932 (member 1936–7), experimenting with painting in oils from 1930 until, in 1935, the year after his first visit to Pembrokeshire, he decided to become a painter. Participated in the International Surrealist Exhibition in London 1936. First one-man exhibition of his oil paintings, mainly Welsh landscapes, at the Paul Rosenberg and Helft Gallery 1938.
As an Official War Artist 1941–4 painted scenes of bomb devastation and of work in mines and foundries. First New York exhibition at the Buchholz Gallery 1946, and in the same year completed the ‘Crucifixion’ for St Matthew's Church, Northampton. Taught painting at Goldsmiths' College as visiting instructor 1946–7. Since 1947 has worked for several months each year on the French Riviera. Trustee of the Tate Gallery 1948–54. Painted the portrait of Somerset Maugham 1949, the first of a series which includes Lord Beaverbrook, Sir Winston Churchill and others. Completed the designs for the Coventry Cathedral tapestry, ‘Christ in Glory in the Tetramorph’, between 1954 and 1957 (installed 1962). Has also designed posters, ceramics, book illustrations, and ballet costumes and décor for The Wanderer 1940. Important retrospective exhibitions have been held at the I.C.A. 1951, the Venice Biennale and the Musée National d'Art Moderne, Paris, 1952, the Tate Gallery 1953, and at the São Paulo Bienal, Brazil, 1955. Awarded the O.M. 1960.
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A London artist, Lipscombe studied at the Royal Academy Schools and soon after graduation became the motor sport illustrator for the newly founded magazine ‘The Motor’. He soon became the acknowledged master of the genre and began painting and exhibiting large scale oils. His depiction of the 1907 French Grand Prix now hangs on the main stairs of the Royal Automobile Club in London. He created a well-known patriotic poster for the British Rail Recruitment Office which was re-used successfully by the War Office in the Great War. During hostilities he volunteered as a driver with the British Red Cross and served on the Italian Front in Italy, producing a number of works whilst there. Four of these were acquired by the Imperial War Museum.
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Guy’s Obituary in the Guardian, 7th Sep 2006 by James Beechey“The art of Guy Roddon, who has died aged 86, falls into no easy category, but is defined by its strong formal structure, abstract content and melancholic mood. From portraits he moved on to spaces captured in pastel, and he loved to paint abroad, particularly in France.He first made his mark in portraiture under the influence of Augustus John's former protege Henry Lamb, who in 1949 invited Roddon to share his Chelsea studio. Roddon's subjects included the novelist LP Hartley, the composer John Ireland, Archbishop Michael Ramsey and Sir Roy Strong, but it was not his true metier, and gradually the human figure began to fade from his work. Sometimes it might register as a reflection in a mirror; more often, it was alluded to as an invisible, but suggested, presence in a room recently deserted or about to be entered.The recurring motifs of Roddon's pictures were a spiral staircase, generally seen from above, the view from a window or balcony, and the empty interior - all legacies of his nomadic upbringing. Pastel, in which he worked more effectively than oil, perfectly suited the sense of ambiguity and impermanence he sought to convey. In 1979 he published a useful technical guide to working in the medium.Roddon had an unconventional childhood. His parents divorced when he was four, and he was brought up single-handedly by his father, a man already in his mid-50s by the time his only son was born. Robert Roddon had spent his working life as private tutor to the maharajahs of Jodhpur, but on his retirement from India he found it impossible to settle. Instead, father and son traversed Europe, living in a succession of hotels and boarding houses. Guy made his first visit to the Louvre at the age of six, and by his early teens was familiar with most of the major European galleries.He was educated at Bryanston school, in Dorset, where a lecture on Cézanne by the art critic RH Wilenksi proved a further step in his decision to become an artist. He went on to Goldsmiths College, London, and to the Byam Shaw School of Art, from neither of which he greatly profited.Along with many artists during the second world war - including William Coldstream, Claude Rogers and Julian Trevelyan - Roddon found a comfortable billet, diverting work and genial company in the Camouflage Corps. In his first posting, to Farnham castle, Surrey, he was under the command of Colonel Jack Beddington, the suave director of Wildenstein's, and the gallery owner Freddy Mayor. Following a transfer to Norwich, he was one of a band of camouflage officers working for the theatre designer Oliver Messel.The headquarters of the Eastern Command camouflage school were the city's 18th-century Assembly Rooms, which Messel had lavishly restored by the troops. Messel was replaced by the painter and critic Roland Penrose, who hung the officers' mess with examples from his impressive surrealist art collection. Penrose offered Roddon a chance to sample the choppy waters of European modernism, into which, on demobilisation, he dipped a cautious toe.After the war Roddon earned a living by teaching. He was artist-in-residence at the University of North California, lectured at Goldsmiths and was on the staff of Brighton College of Art. The position from which he derived most fun - and which provided him with a fund of amusing anecdotes - was at Cobham Hall, a girls' boarding school in Kent. He had an enormous enthusiasm for, and genuine interest in, young people in general and attractive young girls in particular. He never lacked female admirers, though neither of his marriages - to "two of the most terrifying women in England" - was a success.Roddon inherited his father's restless temperament, and out of term time he painted in north Africa, America and Europe - above all in France, where he produced much of his best work. In Paris he often borrowed the studio of his friend Edwin John, but he was just as likely to be found sketching at a pavement cafe or in the secluded corner of a left-bank restaurant. Until the end of his life he was a frequent visitor to Menton, on the Côte d'Azur, and a regular member of the English delegation that, each year on the anniversary of Aubrey Beardsley's death, processed to the hill-top cemetery and laid a wreath on his grave.Roddon never lost his disarming wit, nor the mischievous glint in his eye. He was an essentially kindly and good-humoured man, whose occasional testiness betrayed some of the disappointment he must have felt at his critical neglect. In old age - bearded, dressed in well-tailored but shabby clothes, and invariably sporting a French beret - he seemed a relic from a long extinct bohemian world. At the time of his death he was the longest-standing member of the Chelsea Arts Club, which he had joined more than 60 years earlier.His minor eccentricities added to the image. In later years, when his supply of female models ran dry, he was sometimes to be seen in the telephone box near his studio, furtively stuffing prostitutes' advertising cards into his coat pockets - excellent silhouettes, he maintained, from which to draw.Of course, he relished the surprise on the part of his neighbours - some of them fellow worshippers at the local Catholic church - at his behaviour. But it was also typical of his talent for improvisation. All his life he displayed an enviable knack for making the most of the many unlikely situations in which he found himself.”A photographic portrait of Guy in his studio taken by Lucinda Douglas-Menzies in 1978 is in the collection of the National Portrait Gallery, London. The gallery also holds Guy’s own painted portrait of the composer John Ireland.
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Gwilym Prichard was born in Llanystumdwy, near Criccieth, in 1931. He trained at Birmingham College of Art, then taught in Anglesey until 1973, after which he became a full time artist. Following Sir Kyffin Williams' death in 2006, Gwilym assumed the mantle of senior figure in Welsh landscape painting and was one of Wales’ most admired and successful artists.
He was noted for his dramatic and colourful palette, and for applying the paint thickly and expressively into forms that pare the Welsh landscape down to its essentials. Ceri Richards once said that Gwilym Prichard 'painted the bones beneath the land'. In so doing, he managed to display his joy in the richness and beauty of his native land.
Gwilym spent many years living in Brittany, France, where he exhibited regularly and was also widely admired. In 1995 he was awarded the Silver Medal by the French Academy of Arts, Sciences and Letters. He was elected to the Royal Cambrian Academy in 1970, and was an Honorary Fellow of the University of Wales. In 1999 he returned to live and work in Wales, making regular painting trips throughout north and west Wales. Gwilym died in June 2015.
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Lungquist’s father was a merchant, musician, amateur painter and a free thinker. He discovered Theosophy early and was an early member of the Anthroposophical Society when it was formed in 1913. Birger Lunquist was also an enthusiastic anthroposophist, although his dedication over time cooled slightly. He was a follower of Rudolf Steiner who he heard lecture and read Goethe's colour theory. However, he abandoned his interest, for fear that Goethe's and Steiner's analytical relationship to the colours would kill his own intuitive experience. He saw the unconscious as a prerequisite for his artistic creation.He studied at Caleb Althin's private painting school, at the Swedish Royal Academy of Art and in Paris. He made his exhibiting debut with the thirteenth group show at Liljevalch's Art Hall in 1928. His paintings drew inspiration from Nordic folk lore and old songs, depicting the protagonists mainly young women, as peasants or farm girls in traditional costume. His compositions were lyrical in conception and, more often than not, the young country girls were conceived as idealistic nudes in rural idylls.He was a successful illustrator, illuminating works by his brother Walter Ljungquist and the poems of Gustaf Fröding. The Swedish Modern Art Gallery holds thirteen of his paintings and his work is also represented in the collections of the museums and galleries of Gothenburg, Kalmar, Norrköping, Borås, Bergen and Linköping. The Swedish National Gallery has a Self-portrait.
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After an art foundation course Haidee-Jo took a degree in illustration and has been exhibiting and teaching ever since. A well-known figure in the plein air painting world, she has authored two popular books on painting as well as instructional DVDs and serves as an editorial consultant for ‘The Artist’ magazine. She is a member of the of the Royal Society of Marine Artists and the Royal Institute of Oil painters, serving the latter as Vice President. Her work is exhibited widely internationally and has won many awards, most recently the Menena Joy Schwabe Award for an outstanding oil painter at the Royal Institute of Oil painters in 2023. In recent years she has been invited to judge plein air competitions at home and abroad.
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After an art foundation course Haidee-Jo took a degree in illustration and has been exhibiting and teaching ever since. A well-known figure in the plein air painting world, she has authored two popular books on painting as well as instructional DVDs and serves as an editorial consultant for ‘The Artist’ magazine. She is a member of the of the Royal Society of Marine Artists and the Royal Institute of Oil painters, serving the latter as Vice President. Her work is exhibited widely internationally and has won many awards, most recently the Menena Joy Schwabe Award for an outstanding oil painter at the Royal Institute of Oil painters in 2023. In recent years she has been invited to judge plein air competitions at home and abroad.
Hannah Mooney studied at University of Ulster and Glasgow School of Art. In 2014 she received the Deanes Award for High Achievement from University of Ulster. Since graduating in May 2017 from Glasgow School of Art, she has received the Royal Scottish Academy Landscape Drawing Prize, James Nicol McBroom Memorial Prize, Armour Prize, Glasgow Print Studio Publication Prize, Hottinger Award for Excellence and House for an Art Lover Award. She was most recently awarded the Art in Healthcare Prize and the prestigious Fleming-Wyfold Bursary.
Although based in Scotland, her Irish heritage is ultimately the driving force behind her work. She returns frequently to Co. Mayo and Co. Donegal to observe the nuances, lyricalism and subdued colour palette of the Irish landscape. In 2018 Hannah will travel to Florence under the John-Kinross scholarship where she hopes to be enthused and challenged by a new kind of light.
Exhibitions:
Selected for the Aon Art Community Award Exhibition 2017, The Leadenhall building, LondonSelected for Royal Scottish Watercolours Society Exhibition 2018, RSA Galleries, The Mound, EdinburghSelected for New Contemporaries Exhibition 2018, RSA Galleries, EdinburghSelected for FBA Futures Exhibition 2018, Mall Galleries, LondonSelected for RBA Rising Stars Exhibition 2018, Framers Gallery, London
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Hannah Woodman is a contemporary British landscape painter. She was born in 1968 in Totnes, Devon and studied at Exeter College of Art and Design and the Courtauld Institute of Art, London, before training to teach at the London Institute of Education. Having taught and lectured in schools, museums and galleries for six years she turned to painting full time. Since then she has had a series of sell out one-woman shows and her work is now held in private and public collections both at home and abroad. Hannah is a member of the Newlyn Society of Artists and she lives in Cornwall where she works from her studio on the South coast.
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Videos
Hannah Woodman: In a Year's Turning, Cornish Landscapes 2020
Hannah Woodman: In All Weathers: Cornish Landscapes - 2018
Hannah Woodman: Cornwall: Coast and County - 2016
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"This year’s collection was born out of the strange and challenging times brought about by lockdown. As Spring arrived amidst this, the warm seasonal weather brought sun and colour to the landscape and provided inspiration in a newly-deserted environment that prompted the familiar to become curious again. I found the lull in life’s pace encouraged a surge of creativity on my part, leading to a fresh appreciation of a natural world that is all too easily subsumed by day to day human activity." - Hannah Woodman 2020
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUOur galleries are now closed until 2nd December. We will be providing a delivery and click-and-collect service throughout the lockdown, please contact us for more information.+44 (0)20 7399 9999enquiries@panterandhall.com
Born in Vienna where he trained at the Gewerbeschule but when the Nazis came to power in the Anschluss he was forced to leave. His father later died in Auschwitz. On arrival in England he first worked as a labourer before being interned at the out-break of the Second War. On his release he attended Birmingham School of Art and on graduation took a job at a commercial art studio. He worked as a freelance illustrator until 1964 when he took up painting full time.
He participated in many one-man and group exhibitions and in 1981 received the £5,000 Hunting Group prize for the best watercolour of the year. His pictures can be found in many collections including the National Maritime Museum, the Science Museum and Trinity College, Cambridge (for whom he painted its Master R.A. Butler). The National Portrait Gallery commissioned a portrait of Sir Nikolaus Pevsner as well as what is probably Schwarz's most frequently seen work, a triple portrait done in 1984 of the trade union leaders Tom Jackson, Sid Weighell and Joe Gormley standing amidst the pigeons of Trafalgar Square, the picture now hangs in one of the NPG's 20th-century galleries.
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A German by birth, he entered the Academy of Fine Art in Munich in 1929, soon after he became apprenticed to the Sculptor Moisey Kogan, then living in Paris. In the early 1930s he moved to London to work for an advertising firm but after three days left to become a full time painter. During the War he joined the Civil Defence Corps and later the Ministry of Information. As much a designer, and muralist as a painter Tisdall won the competition to design the entrance to the funfair at Festival of Britain South Bank Site in 1953. His first of many solo shows internationally was hel d at Leger Galleries in 1945. This is a major work by this important artist.
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Harry Holland was born in Glasgow and trained at St. Martin’s School of Art from 1965 to 1969. Since the 1970s, this extraordinary classical artist has had over thirty solo exhibitions and participated in countless group exhibitions worldwide. He is widely regarded as one of Britain's finest figurative painters, producing technically brilliant and very beautiful paintings.His style is distinctive and immediately recognisable, the paintings are suggestive in the sense that they imply situations, events, or relationships that are not directly expressed, thus imbuing an engaging sense of mystery. His work has a substantial international following amongst collectors and has found its way into numerous public collections worldwide including the Tate Gallery; British Museum; Metropolitan Museum of Art, New York; National Museum of Wales; the Portrait Gallery of Canada; Welsh Arts Council; European Parliament collection; Belgian National Collection; and the Fitzwilliam Museum,Cambridge.
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Born in Berlin, his father, an industrialist, moved the family to Czechoslovakia in 1933 soon after Hitler's accession to power. In 1939, after the Kristallnacht pogrom of early November 1938 and the consequent setting up of the Kindertransport, Harry and his sister caught the final train leaving Czechoslovakia for England. After war service in Italy he lived in South Wales where he entered a life class run by Ceri Richards, who suggested he went to study at Chelsea College of Art. At this time he took private lessons from the émigré German artist Martin Bloch, whom he greatly admired. A long teaching career culminated in his running the department at Lanchester Polytechnic, (now Coventry University). The Pump Room at Leamington Spa hosted a major retrospective of his work in 2003–2004.
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Educated at Goldsmiths and then the Royal College of Art. Exhibited alongside Peter Midgley and John Leech at the Irving Galleries in June 1953. Showed at the Royal Academy during the 1950s
Diana Heather Pickering Copley was born at Brewood Hall, Staffordshire. At the astonishing age of 14 she enrolled at Clapham School of Art, remaining there for six years until 1939, supported by a London County Council Intermediate Scholarship. A three-year Senior County Scholarship took her to the Royal College of Art in 1940, the year she married fellow painter Christopher Chamberlain, although her studies were interrupted by service in ARP (Air Raid Precautions) in 1940-41. In 1945, Copley returned to the Royal College where her tutors included Carel Weight, an important influence on her work. From 1948 to 1983, she taught drawing and painting part-time at St Martin's, then one of Britain's most lively and influential schools. Her husband Christopher Chamberlain spent many years as an influential teacher at Camberwell.Although she never had a solo exhibition, Copley participated in mixed shows, including Arts Council travelling exhibitions. In 1951, she gained the Lord Mayor's Art Award, second prize, in a show of London paintings at the Guildhall. Her picture of Lake Trasimeno in the 1978 Royal Academy Summer Exhibition was chosen for purchase by the President and Council under the terms of the Harrison Weir Fund. Many foreign collectors bought from Copley, notably the actor Edward G. Robinson, a noted connoisseur. "I think he was very drunk when he bought my work," she said.
(Condensed from David Buckman's Obituary for Heather Copley, published in The Independent, 5th December 2001) Full for the Independent obituary please click here
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The son of an antique dealer, he refused to learn a trade and on the death of his father proceeded to sell his shop and embarked on a life of dissipation. However as the money dried up and liver cirrhosis beckoned he turned to his artistic talents to scratch a living. He recoloured old maps for dealers, faked drawings from the 1830s and produced ‘antiqued’ trade signs for shopkeepers looking to imply longevity. From the shop signs emerged the paintings, colourful tributes to the Paris of his childhood in a distinctive naive style. While poverty drove him to paint it also held him back, as every work had to be sold instantly he found it impossible to build up a body of work that the dealers required for the solo shows that would have made his name. In 1953 a painting professor Heinz Poreb came across a Trotin oil for sale in a junk shop in Saint-Germaindes-Prés. He showed the work to the Munich dealer Dr Hans Fetscherin who instantly saw its potential. On contacting the junk shop owner, Fetscherin found that Trotin was, as ever, uninterested in fame and long-term projects. Undeterred, the Bavarian dealer built up a small body of work by buying a few pieces each time he returned to Paris. By 1957 he had enough to hold the first Trotin exhibition in Munich. An article in Der Spiegl covered the event and the obscure French naive painter was launched on the international art market.
B.A Hons in Printmaking - Sunderland UniversityM.A. RCA Natural History Illustration - Royal College of Art/p>Helen Fay has been a full time artist printmaker since 1992. She worked at Oxford Print Co-op and for many years at Glasgow Print Studio, and is currently working in a converted joiners workshop in the middle of the Northumbrian countryside.
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Born and brought up in Cumbria, Helen left the county at the age of 18 to study Geography at Manchester University. After years living in and exploring various parts of the UK she has now returned to live and work in High Ireby. The land sandwiched between the Solway and the 'Back 'o' Skiddaw' is one she knows intimately and has been hugely influential in her work, even though she was initially known for her depictions of the west coast of Scotland.
Her landscapes are highly evocative, full of atmosphere and alive with movement. They are usually unpeopled, depicting those wild, remote places which she loves to explore. Helen has spent many hours walking, sailing, cycling and cross country skiing in all weathers. She has climbed all 284 Scottish Munros (mountains over 3000 feet) and has sailed extensively off the west coast of Scotland, all the while observing and experiencing the best and worst of British weather, which she is not afraid to express in her work.
Her language of mark making is distinctive and self taught. Initially, she works in rapid, sweeping, almost frantic movements, using her hands to apply the chalk pastel and acrylic ink. A basic image emerges very quickly, but the pace then slows and her technique becomes more considered, until the piece is compositionally and tonally balanced. The resulting work has been exhibited widely in the UK.
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Thanks to US Customs - 2018
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Helen Hale was born in 1936 in Hertfordshire and educated at St. George's School, Harpenden.From 1955 to 1970 she combined a career in designing and illustrating books and book jackets (for the publisher Robert Hale Ltd.) with part-time study at St. Martin's School of Art, London and the Sir John Cass School of Art. During the 1960's she was an active member of the Free Painters and Sculptors group together with the 1960's luminaries Cecil Stephenson and Frank Avray Wilson. She also showed with the National Society, the Royal Institute and the Society for Women Artists. Whilst living in Hampstead Hale was a prominent member of the Hampstead Artist's Council and the Women's International Art Club.
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Eclectic Show - 2014
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Careers in graphic and garden design have led to an obvious bias in Helen Riches work. The imposing of order and structure on nature has always been a fascination and can be seen in her paintings... violets in a bowl perhaps, or a cluster of crofts on a Hebridean hillside. Helen is a committed, full time artist now, working in oils in the studio or outdoors with her easel. She was born in Belfast and has spent much of her life in East Anglia, although far farflung travel with a sketch book has always been ‘a thing’. She has a husband, two children and a patient, pleinair loving rescue dog.
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Helen Riches: Botanics - 2020
Nine New Painters to Panter & Hall - 2019
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A relatively new member of the Panter & Hall family, Helen is a painter of great charm and subtlety. Working on a small scale, her still life oils are a testament to her love of flora and garden design. A recognized authority on the latter, she has illustrated and written for national garden magazines. The richness of colour and compositional content of Helen’s works defy the modesty of their size.
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Born in Prestwick, Ayrshire. Helen joined the design studio of James Templeton while also attending Glasgow School of Art in the evenings through most of the 1950s where she was tutored by Trevor Makinson and William Gallagher. She became a documented designer for Aubusson and Beauvais, travelling throughout the world – her designs can still be found in the Waldorf Astoria, the Turnberry Hotel and the San Francisco Opera House. She has painted full time for many years and exhibited widely. Her work is represented in the corporate collections of Flemings, Dunedin Fund Managers and the TSB.
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Panter & Hall are delighted to be exhibiting at the 40th edition of the Henley Festival.
Stands I and M, Ruby Gallery, Henley Bridge, Henley-on-Thames, RG9 2LY
Henri Thomas was a Belgian genre, portrait and still life painter, sculptor and etcher. Born in Sint-Jans-Molenbeek, he studied at the Académie Royale des Beaux-Arts in Brussels from 1895 until 1898. On graduating he started a studio in Brussels, where he mainly worked as an illustrator of avant-garde books. His fine art practice centred on marine paintings, floral still lifes and portraits of elegant ladies. He initially launched his career with the exhibition of ‘Vénus de bar’ at the 1909 Prix Godecharle. This prize is still running today and aims to allow young talents, unknown before the award, to become recognized by a panel of experts made up of famous artists.He exhibited publicly during the Belle Epoque at the Cercle Artistique et Littéraire in Brussels and the Société Nationale des Beaux-Arts in Paris. He was a member of the Labeur society for fine artists that organised annual expositions for its members in the Museum of Modern Arts in Brussels between 1898 and 1907. The Society was at the forefront of the Belgian avant-garde and its key members went on to form the group known as the ‘Brabant Fauvists’.Thomas often depicted Belgian night life - scenes in bars and portraits of ladies - with the suggestion of decadence, temptation, adultery and prostitution in his subjects poses, that echoed his French contemporaries’ images of the demi-monde during the Parisian Fin de siècle. These paintings of elegant and voluptuous women date mainly from the Belle Époque and interbellum and show no small influence of the Belgian artistic giant of the period Félicien Rops.He was also a successful book illustrator, as with his paintings he enjoyed depicting the racier side of Belgian society. In 1898, having barely graduated, he contributed forty illustrations to the gay-erotic book L'Homme-sirène by Louis Didier, who worked under the pseudonym Luis d'Herdy. In 1909 Thomas contributed an illustration to a collection of poems ‘Au claire de la dune’ by the influential art critic and poet Théo Hannon (1851-1916). Four years later Hannon commissioned him to illustrate his collection of erotic poems ‘La toison de Phryné’.This delightful little portrait painting is a typical work by Thomas, many of his oils were on the smaller scale and the majority depicting the beautiful women he encountered in the Café Society around Brussels. We probably won’t know now whether this was a friend, lover or even a complete stranger sat at an adjoining table but through his painting he has left a permanent record of her beauty and personality for us to enjoy and some lucky collector to own!
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We started Panter & Hall twenty years ago to promote contemporary representational painters from the UK and further afield. Now based in Pall Mall we have broadened our interest into Modern British painting - that area of British art loosely produced from 1880 to the early 20th century. During lock down we have held an online exhibition of work's from the gallery vaults with a few recent purchase that we called 'A Dealer's Eye'. Panter & Hall invite Home House members to an exclusive interactive virtual tour with one of the directors, discussing some of the works in the exhibition and providing an insight into this area of the art market and gallery life.
Howard Milton first studied painting at the Hammersmith College of Art under Ruskin Spear. But it was communication through Graphic Design that shaped his career. He came to international prominence during the 1980s design boom, building the identities for the world’s leading brands. In 2005 the book ‘Alas, Smith & Milton’, capturing the work and history of his company, was published. In 2008 he and partner Jay Smith were recognised for a lifetime’s contribution to British design, in the Design Council’s Prince Philip award for outstanding creativity.
But he had never stopped painting. He returned to it full time when he moved to Cornwall and taught at Falmouth University of Arts. He says his aim is to always tell a story, a trait that has seen him elected a member of the St Ives Society of Artists and a regular at the NEAC. He currently exhibits across the country in London, Cornwall, Gloucestershire and Edinburgh galleries.
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Howard J. Morgan was a member of the Royal Society of Portrait Painters. His work in this field is exceptional and reflected in numerous royal commissions. These include HM The Queen, HM The Queen of The Netherlands and HRH Prince Michael of Kent. A particularly striking portrait of Dame Antoinette Sibley is another notable commission which, with several others, is on permanent display at the National Portrait Gallery.
In addition to portraits, Howard J. Morgan also painted landscapes, religious pictures and murals — but his renown will ultimately rest in his conversation pictures which are often profoundly disturbing and tantalizingly indecipherable; demanding but with an underlying humour. He is often compared to Sargent, but a truer comparison would lie with Annibale Carracci, whose stylistic freedom of movement and impasto technique captured the imagination of post Renaissance Roman patrons.
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Watercolours - 2018
Watercolours - 2018
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Boycott Brown is one of those solid, professional twentieth century British landscape and marine artists currently so underrated by the market. His immediate contemporary, and the painter to whom he is most commonly compared, is Edward Seago, whose work currently makes ten times the price. In fact, the comparison is drawn for far from stylistic reasons. Rather largely from their mutual membership of the East Anglian School of painters, that late twentieth century band of traditional plein air painters inspired by the Norfolk and Suffolk coasts and their love of working Spritsail barges.Boycott Brown was not brought up in East Anglia but in Bushey, Hertfordshire, the home of an entirely different artistic tradition. In 1883 Hubert von Herkomer had opened his art school in Bushey. It largely catered for established painters and ran what were effectively postgraduate courses. Von Herkomer was a powerful character and the school’s reputation grew, such that by the time it closed in 1904 it had enjoyed worldwide fame. The void it left was filled by proliferation of smaller schools and studio teaching arrangements, notably that run by the animal painter Lucy Kemp-Welch. By the time Boycott Brown was looking for instruction the school of choice was run by Marguerite Frobisher. Frobisher was close to Kemp-Welch and ultimately became her companion and legatee.His father, Allan Robert Brown, a watercolourist and art master at the Royal Masonic Institution for Boys, also gave the young Boycott Brown some instruction. In 1929 the school built a junior department and presumably through his father’s connection, was taken on to teach art there. While working he continued his artistic studies, in the evenings at Watford School of Art, and during the holidays he attended Heatherley's School of Art under Frederic Whiting RP RSW and Bernard Adams RP ROI. Whiting was an old school academic painter who had learnt at the feet of the great in fin de siècle Paris and Adams, although now largely forgotten, displayed the same technical discipline having studied at the Antwerp Academy.Much is made of Boycott Brown’s connection with Sir John Arnesby Brown RA at this time. Most biographies refer to his ‘encouragement’ of the young artist and often go so far to talk of teaching him. Possibly they had crossed paths through Arnesby Brown’s Bushy connection, both he and his wife had studied at the von Herkomer school in the 1890s. It seems also, to be accepted that during the 1930s Boycott Brown first discovered, and fell in love with, the East Anglian landscape and coastline. According to Suffolkartists.co.uk (the best source for information for BB by far), he spent as much time as he could painting in East Anglia, and it was while there that he befriended Arnesby Brown and also William Henry David Birch (1895-1968) both of whom greatly influenced his work. Very early on he began to paint in the open air, capturing the sudden changes of light and colour. particularly cloud formationst; he kept detailed charts linking prevailing winds to cloud forms in order that he could use them to best advantage in his work.During the Second War he served in Intelligence, serving in India, South Africa, Burma and Northern Ireland. Tantalisingly nothing further is discoverable online regarding the details of his war service.In peacetime he returned to teaching and in 1947 purchased a cottage in Blakeney, Norfolk where he could paint in the school holidays. On his retirement in 1970 he moved permanently to Saxmundham in Suffolk.Throughout the 1950s and 1960s he painted and exhibited prolifically. He exhibited regularly at the Royal Academy, the Royal Society of British Artists, the Royal Institute of Painters in Oil, the Royal Institute of Painters in Watercolour. He was an active member of the Royal Society of Marine Artists. A solo exhibition was held at the Belgrave Gallery in 1986 and Abbott & Holder mounted a memorial show in 1991.His work is held in the collections of National Maritime Museum, Cornwall, the Government Art Collection, the St Barbe Museum & Art Gallery, Lymington and of course, a large collection at the Bushey Museum & Art Gallery.
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Born in Glasgow, Hugh Munro worked for the artist Charles Hodge Mackie cutting woodblocks, and later became a successful landscape and figure painter. He exhibited at the Royal Scottish Academy and the Royal Glasgow Institute, where he was an elected member and, for a time, he was the art critic of the Glasgow Herald. His work is sometimes associated with the Glasgow Boys and their circle – indeed, when Munro died his widow married the Galloway painter W S MacGeorge.
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Iain MacNab of Barachastlain was one of the most original printmakers of twentieth century Scottish art MacNab was educated in Edinburgh before studying at Glasgow School of Art and then Heatherley’s in 1918. He was appointed principal of Heatherley’s School of Art between the wars and later founder principal of the Grosvenor School of Modern Art. He exhibited at all the major public venues, including the Royal Academy, the Royal Scottish Academy, the Royal Glasgow Institute and the Royal Institute of Painters in Oil of which he served as president for nearly twenty years. His work can be found in the permanent collections of the V & A, the British Museum and the Ashmolean, Oxford.
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Born in Glasgow , Fleming was a notable artist and engraver and played an important role in the Scottish art world of the mid-twentieth century. He was a lecturer at Glasgow School of Art for many years where his pupils included Colqhoun and McBride and then successively Warden of Patrick Allen-Fraser Art College at Hospitalfield and Principal of Gray's School of Art, Aberdeen.
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Ian was born in Gravesend in Kent in 1934. A talented musician, he studied at the Royal College of Music in London from 1950. Soon afterwards he began a part time painting course at St Martin’s School of Art and before long he decided to eschew a promising career as a concert pianist in favour of his painting. He began exhibiting his work in London in 1956 and a year later while showing at the wildlife specialists Tryon Gallery he met the artist Edward Seago. At the time Seago was a celebrity artist, equally popular with the man in the street and the Royal Family, he had recently returned from accompanying Prince Philip as a friend and ‘tour artist’ on a trip to the Antarctic in HMY Britannia. Seago saw great potential in the young Ian Houston and offered him encouragement from the start, in much the same way perhaps that Munnings had encouraged the young Seago. It was Seago who persuaded Ian to concentrate on landscape painting, a remarkably unselfish suggestion as it was his own specialty. Ian told us that “Ted was enormously generous and such a nice person. He used to give me a box of paintings to copy.”
In 1964 he moved to North Walsham in Norfolk with his wife and family, where he taught music at the town high school. With Seago as an artistic godfather it was natural to gravitate to the county that had made the great man’s name and whose distinctive ‘flat’ landscapes inspired centuries of artists to subordinate land and man to its towering skies. Solo shows soon followed in Lincoln and Norwich, the latter with Mandell’s in 1970, shortly before Seago’s death. The success of the Norfolk exhibition allowed him to buy the sea-going Thames Spritsail Barge “Raybel” in which he subsequently gained his Master’s Certificate. Apart from the pure pleasure in sailing it, the Raybel allowed him to immerse himself in the weather off shore around East Anglia. Particularly sea weather and traditional sail in action, adding an enormous authenticity of experience and knowledge to the depiction of his subjects that so many of his followers now lack.
His paintings have been collected worldwide for many decades and he has held solo shows Melbourne, Australia to Hong Kong. His private collectors include HM The Queen and HRH The Duke of Edinburgh and his work is held in the corporate collections of Barclays Bank plc, Mercury Asset Management, Norwich Union, Robert Fleming Holdings Ltd, The Australian Government, The State Bank of South Australia, The Usher Gallery, Lincoln and Windsor and Newton amongst many others. He became a member of the Guild of Norwich Painters in 1994 and later became the group’s president.
Ian is described variously as an impressionist or post-impressionist painter, he is the last in a long line of British twentieth century landscape painters that lead directly back to Munnings and Priestman, although through his association with Norfolk painting he is the spiritual heir to the more ancient heritage of Constable and the Norwich School. We are enormously proud to be associated with an artist of Ian’s artistic stature, a great painter with a page in British painting history secured.
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Ian Houston: A Great British Impressionist - 2023
Ian Houston (1934-2021) - Works from the Studio Collection - 2021
Ian Houston - An Easel in the Elements - 2019
Ian Houston - Light and Time - 2017
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A stunning collection of original paintings by one of the best known British plein air impressionists of the last fifty years. Sourced from the estate, the exhibition follows the late Ian Houston on his travels with his easel from London, East Anglia and France to Hong Kong and the Falkland Islands.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Ian was born in Gravesend in Kent in 1934. A talented musician, he studied at the Royal College of Music in London from 1950. Soon afterwards he began a part-time painting course at St Martin’s School of Art and found he could combine promising careers both as a concert pianist and professional painter.
He began exhibiting in London in 1956. A year later, while showing at the Rowland Ward Gallery, the wildlife specialists, he met Edward Seago, a celebrity artist, equally popular with the man in the street and the Royal Family. Seago had recently returned from accompanying Prince Philip as friend and ‘tour artist’ on a trip to the Antarctic aboard HMY Britannia. Seago saw great potential in the young Houston and encouraged him (in the same way perhaps that Munnings had encouraged the young Seago). He persuaded Ian to concentrate on landscape painting, a remarkably unselfish suggestion as it was his own speciality. Ian tells us that ‘Ted was enormously generous and such a nice person. He used to give me a box of paintings to copy’.
In 1964 he moved to North Walsham in Norfolk, with his wife and family, where he taught music at the high school. With Seago as his artistic godfather, it was natural to gravitate to the county that had made the great man’s name and whose distinctive ‘flat’ landscapes inspired centuries of artists to subordinate land and man to its towering skies. Solo shows soon followed in Lincoln and Norwich, the latter with Mandell’s in 1970. The success of the Norfolk exhibitions allowed him to buy the seagoing Thames Spritsail Barge Raybel in which he subsequently gained his Master’s Certificate. Apart from the pure pleasure in sailing, Raybel allowed him to immerse himself in the offshore atmosphere of East Anglia. The sea, weather and traditional sail in action added an enormous authenticity of experience and knowledge to the depiction of his subjects that so many of his followers now lack.
Ian, described variously as an impressionist or post-impressionist painter, is the last in a long line of British 20th century landscape painters that leads directly to Munnings and Priestman, although through his association with Norfolk painting he is the spiritual heir to the older heritage of Constable and the Norwich School. We are enormously proud to be associated with an artist of Ian’s stature, a great living painter with a page in British painting history secured.
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10.00 AM - 6.00PMSaturdays: BY APPOINTMENT ONLY Sundays: ClosedClosed Bank Holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Earlier this year we lost one of our most respected plein air landscape painters. Ian Houston was considered the true heir to his friend and mentor, the great Edward Seago. In this exhibition we are delighted to offer a collection of previously unseen works from Ian’s studio and personal collection.
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Born in Mexborough, Ian’s passion for painting manifested at an early age. As his success as an artist grew, he was able to devote all his time travelling and painting. Now he divides his life between his studio and setting up his easel en plein air around the British Isles and abroad. He has exhibited at the Royal Academy, the New English Art Club and the Royal Institute of Oil Painters amongst others. He is a past winner of the 'The Discerning Eye' Chairman's Purchase Prize.
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Born in Mexborough, Ian’s passion for painting manifested at an early age. As his success as an artist grew, he was able to devote all his time travelling and painting. Now he divides his life between his studio and setting up his easel en plein air around the British Isles and abroad. He has exhibited at the Royal Academy, the New English Art Club and the Royal Institute of Oil Painters amongst others. He is a past winner of the 'The Discerning Eye' Chairman's Purchase Prize.
A New Zealander by birth, Ida Cooke arrived in London in 1929 to study under Tonks at the Slade. Clearly a prodigious talent, she was awarded the Slade Prize for Life Painting in 1933 and the Orpen Bursary a year later. Deciding to settle in England permanently, Ida continued her studies while travelling across Europe. During this period she began to exhibit publicly, showing regularly at the Royal Academy and Accademia Italia delle Arti e del Lavoro, winning a Gold Medal at the latter.
She continued to paint and exhibit throughout the War while serving as a Fire Guard with the Civil Defence Service. In 1941 she exhibited at the first Civil Defence Artists’ exhibition at the Blitz damaged Cooling Galleries and her growing reputation led to an invitation to join the United Society of Artists shortly afterwards.
Post war, Ida built a flourishing portrait practice but in 1962 she journeyed to Austria to study under the German expressionist painter, Oscar Kokoschka at his School of Art at Salzburg. Perhaps as a consequence of her experience there, by the early 1960s she began to concentrate on genre paintings, inspired by characters and situations she encountered day to day. Her wry and somewhat satirical observations of human nature led to a distinctive series of imaginary scenarios in oils. The modernist aesthetic that permeates her work has proved timeless to collectors of the post war and current era and her paintings still feel contemporary and enjoyably accessible today.
For forty years she was a regular exhibitor at the New English Art Club, the Royal Academy and the Royal Society of British Artists. Her paintings were exhibited commercially at the leading galleries of the day, notably Clarges Gallery in Mayfair who held their first solo show for her in 1973.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold● ReservedIf you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
A New Zealander by birth, Ida Cooke arrived in London in 1929 to study under Tonks at the Slade. Clearly a prodigious talent, she was awarded the Slade Prize for Life Painting in 1933 and the Orpen Bursary a year later. Deciding to settle in England permanently, Ida continued her studies while travelling across Europe. During this period she began to exhibit publicly, showing regularly at the Royal Academy and Accademia Italia delle Arti e del Lavoro, winning a Gold Medal at the latter.
She continued to paint and exhibit throughout the War while serving as a Fire Guard with the Civil Defence Service. In 1941 she exhibited at the first Civil Defence Artists’ exhibition at the Blitz damaged Cooling Galleries and her growing reputation led to an invitation to join the United Society of Artists shortly afterwards.
Post war, Ida built a flourishing portrait practice but in 1962 she journeyed to Austria to study under the German expressionist painter, Oscar Kokoschka at his School of Art at Salzburg. Perhaps as a consequence of her experience there, by the early 1960s she began to concentrate on genre paintings, inspired by characters and situations she encountered day to day. Her wry and somewhat satirical observations of human nature led to a distinctive series of imaginary scenarios in oils. The modernist aesthetic that permeates her work has proved timeless to collectors of the post war and current era and her paintings still feel contemporary and enjoyably accessible today.
For forty years she was a regular exhibitor at the New English Art Club, the Royal Academy and the Royal Society of British Artists. Her paintings were exhibited commercially at the leading galleries of the day, notably Clarges Gallery in Mayfair who held their first solo show for her in 1973.
“Ida Cooke’s style is instantly recognisable; this style does not happen overnight but evolves as a result of pain, toil and tears. The background of her achievement shows impeccable credentials. Born in New Plymouth, New Zealand, she came to London and studied at the Slade School of Art under Professor Tonks. Anyone who knows or has read about that period will have realised that to succeed required talent, ability and hard work. To have won the Slade Prize for Life Painting (1933) and Orpen Bursary (1934) is to be brilliant. The United Society of Artists regrets the sad loss of such a valuable Member, but can feel proud that her distinction adds to the prestige of the Society.”
Obituary from The United Society of Artists, 1982
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Twentieth Century British Painting - 2019
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Hans Gustaf Ivar Morsing was born to an artistic family in Ängelholm, Sweden but grew up in Stockholm. He initially studied art at the summer schools held by Swedish designer and artist Edvin Ollers but at the outbreak of the Second War he was conscripted. Sweden’s developing neutrality allowed him to attend Gösta and Irma Bergh's Technical School of Advertising (which later became Berghs School) between 1940 and 1941 followed by a year with the Modernist painter Isaac Grünewald at the late Professor at the Royal Swedish Academy of Arts. After hostilities he toured Europe painting and exhibiting. Examples of Morsing's works are held in the collections of Moderna Museet, Stockholm and museums in Kalmar and Jönköpings.
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A genuinely naïve painter, Taylor was feted in the press as ‘the spiv who found he had genius’. He found himself at the centre of the 1960s art world’s love affair with ‘primitive’ art. In 1966 an observer article entitled ‘Primitives in Private’ recognised the enormous popularity in naïve art at the time: ‘With their uninhibited and innocent vision, their instinctive techniques, primitive artists in Britain are becoming wildly popular’, It included a short interview with Taylor and reproductions of his work. An East Ender living in the Old Kent Road he was discovered in his thirties and taken up by the Mayfair galleries. Described as unskilled and barely literate, his first London show had sold out on the opening day. He exhibited with the Redfern Gallery and the Mercury Gallery amongst others. His 1966 View of Toile is held in the Kettles Yard collection.
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Born in 1838 in Lund, he was apprenticed to a goldsmith in Malmo from 1855 efore moving to Stockholm in 1860, where he worked as a goldsmith until 1867. From 1864 to 1872 he studied at the Academy in Stockholm and it was there that he developed his interest in folk culture, eventually leading to his becoming a pioneer in textile handicraft. He travelled around Skåne and studied the old Skåne decorative fabrics. He collected thousands of designs that he found touring cottages in the in the cottages in the Skåne countryside. In the 1880s he taught pattern drawing at the Technical School in Stockholm. Together with her sister Thora Hill, Ohlsson formed weaving schools in Lund and Stockholm and authored the seminal text on the subject, ‘Swedish patterns for art and embroidery’. Kulle’s work is represented by the National Museum in Stockholm, Linskäktning and Kistehammare Museums, both in Skåne, Hälsingborgs Museum, Kristianstad Museum, the Cultural History Museum in Lund and Malmö Museum.
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Cumming was born in Dunfermline, Fife. He was educated at Dunfermline High School where he displayed an early determination to become an artist, winning an Andrew Grant Scholarship to attend the Edinburgh College of Art between 1939 and 1947. His studies were interrupted by the War and in 1941 he joined the Royal Air Force, completed pilot training at Terrell, Texas, in 1944 and served in RAF Transport Command in India and Burma.Returning to his studies at Edinburgh College of Art, he completed his Diploma in 1948 and his postgraduate degree a year later. He was awarded a Travelling Scholarship, which he used to live and work in the remote island community of Callanish on the Isle of Lewis. He created a series of paintings, known as the Hebridean paintings, during this period that later helped to establish him as painter of The Edinburgh School.From 1950 he lectured at Edinburgh until his retirement in 1982, teaching both in the Humanities and the Painting school. Students of Cumming included Sandy Moffat, John Bellany and latterly Richard Wright who won the Turner Prize in 2009. Cumming is remembered with great affection for his gentlemanly encouragement, sparkling wit and the range of his intellect. He was elected Academician of the Royal Scottish Academy in 1970 and acted as its Secretary between 1978 and 1980. His daughter Laura Cumming was art critic of The Observer newspaper.A retrospective was held at the Talbot Rice Gallery in Edinburgh.
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Born in Cowdenbeath, Fife, James studied at Glasgow School of Art from 1950 to 1956. One of the most influential painters and teachers in Scottish art in the late twentieth century, his spell as Senior Lecturer in Drawing and Painting at Glasgow lasted over twenty years. Serving from 1975 to 1996 he oversaw one of the most exciting generations of young Scottish painters in the last century. He remained as Painter in Residence until 1998. His awards for painting at the societies are too numerous to mention here. His paintings are represented in the collections of The Bank of England, BP, the Bank of Japan, Glasgow & United Distillers and the Private collections of both HRH The Prince Philip and HRH The late Queen Mother.
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Born in Oldham and aged 14 apprenticed to a textile designer attending evening classes at Manchester Scool of Art. Met L.S. Lowry. Moved to London in 1919 attending evening classesat the Central School of Arts and Craft under A.S.Hartrick. Worked as an illustrator and poster designer. Married the artist,Margaret Cook, in 1928. Exhibited at the Royal Academy from 1929; the New English Art Club and the London Group, 1930 and member of the LG from 1934. Solo exhibition at Arthur Tooth & Sons, 1933. During the 1930s appointed art director for the advertising agency, C. Vernon & Sons. Was a founding member of the Artists' International Association and drew political cartoons for the Daily Worker and the Left Review and designed posters for London Transport and illustrations for Lilliput magazine. Author of 'The First Six Months are the Worst', 1939. During WWII he worked for the Ministries of Food, Information and Education. Elected Royal Academician, 1954. Lived in Dulwich, London. Crane Kalman held an exhibition of his work; 'A Very English Painter' in 2004-5. His work is held by the London Transport Museum and the Tate Gallery.
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James Fullarton was born in Glasgow and graduated from the Glasgow School of Art in 1969 since when he has worked successfully as a professional painter. He lives and works in Ayrshire, on the west coast of Scotland and has lectured for the Scottish Arts Council. He exhibits regularly at the Royal Scottish Academy and the Royal Glasgow Institute. His work is represented in many public and corporate collections, notably the Greenock Art Gallery, Scottish Television, the Bank of Scotland, Robert Fleming Holdings Ltd, Adam & Company, Guinness Plc and Herriot-Watt University.
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James was born in Ayr and studied painting and printmaking at Glasgow School of Art from 1956 to 1961. After a successful career teaching art, he has painted full-time for many years; working mainly in oils. James is an expressive painter, using the rich, luscious quality of the paint to great effect. He is a past winner of the prestigious Laing Landscape Competition and the Scotsman Art Competition. His work is represented in many public collections including those of the House of Lords, Glasgow University and the Maclaurin Gallery.
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James was born in Ayr and studied painting and printmaking at Glasgow School of Art from 1956 to 1961. After a successful career teaching art, he has painted full-time for many years; working mainly in oils. James is an expressive painter, using the rich, luscious quality of the paint to great effect. He is a past winner of the prestigious Laing Landscape Competition and the Scotsman Art Competition. His work is represented in many public collections including those of the House of Lords, Glasgow University and the Maclaurin Gallery.
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James Longueville was born in 1942 near Chester. Following a career in journalism, he started to paint professionally in 1972, concentrating on the landscape around his South Cheshire studio. Working in oil, pastel and watercolour, his work is traditionally figurative, influenced by a long line of exponents in European landscape painting from Boudoin, Constable and the East Anglian School to Wilson Steer, Seago and others. He paints daily and travels throughout England, Ireland, France and Italy looking for new material.
James was elected a member of the Pastel Society in 1983 and the Royal Society of British Artists in 1989. He has twice won the Patterson Pastel Award at the Pastel Society & was awarded the John White Memorial Prize at Patterson's Venice in Peril Exhibition in 2010. James has exhibited regularly with the Royal Society of British Artists, the Royal Society of Oil Painters, the Royal Institute of Painters in Watercolour, the Pastel Society and many galleries at home and abroad. His work can be found in both private and public collections.
James McIntosh Patrick was born in Dundee. He displayed a facility for painting and drawing from an early age and went on to study at Glasgow School of Art from 1924 to 1928. By his mid-twenties he had won national recognition as a printmaker of highly detailed landscape panoramas and townscapes. When the print market slumped in the early 1930s he resumed oil painting, choosing mainly landscapes in and around the Dundee area. These paintings were executed with a painstaking attention to detail, but the artist would often rearrange the topography, shifting mountains, changing scale and altering perspective for pictorial ends.
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McNaught was born in Glasgow, the only son of parents who worked as carpet designers. He studied fine art at Glasgow School of Art and at Hospitalfield Art College between 1966 and 1970, winning the Royal Scottish Academy painting award the year he graduated. He enjoyed a successful career in art education, at one time teaching the young Simon Laurie. In 2010 he won the Sir William Gillies Award at the Royal Scottish Society of Painters in Watercolour. Now James paints full-time and his beautifully drawn distinctly idiosyncratic paintings are highly sought after worldwide.
James Morrison was born in Glasgow in 1932 and studied at Glasgow School of Art from 1950-54. He was visiting artist at Hospitalfield House in Arbroath1963-64 and lived in Catterline before moving to Montrose in 1965. Morrison joined the staff of Duncan of Jordanstone College of Art Dundee the same year and was senior lecturer there from 1979-87 when he left the college to paint full time. His first solo exhibition with the Scottish Gallery was in 1959.
He painted widely abroad following the award of a travelling scholarship to Greece. Further painting trips took him to France, Canada, the High Arctic and Botswana, but for a long time his two major sources of inspiration were the landscapes around his home in Montrose and Assynt in West Sutherland. Morrison was an Academician of the Royal Scottish Academy and a member of the Royal Scottish Society of Painters in Watercolour.
James Morrison’s work is to be found in numerous institutional, corporate and private collections throughout the world, including the Royal Collection.
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James was born in Bolton in 1971. His obsession with drawing became apparent at an early age and like most from his generation, he remembers the many observational drawings of the ubiquitous Coke cans at High School. It was only with the discovery of automatism and pareidolia that this style started to move slowly towards the expression he is renowned for. During his degree in Print Making at Leeds Metropolitan University (1991-1994), under the guidance of Phil Redford and Jack Chesterman, he nurtured his sensitivity for oil-based ink that eventually led to oil paint. His speedily produced monotypes, at this time, introduced the energy and gestural qualities which still feature in his landscapes today. Upon finishing his degree James spent a number of years working in various jobs and stints of travel, eventually settling again in his home town to establish a reputation for his unique vision. Since then, he has exhibited widely, won numerous awards and his work features in many private and public collections, including the Manchester City Art Gallery.
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James Naughton - Finding the Way - 2022
James Naughton - Where the Light Gets in - 2017
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"What I love most about producing a body of work like this, is how all-consuming the process can become. My initial idea was to make a collection of works that would record the various phases of twenty years as a professional landscape painter. If this first notion starts to develop and attract other ideas, that’s a great sign that there’s potential for something special - the possibilities start to outrun any doubts I suppose. Twelve distinct pieces began to emerge. Working on them, it was difficult to avoid the sense of a story, told through various visions. At times they open up to an expansive distance, at others there are interludes of more intimate interior reflection. It struck me that the final pieces would invite viewers to chart their own journey through each piece and likewise the whole collection.
It’s easy to fall into the stereotype of the artist being individually driven and uniquely responsible for the work they produce, but I would like to thank Tiffany, Matthew and Christina for their continued support, care and patience. For various reasons this body of work has felt like a strange quest and I'm certain I would not have got to this point without them".
- James Naughton, 2022
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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James Orr was a landscape artist whose inspiration came from the west coast of Scotland and the beaches and vineyards of Mallorca.He grew up in the Townhead and Springburn areas of Glasgow. The youngest son of a postman and a mother who was a tireless campaigner for the Temperance movement, his early life was culturally sparse. Apart from a bible, there were no books in the family home and there were no paintings or prints adorning the walls of their tenement flats.
When James discovered the local library, his life blossomed leading to a lifelong love of reading and learning, although his mother regarded his library books as mere dust collectors.
While he showed an aptitude for drawing, he was not encouraged by his family to pursue it. He left school aged 14, beginning working life as a telegram boy and after national service with the RAF, he became a sales rep selling carpets to menswear to corsetry. His time on the road as a sales rep gave him access to all of mainland Scotland and the islands, and during this period, he was able to experience and absorb much of the visual beauty of the Scottish landscape.
After his national service, he decided to emigrate to the USA, and bought his £10 one-way ticket. However, days before he was due to leave, he met Betty Inglis and all thoughts of emigrating evaporated. They were happily married for 41 years, until Betty’s death in 1996. A shared sense of humour underpinned their successful marriage. Betty would say of their beautifully balanced relationship, "James worries about the cost of living and I worry about the state of the planet." They had one daughter, Jacqueline, who is also an artist.
James Orr's work commitments meant relocation from Glasgow to Inverness and subsequently to Prestwick in Ayrshire. Ever-active, he obtained his glider pilot's licence and spent many happy Saturdays surfing the thermals over Lossiemouth. He also learned to sail, was a good, but intermittent, golfer and also a talented photographer. The move to Prestwick in 1969 meant the end of his gliding days and he started to attend local painting classes and by the mid 1970s was attending life drawing classes at the Glasgow School of Art under the tutelage of John Boyd RGI and William Crosbie. By the late 1980s, he was good enough to begin painting on a full-time basis and forged a very rewarding career as an artist.
While James Orr is known for his vibrant paintings, he was a talented draftsman and drawing was of great importance to him. He eschewed reliance on photographic reference material and there was always a sketchbook and pens and pencils by his side when he was out travelling. He was also a fine watercolourist.
Through exhibiting at the various visual arts societies in Scotland, such as the RGI and RSA, he became inspired by the work of Scottish artists such as Alexander Goudie, Archie Forrest, Sandie Gardner and Alberto & Leon Morrocco. It is therefore ironic, given his avid interest in Scottish painting, that he was initially more influenced by English artists such as Edward Seago, Bernard Dunstan and Ken Howard. His early paintings are very tonal and subdued in colour; more akin to an English style of painting. However, travels to Mallorca, France and Italy brought a Mediterranean panache to his palette and the vibrant colour started to appear more frequently in his work.
A modest man when it came to his own achievements, his work is held in the collection of HRH Duke of Edinburgh and in many private collections across the world. He won several awards for his work, including the RGI’s Royal College of Physicians & Surgeons of Glasgow Award. His paintings have given great pleasure to many people.
Renowned for his kindness and generosity, he also nurtured many budding artists and gave his time generously through artist demonstrations for many art clubs across Scotland.
He had an incredible drive and zest for life and he maintained great pace belying his age. He had many friends from different spheres and loved socialising with them. Just a few weeks before his death, he was still swimming with his friends twice a week, keeping up with his artist friends' group, attending life drawing classes, painting, delivering and uplifting paintings, visiting friends and family and much, much more.
However, first and foremost, he was a family man; he was devoted to his family and supporting and encouraging them when necessary. He took great interest in the lives of his nieces, nephews and daughter taking them ice skating and teaching them how to swim. In particular, he devoted much time to his daughter, instilling within her a love of art and encouraging her career wherever possible.
James, who died in Kintyre, is survived by his daughter, Jacqueline.
Obituary from The Herald January 2019
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James Orr : Retrospective - 2022
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Tiffany and I first met James Orr whilst on a trip to Ayrshire, scouting for new artists in the 1990s. Visiting his studio in Prestwick, we were struck by his natural good humour and disarming modesty regarding his obvious talent. Knowing we were actively looking for Scottish painters, he was characteristically generous in his keenness to suggest fellow artists. Throughout our working relationship, James was always a joy to deal with and utterly professional in his commitment to his craft.
A late starter, he enjoyed a career in the real world before taking life drawing classes at Glasgow School of Art in the mid 1970s. There he benefited from the guiding hands of John Boyd and William Crosbie, two of the great names of late twentieth century Scottish painting. The crispness of his style and faultless brush strokes belied his adherence to plein air sketches and drawings, never relying on photographic references. His artistic career quickly blossomed throughout the 1980s and 90s, garnering awards at the public societies and seeing his work purchased by HRH The Duke of Edinburgh.
We are delighted and proud to be holding this small retrospective for James in our Pall Mall gallery and for which we would like to thank his daughter Jacqueline, an old friend of Panter & Hall and now a successful painter in her own right.
- Matthew Hall
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Born in Newcastle, James studied at the Burslem School of Art and the Royal College of Art before then training as a potter in the porcelain studios of Buller's Ltd, Wilton. Rushton was the Principal Lecturer in the Department of Art & Design at North Staffordshire Polytechnic, and also lectured in ceramics at the Stoke-on-Trent College of Art. He is a past Prize Winner at The Sunday Times Watercolour Competition and is an Honorary Retired member of the New English Art Club.
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James Tucker painter and teacher was born in Wallsend, Northumberland. He studied at the King Edward VII School of Art, Armstrong College, Newcastle, 1914-22, under Richard Hatton, then at the Royal College of Art, 1922-7, under William Rothenstein, for the latter two years acting as his studio assistant. Tucker won a travelling scholarship in his final year and went on to become head of drawing and painting at Gloucester College of Art from 1931-63. He showed widely and exhibited many works at the Royal Academy - where his painting The Champion was picture of the year in 1941. He Lived at Upton St Leonards, Gloucestershire.
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James was born in Port Glasgow to a family of Clyde shipbuilders. He studied at Glasgow School of Art under Douglas Percy Bliss and David Donaldson. In 1958, he was one of 13 founders of the Glasgow Group, an artists’ cooperative which continues to this day. He was a much loved art teacher both in secondary schools and evening classes at Glasgow School of Art. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock’s McLean Museum and Art Gallery held an exhibition, The Lost Clyde: The Paintings of James Watt, to celebrate his 90th birthday. Collections include those of HM The Late Queen; The Late HRH The Prince Philip; The Princess Royal; The Arts Council; the Hunterian; Glasgow Museums; Paisley Museum & Art Gallery, amongst many others.
Born in 1968, Jane Hooper is a self taught artist living in a small village in Buckinghamshire. After 20 years of painting it is still life that has become a real passion. From her studio in High Wycombe Jane sets up collections of everyday objects that become the subject of her work. She works in oils with a muted palette trying to build shape colour and importantly texture. Always hoping to make the out come look spontaneous, confident with a simple naivety.
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Jane Hooper: As I am - 2021
Jane Hooper: Seven - 2018
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A Conversation with the Artist: Jane Hooper September 2021
Jane's beautiful still life paintings have a clarity of design and subtle, muted palette reminiscent of that post war British aesthetic currently so much in fashion. The sophistication and confidence of her practice belie her lack of formal education and have won her many devotees over the twenty years since she began painting professionally. If you are interested in any of the reserved paintings, it is worth contacting the gallery as there is a chance that they may become available.
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CECIL COURT GALLERYPanter & Hall22-24 Cecil CourtLondonWC2N 4HEMonday to Sunday: 10AM - 6PMClosed for lunch 2PM - 3PM+44 (0)20 7399 9999enquiries@panterandhall.com
A graduate from Glasgow School of Art in the 1980s, Janice later worked, rather appropriately, for a period as Artist in Residence at Edinburgh Zoo.Her highly decorative, amusing and beautifully observed works combine birds, animals, fruit, handbags, high-heeled shoes , teacups with witty writing commenting various aspects and foibles of her real and imagined menagerie of animal characters and her collection of props.
"I tend to choose my subject (usually animal) for their decorative quality which can be explored through the medium of watercolour and collage. I don't normally know what the finished painting is going to look like, I don't plan or do any preliminary sketches, I suppose it is a bit hit or miss! I like to start with one object then add as necessary, sometimes there is a link but normally there isn't. The unlikely collections of objects in my work makes people think, making up their own links. I love to hear how differently my work is interpreted. My paintings are often described as 'quirky' which I like, as life is all too often a bit of a downer, so I enjoy creating daft paintings which can make people a wee bit cheerier!"
- Janice Gray
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Janice Gray: Menagerie - 2020
Panter & Hall’s Twentieth Birthday Exhibition - 2019
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A graduate from Glasgow School of Art in the 1980s, Janice later worked, rather appropriately, for a period as Artist in Residence at Edinburgh Zoo.
Her highly decorative, amusing and beautifully observed works combine birds, animals, fruit, handbags, high-heeled shoes , teacups with witty writing commenting various aspects and foibles of her real and imagined menagerie of animal characters and her collection of props.
"I tend to choose my subject (usually animal) for their decorative quality which can be explored through the medium of watercolour and collage. I don't normally know what the finished painting is going to look like, I don't plan or do any preliminary sketches, I suppose it is a bit hit or miss! I like to start with one object then add as necessary, sometimes there is a link but normally there isn't. The unlikely collections of objects in my work makes people think, making up their own links. I love to hear how differently my work is interpreted. My paintings are often described as 'quirky' which I like, as life is all too often a bit of a downer, so I enjoy creating daft paintings which can make people a wee bit cheerier!"
- Janice Gray
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUOpen for click-and-collect by appointment+44 (0)20 7399 9999enquiries@panterandhall.com
Born in London, he took a foundation year at Camberwell before studying at Gloucestershire College of Art and Technology. Alongside a successful career as a professional artist, he has spent many years painting sets and producing paintings and portraits for film and television. Notable commissions have included ‘Mrs Lowry and Son’, ’The Death of Stalin’, ‘The Danish Girl’, ‘Quartet’, ‘Florence Foster Jenkins’ and ’The Riot Club’. He has exhibited at the BP Portrait Award, National Portrait Gallery, The Royal Society of Portrait Painters, The Lynn Painter-Stainers Prize, The New English Art Club and The Discerning Eye at the Mall Galleries, London. He has recently completed a number of murals for the new ‘Being Brunel’ Museum in Bristol.
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Jazmin was born in 1971 in Guadalajara, Mexico where she studied graphic design and illustration. She then moved to Mexico City to study oil painting and printmaking, whilst working as a cartoonist for a national newspaper. A year later, Jazmin moved to London to study multimedia and established as a printmaker and ceramic artist.
She was a member of the Society of Wood Engravers and of the Crafts Council. Her prints were selected for the National Print Exhibition and the Summer Exhibition in the Royal Academy of Arts.
She was inspired by the work of Jose Guadalupe Posada, the father of Mexican printmaking, and by Leopoldo Mendez who founded the Taller de la Grafica Popular, the celebrated organization which produced the posters and pamphlets that brought the Mexican Revolution to its illiterate masses, and created some of the finest graphic art of the 20th century. But her real love and inspiration was always the work of Saul Steinberg.
Jazmin was also a practitioner and teacher of Taoist martial arts. In China, the arts and martial prowess have been linked since ancient times. The martial arts themselves are a kind of fine art for those who understand them.
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Jazmin Velasco: Hot off the Press
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Jazmin Velasco
Jean Cooke studied at Central School of Arts and Crafts, Camberwell from 1943 to 1945, Goldsmiths’ College School of Art from 1945 to 1949 and at the Royal College of Art from 1949, where she later returned as a lecturer from 1964 to 1974. She was also a member of the Academic Board of Blackheath School of Art from 1986 to 1988 and a Governor of the Central School of Art and Design from 1984 to 1986.
Cooke’s first solo exhibition was held at the Establishment Club in 1963. Subsequent solo shows include the Bear Lane Gallery, Oxford (1965), the Moyan Gallery, Manchester (1966), the New Grafton Gallery, London (1971), the Norwich Gallery (1980) and the Sir Hugh Casson Room for Friends, Royal Academy of Arts (1990). Her work has also been included in many group exhibitions since 1956 including Agnews (1974), the Dulwich Picture Gallery (1976), ‘British Painting 1952 to 1977’, Royal Academy of Arts (1977) and the Tate Gallery (1979). Cooke continues to be exhibited in shows around the UK.Among Cooke’s many portrait commissions are Dr Egon Wellesz and Dr Walter Oakshott for Lincoln College, Oxford, Mrs Bennett, Principal, for St Hilda’s College. A self portrait and a portrait of her husband, the painter John Bratby, were purchased by the Chantrey Bequest in 1969 and 1972 respectively.Cooke was elected Royal Academician in 1972 (ARA 1965) and is President of the Blackheath Art Society and the Friends of Woodlands Art Gallery, Blackheath. She lived and worked in London until her death on 6 August 2008.
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A painter and art educator, Fleming exhibited commercially throughout her career and at the Royal Scottish Watercolour Society, where she was an elected member. Her work is held in the collections of the Paisley Art Gallery, Glasgow Museums, and the Argyll Collection.
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was a Swiss artist who trained in Paris under the great academic painter Jean-Léon Gérôme at the Académie des Beaux-Arts. In the early twentieth century Kauffman lived and worked in the States as a portrait painter and sculptor but nothing else is recorded. However, an anecdote online suggested that he had been charged with heresy in New York for painting a version of Veronese's ‘The Marriage at Cana’, depicting various city politicians amongst the guests. He was acquitted but returned home to Switzerland anyway. He clearly enjoyed poking fun at authority figures, and their dogs.
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Born Jacobina Kemp in Bellahouston, Glasgow she was always known as Jeka. She was apparently largely self-taught, possibly taking private lessons in London, before attending the Academie Julian in Paris from 1903 to 1904. She travelled widely spending time in the Netherlands, Italy and North Africa. She showed some landscape paintings of France at a group show in Glasgow in 1907 and subsequently exhibited with the Glasgow Society of Lady Artists, the Royal Glasgow Institute of the Fine Arts and the Royal Scottish Academy. In 1911 she was praised by a Glasgow critic for not falling foul of what he considered the faults of the day – imitation of greater artists – rather that she ‘thought things out for herself’. From 1912 to 1914 Kemp held a number of solo exhibitions at Macindoe's Gallery in Glasgow and also exhibited with the Société Nationale des Beaux-Arts in Paris from 1912, where a number of her works were purchased by the French government.
Throughout World War I, Kemp worked in Paris hospitals as a nurse-masseuse. After the war she remained in France and had solo exhibitions at the Marcel Bernheim Gallery in Paris and at Warneuke's in Glasgow and also at the Galerie de la Libraire de la Presse in Nantes in 1922.
She gave up painting around 1927 and remained in France until 1939 when at the outbreak of war, she returned to Britain to live with her sisters in Dorset and later Eastbourne.
Collectors began to take notice of her work again in 1977 when the Belgrave Gallery in London and Wellington Fine Art in Glasgow both held retrospectives of her work.
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Born and raised in Auckland, New Zealand, Jennifer moved to Idaho, USA to study for a Bachelor of Arts Degree at Northwest Nazarene University. Jennifer returned to New Zealand to continue her studies in graphic design at Auckland Technical University.
Jennifer had a successful career as a graphic designer, art director and stylist before deciding to focus on painting fulltime from 2000 to 2005. She has sold her work through many exhibitions and commissions and has multiple pieces held in private collections across New Zealand, Australia, the UK and the USA. Jennifer returned to graphic design in 2005 which lead her to move to London for work in 2007. She resumed painting in 2020 and has been enjoying painting from her home studio near St. Albans, Hertfordshire ever since.
Having previously painted in watercolours and traditional oils, Jennifer started experimenting with alkyd oils and developed a style of painting using layers of transparent colour. With this delicate and time-consuming process, she is able to achieve incredible depth, detail and vibrancy to her paintings. Jennifer says of her painting technique:
“In my paintings, the contrast of the sumptuous blooms against the dark backgrounds from which they emerge, further accentuates the impact and drama of the flower, drawing in the viewer. This gives an extra sensuality to the work which has been influenced by a combination of 17th century Dutch still life painting and a modern approach.”
A well-known mid-century British graphic artist and illustrator. Little biographic information is available on this artist, but she was known to live in Cheshire and Manchester. Her poster work for London Transport in the 1950s is well known and many will recognise her illustrations to thirty years of children’s books. Her work was included in "Poster Girls - A Century of Art and Design" at the London Transport Museum 2019.Her work is represented in the permanent collections of the British Council, The Science Museum and the Victoria and Albert Museum.
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Johan de Fre was born in Lokeren, Belgium in 1952. He moved to Antwerp where he became involved with the Antwerp Classical School. He is strongly influenced by the Masters of seventeenth century Dutch still life painting, particularly Jan Van Eyck and Willem Claesz Heda. His technique continues their tradition of favouring wooden panels over canvas. The faultlessly smooth surface this allows shows off Johan's extraordinarily delicate brushstrokes and unparalleled attention to detail.
These intense studies of the more complex compositions of classical still life paintings have led him to a fascination with the individual objects from which they are constructed. In his work Johann isolates each item, whether a single piece of fruit or an earthenware pot from his collection, arriving at a contemporary interpretation that refines each subject to an image of perfect simplicity and purity that raises it above its otherwise commonplace nature.
To own a work by Johan de Fre is an enormous privilege and pleasure. Each exquisite painting is a testament to his commitment to perfection.
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Johan de Fre: Five Paintings - 2023
Johan de Fre: Cherries & Berries - 2020
Johan de Fre: Black & White - 2018
Johan de Fre: Mixed Fruit - 2016
Johan De Fre - After the Storm - 2014
Johan de Fre: Fragile - 2012
Johan de Fre: Still Life in Detail - 2011
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Johan de Fre was born in Lokeren, Belgium in 1952. He moved to Antwerp where he became involved with the Antwerp Classical School. He is strongly influenced by the Masters of seventeenth century Dutch still life painting, particularly Jan Van Eyck and Willem Claesz Heda. His technique continues their tradition of favouring wooden panels over canvas. The faultlessly smooth surface this allows shows off Johan's extraordinarily delicate brushstrokes and unparalleled attention to detail.
These intense studies of the more complex compositions of classical still life paintings have led him to a fascination with the individual objects from which they are constructed. In his work Johann isolates each item, whether a single piece of fruit or an earthenware pot from his collection, arriving at a contemporary interpretation that refines each subject to an image of perfect simplicity and purity that raises it above its otherwise commonplace nature.
To own a work by Johan de Fre is an enormous privilege and pleasure. Each exquisite painting is a testament to his commitment to perfection.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Known as ‘Jos’, Rovers was born in Utrecht, studying at the Royal Academy of Fine Arts in Antwerp under the direction of Isidore Opsomer. He worked as an artist but also as a book cover designer for the De Spaarnestad publishing house in Haarlem. He enjoyed a successful career as a poster designer. He produced the posters for the 1928 Dutch Olympiad – the first to feature the five ring motif – and a number of highly regarded images promoting shipping lines. He won the Royal Grant, the St. Lucas Prize in 1939, and the silver medal of the city of Paris in 1955 at the Dutch exhibition. He was a member of Arti et Amicitiae in Amsterdam, serving as chairman from 1946 to 1948 and of the Saint Lucas Association in Amsterdam. He was a professor at the Rijks Academy in Amsterdam for 15 yrs.
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Born in Kincardineshire, John studied at Gray’s School of Art in Aberdeen under Robert Henderson Blyth. While at the Hospitalfield Summer School, he met John Byrne and Sandy Fraser who became his lifelong friends. He taught at Glasgow School of Art from 1967 to 1988 before turning to painting full time. After a lifetime of successful exhibitions, a major retrospective of his work was held in Glasgow in 1994. His work is held in many public and corporate collections including the Paisley Art Gallery, Lillie Art Gallery, Fleming Collection, Arthur Anderson, and the People’s Palace. John was described by fellow painter Michael Scott, as ‘the quiet master of contemporary Scottish painting.’
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Born in Wimbledon, he studied art at Kingston College before completing his studies at the Royal College of Art in 1954. Bratby is considered the founder along with Derrick Greaves, Edward Middleditch and Jack Smith, of Britain’s 1950s kitchen sink realism movement. Decades in the public eye followed and his portraits of celebrities proved his main source of income for many years. After the demise of his first marriage to fellow Sade student and RA, Jean Cooke, he remarried to an actress, Patti Prime, and his subsequent work took on a bright, colourful exuberance. He represented Britian at the 1956 Venice Biennale where he won the Guggenheim Award. He was an important member of the 'Kitchen Sink' group of painters in the 1950s. He was known for his thick impasto oil paintings and his prolific portraits of the famous. His work can be found in the Tate Gallery and the National Portrait Gallery where a retrospective was held in 1991.
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John was born in Plymouth and has painted continually since graduating from art college in the 1980s. Predominantly a landscape painter, John works en plein air, drawing on the dramatic panoramas of the coast of Cornwall and the West of Scotland for inspiration. His fresh elemental studies of sand and sea have attracted a large following across the UK and internationally. We have held regular solo exhibitions for John at Panter & Hall since 2004.
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John Brenton: Making Waves - 2021
John Brenton: Teme to Tamar - 2018
John Brenton: At the Water’s Edge- 2016
John Brenton: Imajys a Kernewek - 2014
John Brenton: Kernewek Arvor - 2012
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A new collection of fresh seascapes by British plein air painter John Brenton. A Cornishman and keen surfer he is best known for his dramatic impressions of the West Country coast and for the first time a series of stunning views around the Western Scottish Isles.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
Byrne was born in Paisley and studied at Glasgow School of Art from 1958 to 1963. He has worked as an artist, playwright and theatre designer. Byrne uses a variety of styles and techniques as he has always tried to avoid being associated with particular styles or movements in art. In 1967, following a lack of success with London galleries, Byrne produced a series of paintings under the guise of 'Patrick', which he claimed was the name of his seventy-two year old father. These were met with interest, much to the artist's amusement.
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Throughout his painting career he concentrated mainly on the genres of landscape, seascape and still life. He worked over many years internationally, in France, Spain, Italy and Ireland, returning to favoured locations, but the greatest number of his landscapes and seascapes are of the West Coast of Scotland, especially on the Ardnamurchan peninsula, on the most westerly point of mainland Scotland and on the island of Colonsay. The still lifes were painted in his elegant and unique Studio home in Glasgow, at Charing Cross.John Cunningham exhibited at the Royal Scottish Academy, the Royal Glasgow Institute of the Fine Arts and at many private Galleries in Glasgow, Edinburgh, London and elsewhere. His work is also held in numerous public, corporate and private collections worldwide.In his lifetime he was a highly acclaimed and respected artist and since his death in 1998 his reputation has continued to grow. Art historians now see him in a direct line of tradition that stretches beyond the exuberant, strong and precisely balanced work of the Scottish Colourists to the immediate engagement with Scotland’s nature, scene and ethos one finds in the world of William McTaggart at the end of the nineteenth century. But nothing about his paintings is nostalgic or retrospective; they are rather instantaneously engaging and enlarging of vision and appetite for Scotland’s characteristic landscapes, seascapes and the poised, attentive qualities of the still lifes - the particular pleasures of linen, furniture, crockery, fruit and wine.
The vision of his paintings was an expression of the man. John Cunningham was a large, charismatic character who loved life abundantly and whose paintings reflected his joy and passion for colour, displaying bold, confident brush-strokes along with subtle sensitivity. His landscapes and seascapes were all painted outdoors with only a few minor touches to be added in the studio. This gives his work a wonderful freshness and vitality with the immediacy of the moment captured. By going to the places, soaking up the vision and perspectives of the people who lived in those places, and painting the vision with a professional attention to its subtleties and variations, he produced a unique body of work. His landscapes are typified by a sense of connection to the earth itself, an honesty about the places depicted – nothing is sentimentalized or diminished – and a lavish generosity of engagement with colour, tone, shade and light. No one since McTaggart has been so attentive to nature’s constant restlessness in clouds, waves and wind, in grass and branches. He loved the justice of nature, its hard truths. He lived by them and knew their rightness and respected them.Although he can be seen in a major tradition in Scottish art, he is nevertheless a painter whose approach was uniquely his own. Any work by John Cunningham is immediately identifiable at a glance and from a distance, and the spark of spontaneity and vitality in the execution is never lost in the final painting. They are permanent components of it and form values that distinguish all his work.
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Born in Windsor, he was raised in Buckinghamshire. John initially trained and worked as a draughtsman in electrical engineering before becoming a full time artist in 2003. Although mainly self-taught, he was awarded the NEAC drawing scholarship in 2012 and he attributed the subsequent development of his work to the influence of fellow members of the New English Art Club. He was elected a full member in 2015. He also exhibits at the Society of Wildlife Artists where he is an elected member and the Royal Institute of Oil Painters Annual Exhibition where he has been awarded the Small Painting Prize. He has exhibited at the Lynn Painter Stainers Prize and the Discerning Eye.
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Bornin in Rugby, Warwickshire, he studied art at Rugby Polytechnic from 1959 and then at York School of Art from 1961 to 1962. He has painted professionally all his life exhibiting publicly with great commercial success. He now enjoys a reputation as a lecturer and holds workshops for artists worldwide, including a feature as Master Class Painter in International Artist magazine.
Born in Aberdeen, Aiken was a painter in oils and watercolours as well as an etcher and stained-glass artist. After serving a six years apprenticeship as a draughtsman with the lithographer Robert Gibb, he studied at Gray's School of Art in Aberdeen and at the Royal College of Art, under Gerald Moira, as well as in Florence. He became Head of Gray's School of Art in 1911-14 before devoting himself full-time to painting full time. He was awarded the silver medal at the Paris Salon in 1923 for his portrait of Harry Townend, previously exhibited at the RA in 1921 and shown again at the Salon of 1929. He lived for a time in London before returning to Aberdeenshire.Although his earlier work showed the great influence of Moira's decorative technique he gradually developed his own distinctive style. After the death of his wife he settled in Abyme, Aberdeenshire.His work is represented in Aberdeen, Dundee, and Perth Art Galleries as well as in Leith Hall (National Trust for Scotland).
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John MacLauchlan Milne was born in Edinburgh in 1885, the son of the Scottish landscape painter Joseph Milne. He studied at the Edinburgh College of Art, later moving to Kingoodie near Dundee until the outbreak of the First World War. After serving in the Royal Flying Corps he returned briefly to Dundee before going to Paris where he painted a series of street scenes.
Between 1919 and 1932 Milne spent a substantial part of the year in France. He worked in the South of France with his French wife at Lavardin and benefited from a stipend paid by the Dundee marmalade manufacturers Keillers, who took up a proportion of his work. Milne often stayed at Cassis at the same time as F.C.B. Cadell, S. J. Peploe and Duncan Grant. He also spent considerable time in St. Tropez, still in those days an unspoilt port. Almost all of his exhibits of the 1920s were landscapes of the Mediterranean.
At the outbreak of the Second World War Milne returned to Scotland and settled in the hamlet of High Corrie on the isle of Arran where he remained until his death in 1957. The landscapes of the West Highlands and in particular, High Corrie, constitute the bulk of the work of his maturity.Milne painted in a light and broad manner reflecting the influence of the Colourists and van Gogh, especially in his flower paintings. Milne was elected ARSA in 1934 and RSA in 1938. From 1912 to 1954 he exhibited annually at the Royal Scottish Academy, except during the First World War years. His work was also exhibited at the Glasgow Institute and in London (Reid and Lefevre, 1929) and in New York (N.Y.World Fair, 1939).
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John Martin was born in 1957. He studied at Hornsey followed by three years at Exeter College of Art where he obtained a First Class Honours Degree. He then studied at the Royal Academy Schools under Peter Greenham, gaining a Post Graduate Diploma.
His work is in a line of traditional figurative painting, influenced by the Camden Town Group, particularly Sickert, Gilman and Spencer Gore. John’s paintings reflect a sense of place and atmosphere. Brian Sewell, Art Critic of the Evening Standard, said of John’s work : "The gentle honesty of his observation and a technique that matches it produce pictures without irritating mannerisms or striving effects."
John was elected a member of the Royal Society of British Artists in 1991 and has been the recipient of many awards; Stowells of Chelsea Prize Winner, David Murray Landscape Scholarship, WH Patterson Prize, the Fabrica Painting Prize, the Windsor and Newton Best Artist Award and the de Laszlo medal at the RBA . John's paintings have featured in the Tatler Magazine, Daily Telegraph, Sunday Times and International Artists Magazine.
E Catalogues
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British Impressionists - 2020
Five British Impressionists - 2019
Three British Impressionists - 2017
John Martin: Fourteen Paintings - 2015
Tradition - Modern figurative painting in Britain- 2014
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John Miller was born in Glasgow and studied at the Glasgow School of Art under Sir William Hutchison in 1936 and at Hospitalfield Art College in Arbroath under James Cowie in 1938. He joined the staff at the Glasgow School of Art in 1944 and remained there until his death. A versatile painter he was the elected president of the Royal Scottish Watercolour Society from 1970-1975. His work is held in the Hunterian in Glasgow.
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Painter of architecture, landscape and abstract compositions, designer for the theatre and of stained-glass windows, and writer on the arts. Born 13 December 1903 at Epsom, Surrey, son of a solicitor. Visited Italy regularly as a child. Published a book of poems with his own illustrations 1924. Worked in his father's office until 1928 before studying at the Richmond and Kingston Schools of Art, and the R.C.A. 1928–9. Exhibited at the Arlington Gallery with David Birch 1927 (wood engravings) and at the Mansard Gallery with Clarice Moffat, P. F. Millard and his first wife Eileen Holding 1931; first one-man show at the London Gallery 1938 (collages and drawings). Contributed to the Nation from 1928.
At first painted mainly landscapes but, after a visit to Paris in 1933, turned to abstraction 1934–7. Member of the London Group 1933 and the 7 & 5 Society 1934–5. Married the writer Myfanwy Evans 1935 and assisted her on Axis - a Quarterly Review of Contemporary ‘Abstract’ Painting and Sculpture 1935–7. Began writing for the Architectural Review and published his first guide-book 1938, returning to representational painting, particularly architectural subjects. His first stage designs were for Stephen Spender's Trial of a Judge 1938; other designs include ballets, The Quest 1943 and Job 1948, and six operas by Benjamin Britten. Official War Artist 1940–2. Published English Romantic Artists 1942 and Buildings and Prospects, a collection of his articles, 1948. Trustee of the Tate Gallery 1946–52 and 1954–61; member of the Arts Council panel 1952–7. First New York exhibition at the Curt Valentin Gallery 1948. Painted decorations for the British Embassy, Rio de Janeiro, 1948. Supervised the design of the Battersea Pleasure Gardens with Osbert Lancaster 1951. Designed windows for Oundle School Chapel 1954–6, the baptistery of the new Coventry Cathedral 1958, etc.
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Born in Hereford, John Stanton Ward studied at the Royal College of Art, London before war service with the Royal Engineers spent designing and building pill boxes along the Kent coast. After the war he worked as an illustrator, working for vogue from 1948 to 1952, and for various publications, most notably for Laurie Lee’s Cider with Rosie when it was first published in 1959. He built a highly successful career as a society portraitist depicting the great and the good including a group of portraits for the Society of Dilettanti, Annabel's club, and a collection of cabinet secretaries. He became an unofficial court painter ; Princess Anne, the Princess Royal and the Duchess of Gloucester both sat for him and Diana, Princess of Wales, sat for him in her wedding dress. He also painted the christenings of Princes William and Harry, made drawings of Balmoral for HM the Queen and gave sketching lessons to Prince Charles.
A life-long believer in the importance of draughtsmanship in painting, he was one of four artists who resigned from the Royal Academy on account of the ‘Sensation’ exhibition of young British artists in 1997.
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His father Maurice was an established professional painter in the close orbit of Munnings and Augustus John, there appears that there was little doubt as to where the young John’s future lay. He graduated from Regent Street Polytechnic School of Art in the early 1930s, into a world of graphic illustration and commercial advertising. Shortly before the war he moved to Bristol, quickly becoming involved with the ‘Bristol Savages’ a well-known local art society whose membership refer to themselves as the ‘Tribe’. During the war he was selected for creative duty with the Middle East Command Camouflage Directorate. Led by the film director Geoffrey Barkas, the unit’s endeavours famously contributed significantly to Montgomery’s ultimate success at El Alamein. Post-war Codner took a teaching position at the Sir John Cass School of Art in London from 1947 until 1951, but always maintained his connections with Bristol. He was elected member of the Royal West of England Academy in 1947.
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Plosky studied at Hornsey College of Art before leaving to become a designer and illustrator. He continued to paint throughout his career and exhibited frequently at the Royal Academy and the Royal Society of British Artists. His work can be found in the permanent collections of Glasgow Art Gallery, the National Library of Wales and the University of Portland, Maine, USA.
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Jonny Hannah was born in Dunfermline and studied illustration at Liverpool Art School before going on to study at the Royal College of Art.
Since then, Jonny has gone on to become a successful commercial designer & illustrator. Jonny’s vibrant designs and witty handmade type have been used by countless high-profile clients including The Daily Telegraph, The New York Times, The Royal Shakespeare Company, Vogue magazine and Glastonbury Festival.
Jonny is also a keen printmaker and creates wonderful screen-printed books, posters and prints for his own Cakes & Ale Press. Greatly inspired by music, in particular Jazz, Jonny often incorporates his musical influences, such as Hank Williams, into his artwork.
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Herman was born in Warsaw, the son of a Jewish cobbler. He studied at the Warsaw School of Art 1930 from 1932 holding his first exhibition in 1932. Three years later with Siegmunt Bobovsky, he organized the ‘Phrygian Bonnet’, a group of young painters with Expressionist tendencies. Leaving Poland for Brussels in 1938 he fell under the influence of the Flemish expressionist Constant Permeke and worked in the Borinage. In 1940 he Settled in Glasgow where he met Jankel Adler, another refugee, and spent two years painting nostalgic reminiscences of his childhood. Arriving in London with his new Scottish wife in 1940 he was invited to exhibit at the Lefevre Gallery and in 1943 held an exhibition there with L S Lowry. A year later he settled in the Welsh mining village of Ystradgynlais, where he worked for the next ten years at first drawing and from 1947 painting pictures of miners, including a large picture ‘South Wales’ for the exhibition 60 Paintings for '51 and a still larger ‘Miners Crouching’ for the South Bank Festival of Britain Exhibition. He became a naturalized British subject in 1948 and a member of the London Group in 1952. He travelled widely although always based permanently in London. A Retrospective exhibition was held at the Whitechapel Art Gallery in 1956. He is represented in many public collections including the Tate, London, the National Museum of Wales, the Hunterian in Glasgow, the Scottish National Gallery of Modern Art, the Hepworth Wakefield, Leeds City Gallery and the National Portrait Gallery.
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Twentieth Century British Painting - 2019
Twentieth Century British Painting - 2019
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Born 20 August 1861 at Morpeth, Northumberland. He trained at King's College London before going to Paris to work with Aimé Morot in 1882. Although strictly an English painter, during the 1880s and 90s he became associated with The Glasgow Boys, and was given his first solo exhibition by the celebrated Glasgow dealer, Alexander Reid. The best known public collection of his work can be found in the Burrell Collection, also in Glasgow. Despite having had little formal training, he developed his natural talents under the influence of artists such as James Guthrie and E.A. Walton. After abandoning oil-painting in the mid-1880s, Crawhall became one of the most accomplished watercolourists of his generation. He specialised in animal subjects, mainly horses and birds.
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Julian studied printmaking and illustration at Eastbourne School of Art for 4 years in the early 1970s.
He paints the landscape, coastline and urban areas in this country and on many trips abroad, in particular Barcelona, Paris, Amsterdam, New York and Havana. Julian has work in a number of private and public collections including The House of Lords.
In 2010 he worked on a project entitled Sussex 365 which comprised a series of small paintings of the Sussex countryside which he exhibited at Glyndebourne Opera House near Lewes in East Sussex.
Julian has since created paintings during the Glyndebourne Festival for the past eleven years. He has also had paintings included in the Royal Academy Summer exhibition on three occasions.
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Justin was born in the North East and studied Fine Art in the late 1980s, subsequently going onto work in commercial design. Later he turned to painting professionally and is perhaps best known for his representation of animals. He was a runner up in the 2018 wildlife artist of the year and received the Lyon and Turnbull Award for Painting at the 2018 Royal Scottish Academy Open. He was also selected for the 2018 New Light Prize Exhibition at the Bankside Gallery, London.
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Justin Coburn: Animal Studies: Twelve Paintings - 2021
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In his debut show with P & H, Justin presents a new collection of exquisite realist paintings, demonstrating his technical virtuosity and versatility across a wide range of wildlife and domestic animal subjects.
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CECIL COURT GALLERYPanter & Hall22-24 Cecil CourtLondonWC2N 4HEMonday to Sunday: 10AM - 6PMClosed for lunch 2PM - 3PM+44 (0)20 7399 9999enquiries@panterandhall.com
Justin was born in the North East and studied Fine Art in the late 1980s, subsequently going onto work in commercial design. He now paints professionally and is perhaps best known for his representation of animals. He was a runner up in the 2018 wildlife artist of the year and received the Lyon and Turnbull Award for Painting at the 2018 Royal Scottish Academy Open. He was also selected for the 2018 New Light Prize Exhibition at the Bankside Gallery, London.
Karin was born Elisabeth Kluth in Charlottenburg not far from Berlin. She entered the Cologne Art School where she studied under the Dutch arts and crafts artist Johan Thorn Prikker (1868-1932) and the German Expressionist Richard Seewald (1889–1976). In 1927 she visited Ascona in Switzerland on a school trip. At the end she refused to return to Cologne, instead selling her belongings in order to be able to stay. At this point, one source relates, she made her first sale, to Friedrich August, Freiherr von der Heydte. Heydte, at this time an aristocratic academic, was later to win fame as a paratrooper general and post war was to be a key player in the 1962 Spiegel scandal in West Germany. Where would we be without Wikipedia?
While in Ascona Karin met the Dutch artist Ernst Leyden, fourteen years her senior. Anecdotally, family legend has it that it was love at first sight. ‘Ernst was handsome, newly returned from the Orient and already making a name for himself as a talented artist. He was painting on a bridge when the beautiful young Karin stopped to admire his work.’ (http://allaboutart.nl/) The lovers travelled to Egypt, Syria, Lebanon and finally Italy where she studied Fresco Techniques at the Florence Academy under professor Chigi.
She began painting, participating in a Group exhibit in Cologne in 1928. There her work was noticed by Der Querschnitt, the Berlin magazine of art and culture, which published an illustrated article of a painting acquired by the Cologne Museum.
For a few years, Karin and Ernst spent a charmed existence dividing their time between the edge of the Loosdrecht lakes near Amsterdam and Paris. Through Ernst’s connections their wide circle of friends in Paris included his old friend Piet Mondrian and the beau monde of artistic society. A society that included Marc Chagall, Jules Pascin, Tsoguharu Foujita, Ossip Zadkine, Giorgio de Chirico, Francis Picabia and of course Man Ray. In 1929 the latter took a celebrated portrait of Karin that appeared in the French press and ‘Town & Country’ Magazine in England.
In 1932 the couple married and Karin gave birth to a son, Ragnar, the same year. They spent three years in Sintra, Portugal before moving to Capri in 1936. This was the year that Karin received a commission for a series of large murals from Sir Thomas Stafford Bazley for Hatherop Castle. It launched her onto the British art scene, in 1937 she was exhibiting at The Leicester Galleries and elected, under the patronage of Augustus John, to the Royal Society of Wall Painters. As her international career took off, the Musée du Jeu de Paume, in Paris purchased one of her oils and in 1938 Karin travelled unaccompanied to New York to organise her first one-man show at the Marie Sterner Galleries.
The Leydens had barely returned home to Loosdrecht when the Second World War broke out and they emigrated to America. They set up their workshop in New York and then in Nyack, by January 1941 they were opening a joint exhibition at the Georges Wildenstein Gallery in New York. The same year the ‘van’ appeared for the first time with ‘Leyden’ and Gloria Vanderbilt (Socialite and future Jeans Queen) was photographed with her newly commissioned Karin portrait.
1941 also saw the newly ‘Van’ Leydens take a long crossing of the States, culminating with their arrival and discovery of the West Coast. They decided to set up shop, buying a ranch in Brentwood, LA. To decorate their new Californian home the couple developed a process for covering simple plywood furniture and walls with painted glass tiles. This became a new medium for Karin's art, which developed very successfully, to the point where stars like Tyrone Power and Rita Hayworth had their homes decorated with large Karin van Leyden murals as did the Beverley Hills Hotel. Full immersion into Hollywood society was guaranteed when Charlie Chaplin commissioned Karin to paint his wife and their first two children (they went on to have six more, children not portraits).
As Karin’s fame grew as a muralist to the elite decorators so too did her fame as a portraitist. Her circle now included Aldous Huxley, Thomas Mann, Henry Miller, Bertolt Brecht, Salvador Dalí, Igor Stravinsky, Arnold Schönberg, Arthur Rubinstein, Charles Laughton, Charlie Chaplin, also meeting Max Ernst or the architects Eric Mendelsohn and Frank Lloyd Wright.
Still in 1941 and the expiration of their visas required crossing a United States border. Ernst had to borrow money from one of his wealthy patrons to take the family on an extended camping trip to Mexico. Sharing expenses with the architect Eric Mendelsohn they stopped off to see Frank Lloyd Wright, Max Ernst and Henry Miller on the way.
Mexico seems to have been a revelation for the young German immigrants. There Karin discovered Indian culture in Chiapas and forged strong bonds of friendship with José Clemente Orozco and Diego Rivera whose portrait she painted. In 1947 they rented a house in San Miguel de Allende in search of fresh inspiration. Rivero and Orozco guided them towards the Mayan culture and Aztec monuments, leaving a lasting ‘Cubist’ influence on her figurative work of this period. The Leydens made repeated trips into the depths of Mexico up until 1952.
Throughout the 1940s Karin developed an international reputation as a designer, creating furniture for interior architect Paul László and advertisements and creations for Kathleen Mary Quinlan cosmetics, Jovoy and Corday Perfumes and Harper's Bazaar.
This led to increasingly regular trips to Paris and in 1947 Karin and Ernst were encouraged to return more permanently to a war-ravaged Europe. Their first priority was to track down their families - Ernst’s sister had survived a German concentration camp and Karin’s parents survived the allied bombing of Cologne. They acquired American citizenship in 1949.
The Leydens opened a Paris workshop, initially at the Rue des martyrs, then at Willy Maywald's in Rue de la Grande-Chaumière and finally in the Rue de Seine. In 1957 the couple move definitively to Europe and divided their time between the Paris studio and a house in Venice. Karin continued to develop her Mexican inspired themes but now with Italian subjects.
Ernst grew weary of the noise and smells of the metropolitan life and decided to buy a derelict farmhouse outside Paris called l’Enclos sur Lieutel. Renovations proved extensive, taking three years to complete, during which time the couple live mainly in Venice and New York.
Once ensconced in the completed farmhouse, Karin found life there too isolated and she missed her Italian landscapes and the exuberant Italian lifestyle. Ernst, in contrast, found the tranquillity he had been searching for after the noisy distractions of Paris. Inevitably the couple parted after thirty years of life and creative collaboration. Karin moved to live with her sister in Lugano while still making regular trips to New York. She met Ernst only very occasionally through the 1960s, usually in America. In 1965 Ernst embarked on a long worldwide trip, taking in Teheran, Kabul, Phnom Penh, Bombay, Tokyo and Hawaii, absorbing the Buddhist and Zen culture into his work. He collapsed in 1969 and died a few months later in l’Enclos sur Lieutel.
Karin developed in a different direction, having flirted with abstraction in the 1950s she began working in collage in the mid-1960s. In later life she settled in Lugano to be near her sister, dying there in 1977.
Critical Acclaim
James Bolivar Manson, Director of the Tate Gallery from 1930 to 1938 wrote -
"Fortunately, Karin van Leyden cares neither about the theories of others, nor about" isms ". All aspects of her work (drawings, watercolours, tempera and oils) reveal a unique personality. Her oils on canvas always evoke dreams from constant meditation. Her drawings, very complete, are more direct. Stripped of redundant details, Karin's drawings express authentic realities with moving simplicity. With remarkable strength, it reveals not only the atmosphere of the place, but also the power of its characters. She invents and composes with harmony on a very large scale." He was presumably responsible for the Tate’s purchase of the portrait of Karin painted by Ernst in 1931.
Aldous Huxley (1894-1963) Author of ‘Brave New World’ wrote -
“Karin van Leyden's drawings have enormous charm and quality. But, as far as I'm concerned, their main attraction lies in the way in which their depths develop under my gaze. Her carnal figures are suspended in the emptiness of the paper. To see them like this is a real pleasure for me, which I wish to share with so many others. "
‘Captured by Beauty’ a documentary film about the couple, was written and directed by Frederieke Jochems in 2016.
A biography of her life ‘Karin Van Leyden’ written by her sister Ursula Dietzsch-Kluth, was published in 2009.Karin’s paintings are held in the permanent Museum collections of -
The Stedelijk Museum, Amsterdam; the Boijmans Van Beuningen Museum, Rotterdam; the Tate Gallery, London; the National Gallery, London; the Museum of Modern Art of the City of Paris; the Jeu de Paume Museum, Paris; the Royal Museum of Modern Art in Brussels; the Solomon R. Guggenheim Museum, New York; the Whitney Museum, New York; the Santa Barbara Museum of Art, California; the National Museum of Contemporary Art, Lisbon; the Serralves Museum of Contemporary Art, Porto; the Cologne Museum; the Cairo Museum and the Budapest Museum.
Elisabeth Kluth who became Karin Leyden and then Karin van Leyden signed her work variously Karin, Corina, Carina even Casarina.
An Historical footnote –The Sitter is Lucille B Harris of Tuxedo Park, a New York society beauty, painted in 1944 on her sixteenth birthday whilst the War still raged. She ‘came out’ (socially not preferentially) at the Victory Cotillon & Ball, a victory party and benefit for the New York Infirmary. Held in December 1945 it launched 135 young New York debutantes on to the unsuspecting social scene. Either Lucile or mother (they had the same name) led the Ball Committee.
Lucille Jnr was born in May 1927, the daughter of George Upham Harris a well-known Stockbroker & the Publicity Director and a governor of the New York Stock Exchange. He retired as Chairman of Harris, Upham & Co., Inc. Her mother, also Lucille, was the daughter of LeRoy Baldwin, President of the Empire Trust Company and a respected public benefactor at the time.
Lucille senior had been the victim of a notorious but rather ham-fisted blackmail plot in 1935. A gang of half-wits mocked up a photograph of her, supposedly standing naked next to a man in a similar state. Effectively an early attempt at photoshopping, pasting her head on to another body none too convincingly. The crooks were easily caught in a police sting and the ensuing trial made great tabloid reading. It was a testament to the Baldwin-Harris standing that the gang had only targeted one other victim, Doris Duke the ‘Lucky Strike’ tobacco heiress, known at the time as ‘the world’s richest girl’.
Despite her obvious wealth, Lucille Jr seems to have embarked on a career as a fashion model. In 1947 she was photographed in a wedding dress by the great Irving Penn – I’m still uncertain in what capacity – bride or model – as this was the year that she married Amory Carhart Jr.
She appeared frequently in the fashion press; the most striking image, taken by John Rawlings, appeared in Vogue in 1954. Lucille stands staring directly at the camera, a young man loads her Louis Vuitton cases into a sea plane behind her as the New York skyline rises majestically beyond. An iconic image of the period.
Her daughter Wendy was born in 1948. A son Amory Sibley Carhart III followed in 1951.
Lucile, the model, sadly died a young 63, predeceasing her husband Amory jr by 12 years in 1990, even though eight years his junior. Amory Jr followed in 2002, dying intriguingly in Ho Chi Minh City, Vietnam. His online obituary reads ‘A gentleman who thoroughly enjoyed life’. I’m guessing the obituaries in America use a different euphemistic code to the Daily Telegraph.
Both Children have since died far too young, Wendy at 57 in 2006 and Amory at 66 in 2018.
They are survived by their grandson Amory S. Carhart (according to the internet the third, but I make it IV, in fact if tracking back, actually V)
Sad that such a stunning period portrait, painted by a fascinating, internationally renowned artist, should find its way out of a family collection. A depiction of wealth and privilege, a portrait of a beautiful young woman coming of age in the most exciting city of the most powerful nation on earth in the middle of a world war.
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“I live on the Isle of Oxney in Kent and paint outside in all weathers. My work is an immediate response to what I see and feel when immersed in the everchanging landscape. This process has opened my eyes to the beauty that can be found everywhere, even in the mundane.
I paint landscapes and cityscapes both here in the UK and abroad. Whilst I have drawn and painted for most of my life, I have had no formal training. I have however been fortunate to paint with many of the UK & USA ‘s finest living landscape painters. I`m am proud to be a member of The Royal Society of Marine Artists, The Wapping Group of Artists and the Rye Society of Artists. This camaraderie between painters continues to inspire and challenge me.”
- Karl Terry
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Karl Terry: Surf and Sky - 2024
Karl Terry: Travels with my Easel - 2023
Karl Terry: Snow at Last - 2021
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Karl is an accomplished plein air painter whose confident application of paint in richly textured mark-making lends a freshness and immediacy to his work. This is most evident in his snow scenes, here a series of freshly blanketed fields transport us to crisp January country walks and provide the perfect antidote for these muggy June days in the City.
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CECIL COURT GALLERYPanter & Hall22-24 Cecil CourtLondonWC2N 4HEOpen Monday to Sunday 10am to 6pm (closed for lunch 2-3pm)+44 (0)20 7399 9999enquiries@panterandhall.com
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Karl has been out and about in the elements, planting his easel amongst the dunes and country lanes around his native Kent, and the more clement climes of Tuscany and Greece. We are delighted to offer these fifteen small oils, all executed in that deft touch with a loaded brush that makes Karl one of the country’s best loved plein air painters.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Born in America of British parentage, Kate returned to live in the North East of Scotland and studied at Gray’s School of Art in Aberdeen. Described as ‘one of the most subtle and persuasive colourists of her generation’ and as a ‘supreme draughtswoman’ she has enjoyed a long career of travel and foreign residences. She served as President of the Society of Scottish Artist from 2004 to 2006 and was elected a member of the Royal Scottish Academy in 2008. Her work appears in many public and corporate collections including the BBC, Adam & Co, Glasgow Gallery of Modern Art, Aberdeen Art Gallery, City of Edinburgh Council, Kelvingrove Art Gallery, Glasgow, New Hall College Art Collection in Cambridge and HM The Queen.
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Kate Downie: There and Back - 2019
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Kate's artwork celebrates nature, fusing colour and imagination to create paintings that represent the lushness and beauty of the natural world. Detail and drama combine to conjure up dreamlike worlds, untouched by humankind.
Having obtained her first degree in fine art, Kate studied at postgraduate level at the Glasgow School of Art and then at Falmouth University where she was awarded her Masters degree.
"The experience I want to give anyone who sees my work is to always see something new. I like hiding small details or creatures in dense foliage to be discovered. I want my work not only to have immediate impact but also to reward closer investigation into the complex, vibrant and overgrown worlds I create. Look closely to see a frog staring back at you or a beetle drinking from a raindrop…"
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Kate Morgan: Solo Show - 2019
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Katherine trained at Edinburgh College of Art under William Baillie, John Houston, George Donald and David Michie. Now based on Salisbury Plain, her work is greatly inspired by the unbroken rolling landscape unique to the area. She was awarded the William and Mary Armour Prize at the Paisley Art Institute in 2007.
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Ken Howard was born in London. He studied at the Hornsey College of Art (1949–53) and the Royal College of Art (1955–58). In 1973 and 1978 he was the Official War Artist to Northern Ireland, and 1973–80 worked in various locations, including Hong Kong, Cyprus and Canada with the British Army. In 1983 he was elected an Associate of the Royal Academy (ARA). In 1998 he became President of the New English Art Club, a post he held until 2003. In 1991 he was elected a Royal Academician.
He painted in a "traditional" manner, based on strong observation and a high degree of draughtsmanship combined with tonal precision. The depiction of light was a strong and recurrent element of his work. A notable theme was the nude model in his studio. Another theme was a city scene, such as Venice, with emphasis placed on the reflection of light from puddles after rain. He said:
“ I was brought up in London surrounded by railway yards and factories. This has very much influenced the use of horizontal and vertical structures and lines in my work. I am not a landscape painter, but rather a vertical horizontal and linear painter, which is why I have a passion for the lines that occur within my studios, and include them in my paintings. When I study a model, I think of that figure not in rhythmical terms, but in vertical or horizontal positions and planes. ”
His work is in public collections including the National Army Museum, Guildhall Art Gallery, Ulster Museum and Imperial War Museum.
Ken was appointed Officer of the Order of the British Empire (OBE) in the 2010 Birthday Honours.
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Twentieth Century British Painting - 2019
Anonymous Muse - 2016
Tradition – Modern Figurative Painting in Britain - 2014
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Ken grew up in Swindon and on leaving school at fifteen took up an apprenticeship in the railway works of GWR. Employed as an unskilled hotter of rivets he became fed up of the constant burns on his legs and feet from the white hot metal, so he began to look for a less scarring alternative. Managing to transfer to the relative safety of the Carriage and Wagon Department he was put to work learning the trade of signwriting. Driven by a nascent desire to paint professionally, and despite his family’s misgivings, he gave up the steady, full time job to study painting at Swindon Art College. This was a deep pool of talent in the 1960s and there Ken made two new friends, the singer Ray ‘Gilbert’ O’Sullivan and Rick Davies, the keyboard player who later founded Supertramp. After graduation the only place for young, talented, singer musician-artists to be was swinging London. Ken and Rick took a flat together in Ladbroke Grove and Ken embarked on a career in commercial illustration. He designed album covers for Gilbert O’Sullivan even contributing backing vocals to one of his tracks and in 1970 his work appeared in the Beatles Illustrated Song Book. He was contacted by a young schoolboy who asked him for a drawing of Dudley Moore for his magazine The Student, this was his first contact with Richard Branson who was to become his greatest patron. When he started his famous Town House Studios in west London two years later, he turned to Ken to adorn the outside walls with a distinctive trompe l’oeil mural. This relationship lasted over a quarter of a century: Ken covered the walls of Virgin offices, hotels and record stores across the globe. Most notably he designed and produced the famous Scarlet Lady that used to adorn the nose cone of every Virgin jet. Throughout the 1980s Ken became London’s most exposed muralist, working on the Intercontinental Hotel on Park Lane, Madame Tussauds, Heathrow Airport, and the Kensington & Chelsea Pools. Perhaps the best known being the faux-Georgian town house painted on the massive blank wall of the Royal Opera House overlooking the Jubilee Gardens Piazza in Covent Garden. For years he has developed a series of figurative oils and original prints informed by his childhood memories in Swindon. The hardship of those times, where heavy industry defined the landscape, and the atmosphere and lives of the town’s inhabitants proves a rich vein of inspiration.
Ken’s paintings are suffused with a gentle humour and undoubtedly a grain of warm nostalgia that is perhaps forgivable through the telescopic lens of a sixty year perspective. The adolescent boy, burnt by sparks in the inferno of the furnaces is not forgotten. Nostalgia there may be in Ken’s paintings but no sentimentality, the cruelty and hopelessness of the lives of Britain’s industrial working classes at this time is plain to see. In a few short years the introduction of the Welfare State changed the prospects of these workers’ lives forever. These paintings are a reminder of life at the bottom of the pile as it was before 1945 from a man whose great talent has allowed him the comfort to view it from a perspective in later life.
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Ken White: Another Day Over - 2021
Ken White: Promised Land - 2014
Ken White: Grafters
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Ken started his working life as an apprentice at Swindon Railway Works. He started as a rivet hotter before becoming a signwriter and training at Swindon Art School. Since then, Ken has spent most of his life as a muralist.
A large proportion of his work was commissioned by Richard Branson, and many of Ken’s creations adorn the walls of Virgin establishments throughout the world, including megastores, hotels, and airport lounges. With the launch of Virgin Atlantic in June 1984, Ken produced what is probably his most well-known work, the Scarlet Lady emblem, which features on the airline’s aircrafts.
Ken’s portfolio includes over 100 murals including work for Madame Tussauds. He continues to produce his own paintings and practices printmaking using images from his childhood memories.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays +44 (0)20 7399 9999enquiries@panterandhall.com
Kirsty Wither is a Scottish painter of flowers, landscapes and small nudes.She trained in painting at Gray’s school of Art, Aberdeen and has painted professionally and exhibited publicly since graduating in 1990.She was given her first exhibition in 1993 in Glasgow and has continued to exhibit regularly, going on to have nearly fifty solo exhibitions since, mainly in London, Edinburgh and Glasgow. More recently, her work has also been shown in Dubai, Denmark and the US. A passion for oil paint was ignited at Art School and has remained virtually her sole medium. She describes working with oils as a continual learning curve whereby colour and texture are of equal importance to the subject matter. In this way, Kirsty never paints with a vase of flowers in front of her or paints or sketches outdoors, relishing the liberation of creating something from an idea and her own recollection. The image develops on the canvas: an energetic and sometimes lengthy process of adding and subtracting tones with palette knife, brushes and fingers. The paintings are a distillation of colour and a heightened view of the world around us: Ultimately she wants the viewer to find a sense of optimism and joy. Kirsty’s work is included in many notable private and public collections including The Royal College of Surgeons in Edinburgh, Glasgow District Council, London’s Misys Plc and Gleacher & Co and also in private collections world-wide. Japanese company Hibel published a series of limited edition prints which lead to a signing tour of Japan’s major cities. She has been an invited artist in the Singer and Friedlander Competition at Mall Galleries London, and twice been an invited artist at the Discerning Eye Exhibition, also at Mall Galleries.
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Kirsty Wither is a Scottish painter of flowers, landscapes and small nudes.She trained in painting at Gray’s school of Art, Aberdeen and has painted professionally and exhibited publicly since graduating in 1990.She was given her first exhibition in 1993 in Glasgow and has continued to exhibit regularly, going on to have nearly fifty solo exhibitions since, mainly in London, Edinburgh and Glasgow. More recently, her work has also been shown in Dubai, Denmark and the US. A passion for oil paint was ignited at Art School and has remained virtually her sole medium. She describes working with oils as a continual learning curve whereby colour and texture are of equal importance to the subject matter. In this way, Kirsty never paints with a vase of flowers in front of her or paints or sketches outdoors, relishing the liberation of creating something from an idea and her own recollection. The image develops on the canvas: an energetic and sometimes lengthy process of adding and subtracting tones with palette knife, brushes and fingers. The paintings are a distillation of colour and a heightened view of the world around us: Ultimately she wants the viewer to find a sense of optimism and joy. Kirsty’s work is included in many notable private and public collections including The Royal College of Surgeons in Edinburgh, Glasgow District Council, London’s Misys Plc and Gleacher & Co and also in private collections world-wide. Japanese company Hibel published a series of limited edition prints which lead to a signing tour of Japan’s major cities. She has been an invited artist in the Singer and Friedlander Competition at Mall Galleries London, and twice been an invited artist at the Discerning Eye Exhibition, also at Mall Galleries.
Berkeley Square Fair
27th September - 1st October 2023
Wednesday 27 September: 11am – 7pmThursday 28 September: 11am – 7pmFriday 29 September: 11am – 7pmSaturday 30 September: 11am – 7pmSunday 1 October: 11am – 4pm
We have a limited number of complimentary tickets, please do contact the gallery if you are interested in visiting.
Lara Scouller is an award winning Scottish artist who works in a variety of media including pastel and printmaking. Lara has received great acclaim since graduating from Fine Art at Duncan of Jordanstone College of Art and Design, Dundee in 2006. Prizes awarded for her drawings include: the prestigious Royal Scottish Academy John Kinross Scholarship to Florence in 2006, Elizabeth Greenshields Foundation Award in 2008, James Torrance Memorial Award presented at the 149th RGI Annual Exhibition in 2010, the Pastel Society Young Artist Award awarded by the London Pastel Society in 2013 and the Seabird Drawing Bursary granted by the Society of Wildlife Artists in 2015. More recently, in 2023, Lara was elected a member of the Royal Glasgow Institute.
Lara's drawings portray the natural world at its most beautiful and vulnerable – working directly from life responding intuitively to her surroundings allows a direct connection to Lara's subject matter. Animals and birds found in Africa, India, and closer to home in Scotland’s landscapes have provided inspiration for her most recent works.
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Lara Scouller: Into the Wild - 2017
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Lara Scouller is an award winning Scottish artist who works in a variety of media including pastel and printmaking. Lara has received great acclaim since graduating from Fine Art at Duncan of Jordanstone College of Art and Design, Dundee in 2006. Prizes awarded for her drawings include: the prestigious Royal Scottish Academy John Kinross Scholarship to Florence in 2006, Elizabeth Greenshields Foundation Award in 2008, James Torrance Memorial Award presented at the 149th RGI Annual Exhibition in 2010, the Pastel Society Young Artist Award awarded by the London Pastel Society in 2013 and the Seabird Drawing Bursary granted by the Society of Wildlife Artists in 2015. More recently, in 2023, Lara was elected a member of the Royal Glasgow Institute.
Lara's drawings portray the natural world at its most beautiful and vulnerable – working directly from life responding intuitively to her surroundings allows a direct connection to Lara's subject matter. Animals and birds found in Africa, India, and closer to home in Scotland’s landscapes have provided inspiration for her most recent works.
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Lara Scouller: Into the Wild - 2017
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English painter. On leaving school in 1904, he began work in Manchester as a clerk with a firm of chartered accountants, studying painting and drawing in the evenings at the Municipal College of Art (1905–15), and at Salford School of Art (1915–25). In 1910 he became a rent collector and clerk with the Pall Mall Property Company in Manchester; he remained a full-time employee and eventually chief cashier until his retirement in 1952. Despite his unusually long period as an art student, he regarded himself as self-taught. He drew inspiration from his surroundings, particularly Pendlebury, near Manchester, where he lived from 1909 to 1948.
Lowry's reputation was slow to be established. In 1962 he was elected an RA. Lowry remained unconcerned by his growing fame and commercial success; from 1948 until his death he lived in the same small, unmodernised house in Cheshire.
Although Lowry is chiefly associated with street scenes and townscapes, his subject-matter was far more wide-ranging. He painted country scenes, as well as views of the seaside and of harbours. Though often represented as a reclusive man, his affection for relatives and close friends is shown in the Portrait of the Artist's Mother (1910; Salford, Mus. & A.G.). Occasionally he touched on current affairs, for example in Blitzed Site (1942; Salford, Mus. & A.G.), depicting the damage caused by a German air raid on Manchester in World War II, although recording events of this sort was never one of his main interests.
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Lennox Dunbar is Emeritus Professor of Fine Art at Gray’s School of Art, Aberdeen. He has been visiting artist at many universities and workshops worldwide and since 1999 has conducted annual workshops at Printmaking Center Santa Fe, New Mexico, USA. Lennox has won many awards including Prize of the Municipal Art Museum Gyor, Hungary, International Print Biennale, Varna, Bulgaria, Shell Premier Award, major prize for the Cleveland Drawing Biennale and the Whyte and Mackay Award, Society of Scottish Artists and several major awards at the Royal Scottish Academy. He has exhibited widely in Europe and the USA.
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Born in Edinburgh, the eldest son of Alberto Morrocco he studied at Duncan of Jordanstone College of Art, The Slade, and Edinburgh College of Art. In 1968 he won an Italian government scholarship to study at the Accademia di Brera in Milan. He was lecturer in drawing and Painting at Edinburgh College of Art from 1965-1968 and then at Glasgow School of Art from 1969 to 1979. In 1979 he moved to Australia as Head of the Department of Fine Art at the Chisholm Institute in Melbourne. He resigned in 1984 to devote all of his time to painting. His work can be found in many public and private collections, notably The Scottish National Gallery of Modern Art, HRH Princess Margaret, The Scottish Arts Council, Leeds Art Gallery, The Nuffield Foundation and Queensland Art Gallery.
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Known as one of the fathers of Modern sculpture in Britain he studied first at the Regent Street Polytechnic and then at the Royal College of Art. During the Great War he enlisted with the Royal Horse Artillery, transferring first to the 2nd London field battery, then to the Royal Engineers camouflage division. In 1919 he spent a year in Henry Tonks's life class at the Slade School of Fine Art and he used an ex-services scholarship to travel to Iceland. Aerwards he joined the staff at the Royal College of Art where he was a major influence on a young Henry Moore. In 1921 he opened his own Brook Green School of Drawing in Girdlers Road. He was a founder member of the Seven & Five Society, and of the National Society, but his active involvement was short-lived as he resisted regimentation. During the Second World War he served with the civil defence camouflage section at Leamington Spa. His work is represented in the permanent collections of the Tate Gallery, the Arts Council and the British Museum. Pallant House Gallery held a major retrospective exhibition of his work in 2015.
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Gray graduated from Edinburgh College of Art in 1952 and after a post-graduate scholarship, spent the next decade living and teaching in Fife and finally retiring from lecturing in 1990. He was an active member of the Royal Scottish Society of Watercolour Painters, serving on their council three times from 1974 to 1987. He won the May Marshall Brown Award at the RSW in 1984. His work is held in the permanent collections of the Royal Scottish Academy, Edinburgh City Gallery, Greenock Art Gallery, the Royal Bank of Scotland, and the National Trust for Scotland. Three of his paintings are in the private collection of HRH The Duke of Edinburgh.
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It is a wonder to me that the artist of this highly accomplished little portrait cannot be found listed anywhere. It does happen occasionally but short of the painter using a pseudonym to dodge a gallery contract – as often happened – or a joker adding their name for some spurious reason, I’m at a loss. Anyway courtesy of an American dealer friend and a bit of TLC from our professional restorers here she is, an anonymous 1950s beauty with no past.
Business Design Centre, 52 Upper Street, London, N1 0QHWednesday 20th April: 12 to 9pmThursday 21st April: 11am to 9pmFriday 22nd April: 11am to 7pmSaturday 23rd April: 11am to 7pmSunday 24th April: 11am to 5pm There are a limited number of complimentary tickets for the fair, please do contact the gallery if you are interested.
Gallery Information
PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Business Design Centre, 52 Upper Street, Islington, N1 0QH
Wednesday 18th 11am -9pm
Thursday 19th 11am - 9pm
Friday 20th 11am - 7pm
Saturday 21st 11am - 7pm
Sunday 22nd 11am - 5pm
We have a limited number of complimentary tickets to the fair so please do get in touch if you are interested in visiting.
Steven Spurrier RA RBA ROI (1878-1961): Drawing History II
In an age before the camera became the principle means of social record and the flickering screen in every house monopolised domestic entertainment, the printed word in the form of daily and weekly journals still provided the man in the street with his window on the rest of the world. At the turn of the last century, Steven Spurrier left a brief period of employment with his silver-smith father to embark on a career as a fulltime illustrator. By the 1930s he was to become one of the nation’s most celebrated news artists, in constant demand by the leading papers and periodicals of the day.
Early on Spurrier established his career as a leading graphic artist while continuing to paint full time with some success; his 1913 Royal Academy exhibit was purchased by the Tsarina of Russia. At the outbreak of war Spurrier enlisted in the Artists’ Rifles before being transferred to the navy as Dazzle Camouflage Officer on the Clyde. In the 1920s Spurrier became every editor’s choice; his reputation for never missing a deadline, however short notice and his technical facility, kept him constantly in work, particularly with The Illustrated London News. He illustrated every issue of the Radio Times for decades.
In the 1930s he was introduced to the Circus world by Dame Laura Knight. Her introduction to the Mills Brothers of Bertram Mills led to a lifelong fascination with life under the big top. He was a great admirer of Thomas Rowlandson’s satires on regency life and felt he had a similar service to offer his modern day public.
He was a long serving Royal Academician and council member. The Royal Society of British Artists held the last exhibition before his death, opened by Sir Charles Wheeler PRA. With the discovery of this wonderful collection of original drawings and inks and through the ensuing exhibitions, Panter & Hall intend to bring Spurrier’s remarkable talent to a new generation of collectors. His work is held in The Tate and the National Portrait Gallery, London.
Lotta is normally based between London and Italy, though has recently moved to Jerusalem for a year. Having been educated at St Paul’s Girls’ School and the University of Edinburgh, she qualified as a barrister and pursued a career in international development for 14 years and lived for many years in Sierra Leone and Pakistan. Lotta was drawn to painting at a young age, taking courses at the Slade and École Nationale Supérieure des Beaux-Arts in Paris early on. However, the exigencies of a legal career did not allow her to pursue it, and she came to painting full-time only in 2018.
Since painting full-time, Lotta has exhibited in a wide range of public exhibitions, including many at the Mall Galleries (NEAC, SWA, RSMA, ROI, and ING), as well as the Royal West of England Academy and the London Art Biennale. She is a member of Chelsea Arts Club and prints of her work can be found at John Lewis. She won first prize in the British Art Prize, 2021, supported by Panter & Hall, Artist and Illustrators Magazine, and Viking Cruises.
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Lotta Teale: Mediterranean Light - 2024
Lotta Teale: Concise Vignettes - 2022
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This exhibition, my first solo show at a West End gallery, was won as a prize for coming first in the British Art Prize, 2021, sponsored by Panter & Hall. I could not be more thrilled to have the opportunity to show my works here.
The exhibition brings together recent paintings from the last year spent between Cyprus, Italy and England. I live partly in Tuscany (in my late grandmother’s place), and partly in London (where I was brought up), but this winter I found myself in Cyprus for two months. This allowed me the opportunity to explore a country I had long wanted to visit, following in the footsteps of my grandmother who had been born there.
While some of the works are architecture and interiors from these places, many are still lifes, an important component of my painting practice. Regardless of subject matter, I try to make my compositions as simple as possible, allowing for balance, rhythm and letting the subject breathe; painting with brevity, accuracy and a looseness of brush stroke. In painting one has the privilege–and the obligation–of observing one’s subject slowly and meticulously. Like a cat walking round and round in creating a suitable resting spot, I will often take hours arranging and rearranging my still lifes or tirelessly seeking out the perfect viewpoint. When I find one in passing, I lock it away in my mental register to come back to later. It represents a brief moment, a specific light reflecting on a surface, a description and veneration of a particular episode, and yet the completed painting can be evocative of other times, other memories, beyond what I as a painter will ever know.
I do hope you enjoy the exhibition.
- Lotta Teale, May 2022
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DOWNSTAIRS PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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"This, my second exhibition with Panter & Hall, brings together works painted over the last two years under the warm sun of the Mediterranean. In 2022 I moved to Jerusalem, and it has been an unparalleled opportunity to spend cloudless days under blue skies, painting golden stone and lilac shadows, to stand among palm trees, olives groves, bougainvillea, wild thyme and cyclamen, orange trees and cypress, set against distant mountains.Painting plein air, I would take my easel out early or in the heat of the day and get to spend hours trying to capture the overall sense of place, from the very composition to a particular moving shadow. Many paintings would be a race towards midday, the cut off point as shadows flip and the scene alters irrevocably – or towards sunset, when the warming glow gets ever richer and the contrast a clearer blue, and time speeds up into a frenzy of brushes as light changes by the second. Other days I would stay at home and paint in my studio, savouring the high domed ceilings of the beautiful Ottoman house in East Jerusalem we’ve been lucky enough to live in, light flooding through the windows - or head out to the terrace to paint still lifes, a constant array of local fruit and vegetables to hand.
Being based here has created a starting point for longer trips, be it day trips to the sea, taking a short drive out to the desert for the early evening light, or further afield to neighbouring countries. As an artist, it’s been a truly extraordinary time, and I hope I have managed to capture that sense in some of my paintings. In a place so rich in beauty, but also sadness, we can all just hope for a more peaceful time soon." Lotta Teale, February 2024
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CECIL COURT GALLERY22-24 Cecil CourtLondonWC2N 4HEMonday to Saturdays: 10AM - 6PM (Closed for lunch 2PM-3PM)Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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A Bostonian through and through, Kronberg studied at the Boston Museum School, under Edmund Tarbell and Frank Weston Benson, earning a Longfellow Travelling Scholarship that took him to Paris and the Académie Julian. Like so many of his countrymen, he fell under the spell of the Paris of the Belle Epoque, studying under Jean-Paul Laurens and Jean-Joseph Benjamin-Constant. Almost inevitably he became enamoured with the works of Dégas and began to paint ballet and Spanish dancers in theatrical settings. Returning to Boston he was appointed instructor in the portrait class of Boston’s Copley Society of Art and fell under the patronage of Boston’s great art matron Isabella Stewart Gardner. After Bernard Berenson departed the Isabella Stewart Gardner Museum, Kronberg frequently returned to Paris to acquire art for their collection. After the Great War he left Boston, living for a time in New York, Algiers and Spain in the 1920s and retired to Palm Beach (Doesn’t everyone?). A decent cove, he was known for his philanthropy, which even extended to his competition – financing fellow painter Arthur Clifton Goodwin’s career for over fifteen years.
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A Swedish figurative painter of the belle epoque, Sparre was a dashing aristocratic figure who began his career as a naval cadet and fenced for his country at the 1912 Summer Olympics in Stockholm. After initial art studies in Sweden, he entered the Académie Julian in Paris in the late 1880s, befriending the great Anders Zorn whilst there. Clearly a man of great energy and charm he was chairman or president of all the Swedish art societies over the ensuing decades. His wife Eva was very much an equal partner in their numerous endeavours, publishing a number of books, designing textiles and furniture and founding a legendary (in Sweden) furniture and ceramics factory Ab Iris. No doubt his portrait practice was gilded by his social connections, not least his brother-in-law, Gustaf Mannerheim, the wartime military leader and eventual President of Finland.
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After studying Fine Art at Canterbury, Louise took a Masters at Christ church University College, graduating in 2007. A highly regarded, intuitive landscape painter her work has been selected and hung in the annual Royal Academy Summer Show, the Threadneedle Prize exhibition, the Hunting Art Prize, the Lynn Painter-Stainer Prize, and the Discerning Eye at the Mall Galleries. Her work is collected worldwide and she is an elected member of the Royal West of England Academy where she is a past winner of the Odin Trust Prize.
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I have had both solo and group showings in Australia, California and London. My subject matter is mainly focused on the human form with particular attention paid to the face.
There is no explicit story behind my works. I wouldn’t want there to be. The subjects I paint aren’t models. They’re just normal people.
I always try to look for something interesting in the face of the individual I choose to paint. I like to paint faces that are maybe slightly unusual, or not considered conventionally beautiful. I am drawn, maybe unconsciously, to subjects that seemingly embody darker emotions. It resonates so much more with me and I think with people in general on a much more significant level than a picture of a girl smiling without a care in the world would. That’s not as relatable to people. But as well as trying to capture a certain and perhaps obvious melancholy, I like to present an undertone of strength. Some paintings embody that characteristic more obviously than others. But in every painting I do, I strive to imbue the subject with the juxtaposition of both vulnerability and strength, in varying degrees.
I also like to contrast this rather intense and sober portrayal with humour. I do that via the abstract brushstrokes and almost childlike representation of parts of the body. A cartoonish hand holding a cigarette whilst the pains of life are etched in the subject’s face allow for light relief and, I believe, make the painting more visually digestible.
All of this I say as a side note. I don’t like the idea of forcing my beliefs or ideas on to the viewer. I much prefer for people to take whatever they want from the paintings - draw their own conclusions, conceive of their own ideas behind each one. That is more fulfilling for me as the artist than to, perhaps egotistically, deliver a certain message through my art, eager for my thoughts to be heard. That has never been a goal. For me, art is such a subjective, personal and wonderful thing. It is not for me to tell you what you are to read in the works you are looking at, even if I created them. They are for you to take exactly what you choose from them."
Artist cv
2008 LK Galleries, Subiaco, WA, Australia - solo exhibition
2009 Osborne Park, WA, Australia - solo exhibition
2010 Greenwood Gallery, VIC, Australia, exhibiting at Melbourne art festival - group exhibition
2011 Norbertellen Gallery, Los Angeles, USA - solo exhibition
2012 The Vine Gallery, San Clemente, Ca, USA - solo exhibition
2014 Espacio Gallery, London, UK - solo exhibition
2016 Redchurch Street, London, UK - solo exhibition
2018 Redchurch Street, London, UK - solo exhibition
2019 Saatchi The Other Art Fair, Sydney, Australia - group exhibition
2020 The Wellington Gallery, Sydney, Australia - solo exhibition
2022 Aura fine art, Nottingham - group exhibition
2022 MTArt agency/BHP group, Monaco - group exhibition
E Catalogues
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Louise Howard: Small Beasts - 2023
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"This series of works, titled, ‘Small beasts’ is a continuation of my study of the human condition. We are, fundamentally, all beasts (some more than others), and from a greater perspective, as if being studied, we would appear as small as ants.
I strive to explore the complexities that delineate ‘humaness’ and try to articulate the myriad of emotions, thoughts, gesticulations, and expressions that humans are capable of feeling and exhibiting through my pieces. These tend to lean toward the darker side of the spectrum but all subjects are imbued with a quiet strength, a little attitude, a certain confidence and an air of melancholy. A comedic gesture here and there lends levity to counter the heaviness.
The result is a series of works that highlight certain characteristics of what it is to be human, in all our complexity."
Louise Howard
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A French figurative painter and etcher working throughout the twentieth century , he is well known for his light impressionist style, often depicting attractive nude or scantily clad female models in romanticised settings. He was to the French what Russell Flint was to the British and Anders Zorn was to the Swedes. Despite his frequent appearance on the international auction market very little biographical information is known about him.
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Lucy was born in Bedford in 1972. She has a degree in History of Art from Manchester University, and had enjoyed a career in marketing, before finding her way back to painting in her thirties. She graduated in 2015 with a first class Diploma in Fine Art from the Art Academy, London. That same year, her painting “Daydreaming” was exhibited in the Royal Academy Summer Exhibition, in London.
Lucy regularly exhibits in group and solo shows. She is often commissioned and her paintings are held in private and corporate collections across the UK, Europe and the US.
In February last year, Lucy won Artists & Illustrator’s Magazine “Artist of the Year 2019”. “Inside Outside” is her first show with Panter & Hall.
Lucy lives and works in London with her husband and their four children.
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Lucy du Sautoy: Introspect - 2023
Lucy du Sautoy: Inside Outside II - 2021
Lucy du Sautoy: Inside Outside - 2020
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"Two men look out a window. One sees mud, the other sees the stars." - Oscar Wilde The window is one of the unsung heroes of lockdown. When Covid-19 forced our collective retreat and stay-at-home days stretched ahead elastic and without end, it was the window that offered particular solace.
Looking out became one of the few ways to connect to the world outside. People started “window swapping” their views all over the world on social media. The Facebook group “View from My Window” quickly amassed 2.5 million members. The views are as diverse and unique as the people who shared them. What unites them is that, no matter how glamorous or mundane, in every window view, a human presence is implicit and a collective experience is shared.
Maybe the window also gave us the opportunity for freedom - metaphorical only, obviously. While confined indoors the act of gazing out offered some mental escape and space to think, to daydream, reflect and to remember.
The window view has distracted me and inspired my art for a long time, and this has been no less true during lockdown. The window pane itself, marked by changes in the light and weather is my picture surface. The subject allows me to explore the mechanics of painting, attending to colour, abstraction and detail, while registering human experience.
Nostalgic views of once vibrant London, largely empty in lockdown, are made opaque by the reflection of light on condensation, the doodled smiley face offers a hopeful human presence.
- Lucy du Sautoy
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DOWNSTAIRS GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays +44 (0)20 7399 9999enquiries@panterandhall.com
In her third solo with P & H Lucy presents a self-reflective series of paintings, each regarding the world outside from a different personal perspective. Her emphasis is on the dreamlike, thoughts drifting away from immediate perception as the world begins to blur and we focus on the condensation misting our view.
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Having worked in the Edinburgh New Town for the past ten years, Lucy’s work has been inspired by the surrounding Georgian Architecture. She uses a distinctive combination of materials including collage, paint, print making, drawing and hot wax, to reconstruct distinctively ‘Edinburgh’ architectural features. A collector of old documents, maps and books, wherever possible, she constructs her collages with relevant texts and images, creating unique ‘building portraits’, which have a literary as well as visual story.Graduating from Norwich School of Art, she initially returned home to Wales and exhibited in private and public galleries and exhibitions such as the Wales Drawing Biennale, the University of Aberystwyth and Oriel 31 in Newtown, winning their annual Open award twice.Since moving to Scotland ten years ago, she has been selected to show in the RSA, SSA and RSW Opens, was Artist in Residence for the StAnza poetry festival in St Andrews, featured in the BBC documentary ‘Newtown’, and was artist in residence at the Kimpton Hotel Edinburgh. She regularly exhibits in a range of Edinburgh Galleries and has a waiting list for private and business commissions.
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Having worked in the Edinburgh New Town for the past ten years, Lucy’s work has been inspired by the surrounding Georgian Architecture. She uses a distinctive combination of materials including collage, paint, print making, drawing and hot wax, to reconstruct distinctively ‘Edinburgh’ architectural features. A collector of old documents, maps and books, wherever possible, she constructs her collages with relevant texts and images, creating unique ‘building portraits’, which have a literary as well as visual story.Graduating from Norwich School of Art, she initially returned home to Wales and exhibited in private and public galleries and exhibitions such as the Wales Drawing Biennale, the University of Aberystwyth and Oriel 31 in Newtown, winning their annual Open award twice. Since moving to Scotland ten years ago, she has been selected to show in the RSA, SSA and RSW Opens, was Artist in Residence for the StAnza poetry festival in St Andrews, featured in the BBC documentary ‘Newtown’, and was artist in residence at the Kimpton Hotel Edinburgh. She regularly exhibits in a range of Edinburgh Galleries and has a waiting list for private and business commissions.
Previously unexhibited collection of exciting oils of the Irish countryside by one of the twentieth century's lost Irish masters. Luke was born into a family where the love and practice of art was fostered and encouraged. His maternal grandmother Augusta Dillon, later Lady Clonbrock, was an important Irish pioneer photographer and many of his family painted prolifically. His cousin is the great collector and connoisseur Sir Denis Mahon.
Luke was educated at Eton and Trinity College, Cambridge. Within months of graduating War broke out and a sense of duty led him to enlist with the British Army. Until the summer of 1940 he studied painting and drawing at the Dublin Metropolitan School of Art while waiting to be called up, and he subsequently joined the Royal Artillery.
In 1947 he joined the advertising firm of Mather & Crowther (subsequently Ogilvy & Mather) in London, where he met and married Audrey Vipond. In 1954 he returned to Ireland to help establish an advertising agency, Arks. Under his leadership this grew to become Dublin's premier advertising agency, representing Guinness, Irish Distillers and many multinational companies.
On his mother’s death Luke changed his name to Dillon-Mahon. His retirement from advertising was soon followed by taking over Clonbrock, the Dillon family estate in County Galway, where he moved permanently in the early 1970s.
In 1976 he sold Clonbrock and its contents in a three-day Christie’s sale, and he and Audrey moved closer to Galway. They built a house at Cooleen near Moycullen and created a renowned garden. Shortly beforehand they had been instrumental in establishing a Galway branch of the Samaritans and he subsequently became their Irish Director. In retirement they lived a self-contained existence on the edge of Connemara where their principal interests were gardening, Luke’s painting and the Samaritans.
Although Luke had painted all his life the constraints of a full time career had restricted his painting time but, on moving to County Galway, his output increased dramatically. He painted all over Connemara where he loved the bleak bog and mountain landscape, revisiting many locations again and again to paint the same scenery in different light, different weather conditions and in different seasons. Despite encouragement he never really painted after his first stroke in 1993 and he died four years later.
Luke was a shy, modest, aloof and rather diffident man who rarely signed his work. Few of his pictures were exhibited and these mainly early on in his career. He occasionally gave a painting to a relative or close friend, or to a raffle for one of his pet charities, which meant that he retained the bulk of his work and his wife Audrey guarded this carefully after his death.
In the early 1990s the artist Derek Hill saw a number of Luke’s landscapes at his daughter’s house. He strongly felt that these should be shown to a wider audience and offered to help arrange an exhibition. Sadly, his kind overture was firmly rejected.
E Catalogues
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Luke Dillon-Mahon (1917-1997) - 2023
Luke Dillon-Mahon (1917-1997)- 2021
Twentieth Century British Painting - 2019
Luke Dillon-Mahon - Selected Works from the Artist’s Estate - 2015
Luke Dillon-Mahon - 2011
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A collection of oils of the French and Irish countryside by one of the lost twentieth century Irish masters.
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Born in 1970, Luke is a London based artist who was educated at Eton before gaining a First in English and Modern Languages at Oxford. He studied briefly at The Heatherley School of Fine Art in London before beginning to paint professionally in the 1990s.
Luke’s versatile output encompasses portraiture, landscape, still life and illustration. He has regular shows in the West End of London and a thriving portrait practice.
Luke discovered a passion for landscape painting at an early age, and plein air painting, whether on his travels or in London, is still an important part of his work.
He is also happy to accept portrait commissions of all shapes and sizes, from family groups and children to more formal or official subjects. Highlights of the last five years include painting Her Majesty The Queen visiting Eton College and a full length portrait of the Lord Mayor of London.
He exhibits publicly, notably achieving in 2003 Runner up in the Garrick/Milne portrait competition. In 2010 he travelled to India with Their Royal Highnesses The Prince of Wales and The Duchess of Cornwall as official tour artist. His work is collected by writers and royalty alike, and is held in many public and private collections including the Royal Collection.
Luke is President of the Chelsea Arts Society.
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Luke Martineau: Islands of Light - 2022
Luke Martineau: An Artist's Selection - 2021
Luke Martineau: Brighter Days - 2020
Luke Martineau: Recent Works - 2018
Luke Martineau: An A-Z of Childhood - 2017
Luke Martineau: From Thames to Tiber - 2016
Luke Martineau: Across the Water - 2014
Tradition - Modern figurative painting in Britain - 2014
Luke Martineau: 'My Life in Paint' - 2012
Luke Martineau: India - 2011
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"My Winter Roses and Rose Hip was painted on the last day of 2020 and the first day of 2021. It was a happy surprise to find roses flowering in late December in my mother’s garden, and those hardy blooms, together with the gorgeous cadmium of rose hips garnering new life inside them, formed a subject that seemed quietly emblematic of New Year itself. Nature always seems to find a way of persevering and renewing itself, and we can take solace from that, perhaps all the more so during this last strange and troubled year.
This small selection of pictures is personal and somewhat eclectic, and coming halfway in between two full-sized solo shows at Panter & Hall in 2020 and 2022, it really only aims to offer a taster of things in store. I have included winter paintings- Piccadilly with shoppers, and a candlelit dinner party, both painted before the first lockdown; naturally there are also summer pictures- a warm September afternoon on the beach in North Devon and a colourful study of a friend’s pretty garden. There are some slightly unusual subjects for me, Jersey for instance, which I visited for the first time when I was invited to teach a portrait class there, but also perennial favourites, such as my daughter Grace posing at the piano or in the garden, reminding me of those three-quarter length and full length profile compositions I painted a lot when I was starting out as a fledgling Panter & Hall gallery artist more than 20 years ago. What unifies all these glimpses of different moments and subject matter is my interest in changing light, and the pursuit of a confident and personal language in paint, which is a never-ending source of challenge and excitement.
Painting has offered me consolation in difficult times, and gives me a daily sense of purpose and fulfilment. My pictures are a visual kind of handwriting through which I am trying to give an honest and, I hope, joyful account of the world around me and the everyday beauty that I find there. I hope you will enjoy this ‘artist’s selection’ of my work."
- Luke Martineau, May 2021
If you are interested in any of the reserved paintings, it is worth contacting the gallery as there is a chance that they may become available.
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MAIN GALLERYDownstairsPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
If you had wandered down Portobello Road between lockdowns last summer, you might have spotted a somewhat gangling landscape artist with an easel and brushes, standing like an island in the stream of passers-by, the west London flâneurs getting back to their normal economic and social life in the summer sun offering a lively subject against the backdrop of colourful Notting Hill.
We have all experienced something of what true isolation feels like at different moments over these last two years, and it’s true that many artists have always led a solitary existence ideally adapted, you might suppose, to life in these times. Although I do work on my own a lot, I have never been insular, in fact I depend upon engagement with the immediate world around me for inspiration, and not least to keep the wolf from the door. My last exhibition at Panter & Hall in May 2020 never made it onto the walls, and there was to be no private view, so the end of ‘distancing’ right now comes as a huge relief. This catalogue of work, produced more or less entirely in Covid times, is inspired by islands of different kinds, hence the title of the show; but of course in many ways the paintings themselves are my ‘islands of light’ in that they represent moments of happiness which have sustained me during hard times and which I hope will give other people flashes of joy.
Real islands do also feature in this collection, notably Barbados, where I enjoyed a revitalising trip earlier this year. As ever, is it the excitement of painting light that urges me on, especially light on water, and the ocean breaking on the Caribbean shores seemed suggestive of other journeys, other worlds and possibilities. Venice, Skye, and more generally the British Isles, are all represented here. We Brits are already islanders, rarely more aware than now of the twin challenges of being independent as well as outward-looking. Solitude of course need not be a sentence to be endured; it can be a deliberate retreat, a pause to regain strength, a moment of reflection. In difficult times I have found solace in nature, both on Exmoor and other trips around the UK, and painting in London’s parks, which are like island oases of green in the big city.
I hope that my pleasure in painting those patches of sunshine playing on the water, or broken into archipelagos by the summer trees, will communicate itself to you, and give you what we probably all need just now, a bit of a lift, and a reminder that–hopefully– not everything is wrong with the world.
- Luke Martineau
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+44 (0)20 7399 9999enquiries@panterandhall.com
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"I first admired Luke’s work in The Drawing Schools at Eton nearly forty years ago, when he was a schoolboy. Even then his evident passion for art, combined with a natural confidence in his handling of paint, suggested the likelihood of a successful career as a painter. I have followed his career ever since and am proud to say the Bridgeman Art Library has supported and represented him in the licensing world for many years. Luke’s paintings contain echoes of the work of his artistic heroes, among them Monet and William Nicholson, but his painterly touch is very much his own, and immediately recognisable.
‘Texture and Light’ is something of a showcase for Luke’s skill with oil paint: he handles shimmering fabric, as well as water, with verve and sensitivity. These paintings have an easy naturalism, and in our ever more fretful era his pictures speak of the good things in life, an appreciation of the beauty in nature and the importance of savouring our engagement with the world around us. I find pleasure looking at the flow of paint in these assured and keenly observed pieces, as I am sure you will too. I would encourage you to come and see the exhibition, and if you are not already collecting his work, to start doing so straight away!"
Harriet Bridgeman CBE
Founder, Bridgeman Images
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PALL MALL GALLERY21-22 Pall MallLondonSW1Y 5LPMonday to Friday: 10AM - 6PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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As Mabel Hobson, she was one of the most successful British portrait miniaturists of late nineteenth century. She exhibited at the Royal Miniature Society, the Royal Society of British Artists, the Society of Women Artists and over seventy at the Royal Academy. She married the marine painter William Lee Hankey in 1889 and began exhibiting professionally under her married name. Her clientele were drawn from the great British aristocratic houses, but her most important commission came in 1905 from the Countess of Strathmore and Kinghorne. She was to paint her daughter, Lady Elizabeth Bowes-Lyon, later Queen Elizabeth and then the Queen Mother. The result was exhibited at the Royal Academy and is now in the Royal Collection. Subsequently Mabel returned time and again to paint various family members. In 1923 the Countess commissioned a miniature portrait of Lady Elizabeth in evening dress, it was set in an elaborate, jewelled frame and presented to Prince Albert, Duke of York on their marriage. The painting was kept on the writing desk of the late Queen Elizabeth II in her private sitting room at Windsor Castle. In 1942 Queen Elizabeth commissioned portraits of the Princesses Elizabeth and Margaret, and another portrait of herself.
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Malcolm's roots are firmly planted in the North East of England, an area whose character and landscape have been defined by its industrial history. His forefathers were lead miners working the seams on bleak Alston Moor, and successive generations coal mined in Tynedale and close to Newcastle. Malcolm was born in Elswick, Newcastle in 1944, and lived and worked for much of his life around the city. Over the past 20 years he has lived in a market town in Northumberland.Much of Malcolm's work has arisen from the industrial history of his local area. His love of these locations and his genuine admiration for the scenes and characters he recreates comes across in the strong sense of community and camaraderie that defines all of his highly evocative work. It is the honesty of his approach that sets his work apart from his contemporaries however; he has an extraordinary ability to convey the reality of everyday life and the atmosphere of each scene, rather than simply to recreate the literal image.
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Malcolm Teasdale: Soot & Snow - 2022
Malcolm Teasdale: The Last Shift - 2016
Malcolm Teasdale: Lamplight - 2014
Malcolm Teasdale: Lampblack - 2012
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One of the great living Northern industrial painters, Malcolm Teasdale is a chronicler of pre-digital life. Drawing on his childhood memories in post war Newcastle, he brings to life the experience of a world dominated by working factories – the repetitive metallic crash of machinery, the stench of thick acrid smoke and the blaze of furnaces and gas light.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Margaret Pullée (née Fisher) was born in New York and was educated at Mayfield School in Putney before attending Chelsea School of Art and from 1928 to 1932 the Royal College of Art where she met her future husband Edward Pullée, a fellow artist who was to become one of the giants of British art education. Her early work included commissions for illustrations from the Radio Times and posters for LondonTransport. From 1958 she began exhibiting in the Royal Academy and was elected a member of the NEAC in 1964 where she was a regular exhibitor until her death.
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A graduate of Glasgow School of Art in 1991, Margaretann has won many awards, notably the Armour Award at the Royal Glasgow Institute and most recently the Inverarity One to One Travel Award at the Royal Glasgow Institute. Her paintings are held in the public collections of St. Andrews Hospital, Fife and Princess Margaret Rose Hospital, Edinburgh.
With her unique skill, grounding and diverse visual vocabulary, Margaretann is well known for her profound and evocative figures and intimate still life paintings. Winning numerous prestigious awards and the distinction of RSW, she has constantly pushed the boundaries of her work, resulting in a progressive transformation toward a darker imagery and narrative.
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Margarete or Grete Marks was born in Cologne, Germany, where she studied at the School of Arts and later at Dusseldorf Academy before entering the Bauhaus School of Arts in Weimar in November 1920. At this time the Bauhaus was in its first incarnation under Walter Gropius and enjoyed enormous influence over the fine and decorative arts throughout Europe.
After a brief period working in a pottery at Velten and teaching at the Arts and Crafts School in Cologne, Grete married Gustav Loebenstein and they established the Hael-Werkstatten a ceramic works committed to progressive design. Their ceramics proved extremely popular and were exported to the England, France, Sweden and the USA. Tragedy struck in 1928 with the untimely death of her husband but Grete continued to run the factory throughout the economic nightmares of the Weimar Republic. Finally, the growing tide of anti-Semitism proved too great and having ceased production in 1932 the National Socialists forcibly purchased the business in 1935. Fleeing Germany with her young family Grete was helped to come to England by Ambrose Heal, whose department store had regularly stocked Grete’s products.
Following an exhibition of several hundred paintings and an equal number of pots at Burslem School of Art, the Alma Mater of Clarice Cliff and Susie Cooper, Grete began to teach there. A brief period designing her own label at Mintons, led her in 1938 to begin her own works in Stoke while continuing to design for other manufacturers including Foley China and Ridgways of Shelton. In Stoke Grete met her second husband Harold Marks and they moved to the Staffordshire Moorlands where Grete concentrated on her painting. At the end of the war Harold returned from the army and the couple moved to London, Grete continuing to paint and beginning to make studio pottery.
Grete had begun exhibiting in London in 1937 at Brygos and at the New Burlington Gallery the following year, by the 1950s she was a regular exhibiter at the Redfern Gallery in Cork Street. The gallery’s influential director at this time Rex Nan Kivell championed her work and Grete would have hung alongside the great names of post war British art. With this close association with Nicholson, Scott and Piper amongst many others, Grete clearly absorbed the stylistic advances of the day both in technique and palette.
This collection of paintings produced in the bleak post war years captures the essence of British contemporary landscape painting of the 1940s and 50s. All sourced from her studio these paintings show a record of her life in Britain at the time, punctuated by trips to Cornwall, Scotland and Spain. At her best Grete Marks’ paintings stand up well next to her currently better-known contemporaries at the Redfern.
The many international collections who hold her ceramics include the Bauhaus Archiv, the Brohan Museum, the Victoria & Albert Museum and The British Museum (with works on Paper). Her paintings are held in the The Royal Festival Hall and the National Museum of Wales where an exhibition of her work was held in the 1980s. In 2018 The National Gallery of Ireland purchased three works from Panter & Hall for their permanent collection.
Grete Marks died in London in November 1990, aged 91.
If you are interested in any of the reserved paintings, it is worth contacting the gallery as there is a chance that they may become available.
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MAIN GALLERYDownstairsPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Grete Marks was born in Cologne, Germany; she studied at the Bauhaus School of Arts in 1920. Her early career saw her see great success in the ceramic industry with her own ceramic works committed to progressive design. However she was forced to flee Germany as the National Socialists forcibly purchased the business in 1934 in the growing tide of anti-semitism. Grete came to England with the help of Ambrose Heal, whose department store had regularly stocked Grete’s products and once here she continued to work in ceramics at Mintons and in Stoke.
Grete also painted throughout her life and by the 1950s she was a regular exhibiter at the Redfern Gallery in Cork Street. The gallery’s influential director at this time Rex Nan Kivell hung her work alongside those of Nicholson, Scott and Piper. A selection of Margrete’s pottery is currently on show at the Jewish Museum, London.
Today her works can be found in the Bauhaus Archiv, the Victoria & Albert Museum, The Royal Festival Hall, the National Museum of Wales and The British Museum. Grete died in London in 1990, aged 91.
Exhibitions
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Grete Marks: From The Artist’s Studio - 2016
Margarete Marks - 2008
Margarete Marks - 2007
Grete Marks: From The Artist’s Studio - 2016
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Marissa studied art for seven years and holds a First-class BA in Fine Art from Gloucestershire College of Art and Design and an MA from The Royal College of Art in London. Throughout her career she has gained recognition in the form of awards notably the Boise Travel Scholarship, the John Minton Travel Award and the Joy Barnes Award for Painting. Whilst commissions have included painting ‘The Four Seasons ‘(14x10feet) for the Guildhall School of Music and Drama, Barbican, London.
Marissa has a wide and varied language in paint which emerges in different applications depending on the given subject. Her still life paintings take on an academic approach involving the assessment of colour, form, space and composition. The influence of Hitchens and the Cubists come through her work in varying degrees.
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Marissa Weatherhead: Mediterranean Life - 2023
Marissa Weatherhead: From the Middle of the Garden - 2019
Marissa Weatherhead: Seven Paintings - 2016
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A small collection of large contemporary still life paintings, four sumptuous lobster feasts in rich reds and calm greys, ready to eat now. Mouth-watering fruit de mer provide the perfect abstract backdrop and a splash of yellow from perfectly placed lemons resolves each composition.
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A dozen paintings that capture the essence of a summer by the sea, harbours, boats and endless fruits de mer. Marissa’s work fizzes with energy and colour as her strong delineation of form compete with the underlying abstraction of her compositions to produce this series of life-affirming canvases.
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Mark’s journey to being one of Britain’s leading figurative painters was far from conventional. His formative years were spent amidst the sights and sounds of Manchester’s Meat Market at his father’s family butchery and meat packing business. Absorbed in the noise, smells and sheer physicality of this environment, young Mark learnt more about the structure of sinew, bone and flesh, albeit livestock not human, than in any subsequent life drawing class. As a teenager, passionate about pursuing an artistic career, Mark completed two foundation courses, at Oldham and Rochdale colleges of art.
However, in the 1980s conceptual art dominated the mainstream market and there were slim pickings for a young determinedly figurative painter in Manchester. Forced back to the wholesale butchery Mark continued to attend life classes religiously throughout the next decade. In the early 1990s the family business fell to the recession and Mark was spurred on to find a commercial outlet for his work. To buy time to build a portfolio he worked as an art technician at an Oldham grammar school for ten years. A short course at the Slade gave him an opportunity to tour the London galleries with his portfolio but with Brit Art in the ascendency he found good drawing very much out of favour. Luckily a local gallery had the foresight to offer him space in a mixed show and he sold six works at the opening. Mark gave notice at the school soon after. His subsequent rise in the art world is gratifying to those of us who admire that increasingly rare talent of good draughtsmanship. Mark’s work has developed from a fascination with this form and an obsession with classical themes. These preoccupations can be seen in recent paintings where his detailed observation combines with surface texture and carefully balanced compositions to create a beautiful and powerful representation of the figure.
In recent years Mark’s reputation has flourished, such that he has become one of the most popular figurative artists working in Britain today. His powerful depictions of the human form in have sparked a renaissance of interest in traditional life drawing amongst the art collecting fraternity. This immense technical ability is tempered by the natural sensitivity with which he imbues each subject. Although isolated in the picture plane, each model seems to live and breathe, their expression and poise conveying a sense of narrative that invites the viewer to ask more questions about them than the artist answers. Collaborations have involved the model Erin O'Connor, Marianela Nuñez, a Principal at the Royal Ballet and most famously a 21st birthday exhibition for the actress Emma Watson. In a contemporary art market seemingly obsessed with conceptual art, Mark’s work is a timely antidote.
Mark’s awards include The Lyceum Prize and The Sidney Andrews Scholarship and his work is included in many important collections. Current demand for his work reflects his growing reputation and his recent exhibitions across the UK have served to establish him as one of today’s outstanding talents and best-selling artists.
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Mark Demsteader: Moorlands - 2023
Mark Demsteader: In Arcadia & Other Works - 2021
Mark Demsteader: Ophelia - 2018
Mark Demsteader: Drawings - 2017
Mark Demsteader: Dalton - 2016
Mark Demsteader: New Paintings & Drawings - 2015
Mark Demsteader: Studies - 2014
Mark Demsteader: Marianela - 2013
Mark Demsteader: Paintings - 2012
Mark Demsteader: Emma - 2011
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A Conversation with the Artist: Mark Demsteader 2021
"Arcadia is a place that is both a real geographical location, as well as a mythological place from Ancient Greek Mythology. The real Arcadia currently exists in the country of Greece, while the idea of the fictional, mythological Arcadia is coming from the time of history when Ancient Greek mythologies were born. It was and is located in the Peloponnese, a peninsula in southern Greece.Whilst being locked down I was reminded of a painting by Nicolas Poussin entitled et in Arcadia ego, roughly translates to even in paradise here am I, which refers to the presence of death even in a place of beauty like Arcadia. As we have all spent the last year being reminded of our own mortality I began looking at ideas to describe a figure in such a surrounding and produce my own version of the story."- Mark DemsteaderIf you are interested in any of the reserved paintings, it is worth contacting the gallery as there is a chance that they may become available.
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
"Moorlands is a subject that I have been returning to over a number of years. I am interested in the figure within an abstracted landscape or environment that places it in any time, be it past or present. Living in the Pennine hills, between Lancashire and Yorkshire, the moors form a vast landscape in which I find a cathedral-like silence, and there I imagine artists in the past seeking a spiritual connection with their subjects. The figures in these paintings inhabit abstracted spaces, and they are intended to convey a sense of a spiritual rather than any recognisable place."Mark Demsteader May 2023
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Born in 1970, Mark Hall grew up in Dorset and to this day still resides in the county with his wife Amanda and son Luke. His fascination with sculpture began early when taken to the bright lights of London as a small child and exposed to the work of Rodin.
“That really was a seminal moment for me, I was completely hooked by the powerful physical presence of sculpture and the fact you could touch something so tangible”.
Interested in all aspects of the creative process along with a flair for design, Mark initially began along the path to become an architect. The call to sculpture however became too strong and in 1992 he embarked on a career as a freelance sculptor and designer. His work is now collected worldwide and his installation work is referred to on university lecture circuits as seamless cutting edge contemporary design. These larger sculptures have been shown at the Chelsea Flower Show and Hampton Court, with one piece donated to HRH Prince of Wales for the Prince’s Trust Garden.
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Welsh Artist Martin Llewellyn was born in Neath in South Wales in 1963. A completely self-taught Welsh painter, he takes his inspiration from the dramatic coastline and landscape of his native land. Although beginning as a watercolour painter he has in recent years discovered the dramatic possibilities of working in oils with a palette knife.
Martin is making a name for himself on the contemporary Welsh art market and we are delighted to be introducing his stunning work to our collectors east of the border. His paintings are steeped in the traditions of his antecedents in the twentieth century Welsh Art school, particularly Gwilym Prichard, Charles Wyatt Warren and of course Sir Kyffin Williams. His richly textured oils in a subtle, muted palette beautifully capture the distinctive atmosphere of North Wales whether depicting the drama of Snowdonia or the Irish Sea breaking against the shores of Anglesey.
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Martin Llewellyn: Cynefin - A Sense of Belonging - 2023
Martin Llewellyn: Hiraeth - 2021
Martin Llewellyn: Seven Paintings - 2020
Martin Llewellyn: Travels through an Ancient Land - 2019
Martin Llewellyn: Land and Sea - 2017
Martin Llewellyn: Cymru am byth - 2016
Martin Llewellyn: Yr Hen Wlad - 2014
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Another stunning collection of Hiraeth inducing views of God’s own country, richly textured and painted with all the passion that Martin clearly feels for Wales and the Welsh coast and countryside.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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HIRAETH: A longing for the Welsh homelandA new collection of dramatic, passionately painted, impasto landscapes by Wales’ leading contemporary landscape artist. Martin captures the glorious and diverse terrains of his homeland, from the Mountains of Snowdon to the Beaches of Pembrokeshire, like no other painter since Sir Kyffin Williams. If you are interested in any of the reserved paintings, it is worth contacting the gallery as there is a chance that they may become available.
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Now possibly Wales’ most popular contemporary landscape painter, Martin is as equally at home on a chilly Snowdonian slope as on a sunlit West Wales beach. His thickly applied impasto canvases are painted in what has become the de facto Welsh school style originated by the great Sir Kyffin Williams and his followers.
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Born in Surrey in 1953, Martin left school at 16 and found work as an artist in the advertising department of a well-known department store in London. In 1973 he left work to travel to India and Pakistan, selling portrait drawings he made on the streets of Lahore to survive. When he returned to England in 1974, he sought advice from the Royal Academy Schools. There he showed a portfolio of his Indian drawings to the Keeper, Peter Greenham, who invited him to be a guest student. In 1975 he began a course there, finally graduating in 1979.
During this time, the connoisseur and art historian, Sir Brinsley Ford discovered Martin’s work and started to form a collection of his drawings. At the end of his time at the RA Schools, he was awarded the Richard Ford Travelling Scholarship to Spain, subsequently becoming a Greenshield Scholar. In 1981 he painted a portrait of his father that was entered and hung in that year’s BP Portrait Award at the National Portrait Gallery, London.
In 1983 Martin became associated with The National Trust through Christopher Wall, who gave him the opportunity to paint both Basildon Park and Ashdown House. Numerous commissions followed from the National Trust's Foundation for Art. A large retrospective of his paintings, drawings, etchings and sculpture was organised by the Trust and exhibited at Mompesson House, Salisbury.
Sir Brinsley Ford introduced Martin to HRH The Prince of Wales in early 1986. The Prince made his first purchase of one of his works, an oil of St David’s Cathedral bought as a gift for the President of Japan. He was invited to join The Prince and Princess of Wales on the Royal Yacht Britannia on their tour of the Gulf States, as the artist in attendance, making him the first young ‘Tour Artist’ to teach the Prince drawing and painting. Martin subsequently accompanied the Prince of Wales on further official Royal Tours to Hong Kong and to India and Nepal.
In 1992 Martin was commissioned by the Royal Household to draw the Queen’s grandchildren as a present to Her Majesty to mark the fortieth anniversary of her reign. The drawings were exhibited at the National Portrait Gallery and now form part of the Royal Collection at Windsor.
He was commissioned to paint Sir James Whyte Black’s portrait, the Nobel prize-winning scientist for the National Portrait Gallery's Collection. In 1988 he was commissioned to draw Sir Alan Hodgkin, the Cambridge Physiologist for The Order of Merit series in The Royal Collection. Martin is a past winner of the Royal Society of Portrait Painters Ondaatje Prize for Portraiture and its Gold Medal.
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British Impressionists - 2020
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Mary Fedden studied at the Slade School of Fine Art, London from 1932 to 1936. She went on to teach Painting at the Royal College of Art from 1958 to 1964 where she was the first woman tutor to teach in the Painting School. She then taught at the Yehudi Menuhin School from 1965 to 1970.
Fedden exhibited in numerous solo shows throughout the UK; the Redfern Gallery, London from 1953, the New Grafton Gallery, London from the 1960s, the Hamet Gallery from 1970, the Arnolfini Gallery, Bristol and at the Beaux Arts Gallery, London in the 1990s. A major exhibition of her work was held at the Royal West of England Academy in 1996.
Fedden also received many mural commissions, notably the Festival of Britain (1951), the P & O Liner Canberra (1961), Charing Cross Hospital (1980) along with her husband, the artist Julian Trevelyan, and Colindale Hospital in 1985. Mary Fedden was President of the Royal West of England Academy from 1984 to 1988 and was elected a Royal Academician in the Senior Order in 1992. She received an OBE and a Doctor of Literature, Bath University in the 1990s.
Mary Fedden died in June 2012.
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Twentieth Century British Painting - 2019
The Sea, The Sea - 2003
Twentieth Century British Painting - 2019
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Mary studied at Southampton and Winchester College of Art from 1978 to 1983. A varied and successful career has encompassed painting, book illustration, work with the ENO and residencies with both Glyndebourne and Garsington Operas. Her paintings have been exhibited at the Royal Academy, The Discerning Eye, Singer & Friedlander and the Mall where they have won many prizes, notably the Critic’s prize at the New English and the Thomas Agnew Prize. Her public collections include those of John Lewis, Garsington Opera and the 2nd Regiment, Royal Electrical & Mechanical Engineers. She is represented in the private collection of Lady Getty.
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The Small Paintings Group - 2023
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Born in Beckenham, Kent, she studied at the Beckenham School of Art. She was awarded a scholarship to the Royal College of Art but declined it in favour of an open bursary at the Slade. She entered in 1918, gaining a full scholarship a year later. She picked up many awards whilst there, including the Portrait prize. The latter leading to her decision that she was working to a formula and consequently ceremonially burned all her portraits.She was a member of the Seven and Five Society from 1921, and exhibited with the New English Art Club from 1922, becoming a member in 1930. Mary married the writer Stephen Potter and with two children continued to paint as she wished. It was while living by the Thames in Chiswick from 1927 that she began to dabble with the watery vision which she would explore for the rest of her life.Her first solo show was held at the Bloomsbury Gallery in 1932, being well-reviewed by contemporary critics. She went on to have many solo exhibitions with the leading London commercial galleries of the day.In 1951 the Potter family moved to Aldeburgh and it was this Suffolk fishing town that was to provide the inspiration for her finest art. After her divorce in 1955 her great friendship with the founders of the Aldeburgh Festival, Benjamin Britten and Peter Pears led to them swapping houses for six years, so that she could paint overlooking the sea from Crag House. During her isolation, with only holiday and occasional visits from artists such as John Piper, Prunella Clough and Sidney Nolan she pared down her vision, thinning her paint, blurring outlines and abolishing the horizon line and painted to ever greater acclaim.In the 1960s and 1970s Potter gained increasing recognition. From 1967 she had seven solo shows with the New Art Centre in London, which continued to champion her work following her death, holding a further five Mary Potter exhibitions.She was awarded an OBE in 1979, and major retrospective exhibitions of her work were shown at the Tate Gallery in 1980 and the Serpentine Gallery in 1981; the latter opening to great critical acclaim a few months before her death. In a review of that exhibition in The Sunday Times, Marina Vaizey wrote: "The results over the past several decades have been paintings of the most exquisite tensile webs of pale resonant colour, the subjects almost vanished, but the echoes imaginatively suggesting the fullness of life: an evanescent evocation of the shapes and surroundings in which people live. The very delicacy is paradoxically full-blooded".Kenneth Clarke’s conclusion that her paintings are “enchanting moments of heightened perception”, should stand as her epitaph.
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Born in Helensburgh into a distinguished family of painters, Mary studied at the Slade under Henry Tonks from 1919 to 1923, then under Maurice Greiffenhagen at Glasgow School of Art from 1923. From 1924-5, Paterson travelled to Paris where she entered the Académie de la Grand Chaumière under Lucien Simon and later studied at the atelier of André L’hote. During the war, she worked for the Admiralty at Oxford, then moved to Chelsea until 1955 when she returned to the family home on the west coast of Scotland.
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Born in London, he studied at St Albans School of Art and Camberwell School of Art in the 1970s. Matthew Radford has exhibited widely in the United Kingdom and has also had solo shows in Los Angeles, New York, California, and Germany. His work is represented in several important collections including The Metropolitan Museum of Art, The New York Public Library and numerous corporate collections. He has held teaching posts at the Slade School of Art, New York Studio School, and Camberwell Art School.
Max Middleton enjoyed a long and highly acclaimed career as a professional artist, exhibiting in 68 exhibitions over 66 years. He died in 2013.Max had a great interest in the Australian landscape. As an en plein air painter, he faithfully rendered what he saw. He had an extraordinary ability to capture light on canvas.
Born in Melbourne in 1922, Max knew he wanted to be an artist from the age of 12. At 16 he started lessons in drawing at the National Gallery School, and practiced his oil painting technique on Sunday’s when his father drove him to the country to paint en plein air. Max studied privately with Septimus Power from 1940. Power greatly influenced Max’s early paintings with use of broad brush strokes and patterns of light and shade. Power became both a mentor and a friend to Max, and expressed his confidence in Max’s technical competence by inviting Max to assist with teaching.
In 1950 Max travelled to Europe to see the major museums and train at Heatherleys School in London, and in Florence at the Scala di Bellearti (School of Fine Art). In Europe his key influences were JMW Turner and Joaquin Sorolla y Bastida, both en plein air painters of the transformative effects of light. He painted in Wales, Ireland, Paris and Spain and in the flourishing art community of Cornwall. It was in regional Spain that he chose to paint the people of the area, and since then, the human figure has been a recurring subject in his paintings. Max returned to Australia in 1953, excited to once again be painting landscape in the unique Australian light. He felt liberated by his altered perspectives and adapted his technique and to a style influenced by the European masters.
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Michael Alford lives and works in London. He is known for an expressive painting style that fuses classical technique with a sharp, modern sensibility, he exhibits extensively in the United Kingdom, the United States and continental Europe. Michael’s varied body of work reflects his interest in many types of painting. He is well known for powerful cityscapes of contemporary urban centres—especially London—and for landscapes that capture diverse geographies through the eyes of a passionate traveller. His paintings of figures, clothed and nude, are sought after for their combination of fine draughtsmanship, acute observation and sense of drama. A sensitive portraitist, Michael is frequently commissioned to paint individuals and groups.
Michael’s earliest art training came from his father, a colonel in the Royal Engineers, who taught him to draw in perspective from a young age. After a stint in the Royal Marines, Michael studied Spanish and Arabic at Durham University. He travelled extensively in South America and the Middle East, keeping detailed sketchbooks to record his experiences. He later studied art at the Slade School and the Chelsea School of Art.
Travel remains and important source of inspiration for Michael’s work. Driven by a love for plein air sketching and painting from life, Michael’s recent trips have taken him to India, East Africa, the Middle East, Europe, the Caribbean and North America. He has been appointed war artist to the British Military, accompanying troops to Helmand Province in 2011 and again in 2013 and later in Iraq in 2016; his work is to be found in the permanent collection of the National Army Museum, among other institutions.
Michael has been awarded several prizes including the Green and Stone Oil Painting Prize, the Agnes Reeve Memorial Prize for best painting of London, and the Prima Luce Mural prize. Michael is a member of the Chelsea Arts Society.
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Michael Alford: Transitions - 2023
Michael Alford: Formas & Colour - Female Nudes in Context - 2023
Michael Alford: A Lightness of Touch - 2020
Michael Alford: Ten Nudes - 2019
Five British Impressionists - 2019
Michael Alford: Thirteen Nudes - 2018
Three British Impressionists - 2017
Michael Alford: New Paintings - 2016
Michael Alford: New Cityscapes - 2015
Tradition - Modern figurative painting in Britain - 2014
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A sumptuous new collection of studio nudes by one of Britain’s leading figurative painters. The collection is painted from life in the artist’s south London atelier, working with a number of new models and richly coloured fabrics to create sensual theatrical tableaux.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Another evocative collection of Michael's gorgeous paintings capturing our capital city in the atmospheric twilight of an autumn's evening. Familiar streets and landmarks light up with the glow of gas lamps as pubs and restaurants begin to fill with after work chatter. Each painting a timeless but contemporary record of London life.
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Michael John Ashcroft grew up in a small village called Croston in the heart of Lancashire. After leaving school in 1985 he began his career as an engineer, painting and sketching only in his spare time. In 1998 he had a major operation to remove a brain tumour and decided to paint more seriously. He returned back to college and completed numerous classes including A-level fine art.
His paintings have evolved over the years from early abstract acrylics to more representational works in oils painted on location. The foundations that underpin his paintings hasn’t changed and that is his fascination with light and dark and his love for the city and the landscape. David Lee (art critic) quoted:
'There are no secrets in what he does. Being open and honest he tells you directly through his pictures where his interests lie. We don’t have to be told by experts the meaning of his work because they are self-evident – we can see them for ourselves. In his landscapes as well as his views of the city, he willingly lays bare his pleasures and beliefs. You can’t ask more of any artist than this. He is a worthy heir of those in the great tradition of Lancashire painters.'
Michael is a member of the Manchester Academy of Fine Arts and has exhibited in The Royal Institute of Oil Painters, Royal Society of British Artists, The New English Art Club, The Howard De Walden Exhibition and The Royal Academy Summer Exhibition in London.
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Born in Ayr, Michael studied at the Edinburgh College of Art from 1979 - 1983. Through an early love of film he began working for the BBC in Glasgow before moving to London in 1989 to work as a freelance art director and illustrator. A simultaneous career as a fine artist proved very successful and he has held solo shows across the country. He has won numerous awards for his work over the years, including the Art Hire Prize at the Paisley Art Institute where he is an active member. He returned with his family to Scotland just before the millennium and now paints in his Ayrshire studio overlooking the River Doon. Corporate collections include the Royal Bank of Scotland, The Maclaurin Trust Collection and First State Investments
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Following formal art training was undertaken at Newcastle Polytechnic, Michael has forged a life as a professional painter ever since. During this time, he has exhibited regularly with the Royal Society of Portrait Painters, Royal Watercolour Society, the Summer Exhibition at the Royal Academy and the Royal Institute of Painters in Watercolours. In 1992 he won the Daler-Rowney Award for Outstanding Work and in 1993 was elected an associate member of the Royal Society of British Artists. More recently Michael was presented with the 2007 Meynell Fenton award at the 'Discerning Eye'.
Michael has also undertaken a number of high-profile commissions including portraits of Sir Frank Rogers, Peter Riddell (of The Times) and Sir Phillip Naylor-Leyland. And, his work can be found in the collections of Mr Johnny Depp, Ms. Vanessa Paradis, Collection Apollo Magazine, The Newspaper Society, London (Portrait of Sir Frank Rogers, commissioned by the Society), Baron Patten of Barnes (Ex. British Governor to Hong Kong) and Mr Peter Riddell CBE.
Given the trenchant nature of much of contemporary art practice, it is refreshing to find an artist with Michael’s ability and commitment to his chosen subject matter.
Michael’s intense involvement with each painting is evident in the carefully worked surfaces and the limited number of works he produces. Whilst remaining faithful to the tradition of figurative painting Michael employs a resolutely contemporary approach to his style of work. The combined application of different media such as, oil, pastel, graphite, gold-leaf and collage all lend richness to his work that adds depth to the overall image.
The works succeed in creating tension through a subtle balance of fluidity and detail: the free-flowing backgrounds complement the more formal and finely drawn subjects. In this way Michael achieves an opening up of space in the works - a space that is charged with atmosphere. Careful placement of the image and the unusual formats lend the works a fragmentary nature which in turn emphasizes the timeless quality already present in the painted surface.
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Michael Hyam: Ephemerality - 2020
Michael Hyam: New Paintings - 2015
Michael Hyam: Recent Works - 2012
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Michael Hyam August 2020 Blog Post
Historically, artists have been more interested in the permanence of their work, chasing a dream of longevity that would secure them a place in posterity. It might seem surprising then, that Michael has chosen ‘Ephemerality’ as the title of this show. In his figurative paintings, the elements of spirituality and sensuality vie for dominance. His cast of beautiful, often eccentrically coiffured young women, pose languidly demanding the viewer’s attention; however their impermanence is implied throughout by a visual blurring of the edges, a sense that each figure will start to disintegrate before our eyes. The broad brush strokes, while defining their features to perfection, simultaneously create an other-worldly quality around each figure. The consequent impression is that of a series of transient creatures – sprites, deities or spirits – their image caught fleetingly from the corner of our eye, moments before they vanish into the ether. Michael’s paintings convey this world of ephemerality and the inevitable evanescence of physical beauty to perfection. As objects of sheer beauty they are a pleasure and as works of art, they will, I have no doubt, endure.
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Born in County Durham, Michael studied Fine Art at Sunderland Polytechnic. Throughout the 1980’s he lived and worked in Newcastle upon Tyne, teaching drawing at the Polytechnic and Cleveland College of Art and Design. He was a member of The Waterloo Street Artists Studio Group and a spell in Leeds culminated in solo exhibitions at The University of Bradford Art Gallery, and Dixon Bates Gallery Leeds. In 1992 He attended The Royal Academy Schools postgraduate painting course, receiving a travel award to visit Mexico to study the Murals of Diego Rivera. For many years he was Senior Lecturer in Visual Studies at the London College of Fashion. He currently teaches at the New English Drawing School and at The Royal Academy of Dramatic Art.
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Michael Kirkbride: Drawn to the City - 2023
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Mick Kirkbride is one of the most interesting contemporary figurative painters working in Britain today. Technically faultless with a stylistic foot in post war British art, this exhibition casts a light on his artistic practice through a series of drawings and preparatory studies relating to the finished oils in the show.
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Mike Bernard trained at the West Surrey College of Art and Design, Farnham, followed by post graduate studies at the Royal Academy Schools. Since then he has exhibited at the Royal Academy Summer Exhibition, Mall Galleries, Royal Festival Hall and many private galleries in London and the provinces. Amongst many awards and prizes his work has garnered are the the Stowells Trophy, the Elizabeth Greenshield Fellowship, the Silver Longboat Award and Laing Award. Mike was elected a member of the Royal Institute of Painters in Watercolour in 1997 and in the was awarded the society's Kingsmead Gallery Award at their annual exhibition in 1999. He moved to Devon in 2008 where the distinctive west country light has proved a great inspiration.Mike enjoys experimenting with media and techniques, often using mixed media incorporating collage and acrylics with oils and watercolour. Within his paintings he tries to develop original ideas of texture and light, combining both into the semi-abstract images of landscapes, seascapes, street scenes, still life and figurative compositions that have made his name. The originator of this very distinctive style Mike's technique has proved popular amongst the artistic community at large and is often copied by his many followers in the amateur painting community.
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Mike Bernard: New Work - 2023
Mike Bernard: Recent Works - 2020
Mike Bernard: Recent Works - 2017
Mike Bernard: Recent Works - 2015
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Mike is an old friend of P & H and we have been holding solo exhibitions of his work in the West End since 2008. His very distinctive technique of combining acrylic, laid papers and collage has won him a worldwide following not to mention his many acolytes and imitators amongst the painting community.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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A welcome return to the gallery by one of Britain’s best loved painters. Mike has an instantly recognisable style, honed after many years of experimentation with different media and techniques. His lively, textured paintings incorporate collage, oils and acrylics producing lively, semi-abstract images that delight the eye. As the originator of this style Mike has been much imitated by his many enthusiastic followers in the artistic community.
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Born in London, Mike Francis is commonly described as a realist painter. Whilst training to become an illustrator at Central Saint Martin’s College of Art and Design, Mike also pursued his own career as a painter.
Mike’s artistic achievements were realised when he became the winner of several prominent competitions and held his first one-man show in London in 1960. Just over a decade later, Mike won the National Gallery's 150th anniversary poster award - the only contemporary artist’s work to appear on a National Gallery poster. Many national and international exhibitions followed from 1974 onwards. His works were shown at exhibitions and art fairs in Paris, Basel, Cologne, Stockholm, Munich, Washington DC, New York and London, with several works purchased for private and public collections including: Jamaican Embassy; Urs Schwarzenbach; Pears collection; Ace Publicity Shell, Prince Murat, Paris; Bob Monkhouse; Robbie Williams, UK; Chris Wright, UK. In 1998 Mike had a solo show with Whitford Fine Art, London (Deja vu) composed of Super-Realist works.
Francis’ work, although technically real, also conveys his dry sense of humour, adding a new dimension to familiar images, dreams and fantasies.
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Mike Francis - It’s a Dog’s Life - 2014
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A catch-all category used for decades to describe diverse British painting from the 1880s onwards. It has grown to encompass post war and pop art and includes artists who have enjoyed their greatest success in the twentieth century even though they may still be actively jabbing at an easel today.
Mungo Powney was born in 1972 and graduated from Newcastle University in 1994. He has exhibited his work with several UK galleries, in both group and solo shows. He regularly exhibits at international Art Fairs.
"I am fundamentally concerned with making compositions that connect us to a powerful emotional energy. I always start a painting with the aim of capturing something fleeting and internal, something other than the physical. I like art that achieves a composition that reverberates on this vital level, among those artists whom I admire are William Gillies, Nicolas de Staël, Vincent van Gogh, Paul Gauguin and Arthur Boyd. I admire these brave, big hearted paintings which are unselfconscious and joyful. Painters who are unashamed to let their simple colours out. In my paintings an abstract composition is the heart of the mood but I love objects and people and I want to paint them. Subject matter is becoming more and more important to me. I will spend days obsessing over what object a painting is thirsting. My work is quite varied because I believe that my best work is when I am experimenting."
- Mungo Powney
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Mungo Powney: Sixteen Paintings - 2021
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Neale Worley was born in Amersham, Buckinghamshire in 1962. In 1981 he started studying at the Camberwell School of Arts and Crafts, followed by the Royal Academy Schools where he was tutored by Ken Howard. Over the years Neale Worley has exhibited many times at The Royal Academy and the Mall Galleries. He has been the winner of many distinguished awards. Neale accompanied HRH The Prince of Wales as a Tour Artist in 2006 and 2013, as well as having works in HRH The Prince of Wales private collection. He now resides in London.Many of Neale’s oils are painted from life in his studio with meticulous attention to line and detail. He captures skin tones magnificently and one can almost feel the texture of the fabrics within the painting. Neale’s realistic depiction also gives a glimpse of the mood of his model which adds to the attraction of his artwork. His many awards include The Minto Prize, the Oakham Gallery Prize and the Manya Igel Prize on four occasions, all at the New English Art Club annual. He has been commissioned to paint the past seven presidents of the CBI and HRH The Prince of Wales for the Army Air Corps.
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Neale Worley: Paintings from a tour and other work - 2021
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Neale Worley: Artist of the Month April 2021 Blog Post
In 2018 Neale had the honour of accompanying TRH The Prince of Wales and The Duchess of Cornwall on their Royal Tour to The Gambia, Ghana and Nigeria as official tour artist. We are privileged to be able to show a selection of the resulting paintings as part of this solo exhibition. If you are interested in any of the reserved paintings, it is worth contacting the gallery as there is a chance that they may become available.
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUOpen Monday to Friday: 10am to 6pm+44 (0)20 7399 9999enquiries@panterandhall.com
Neil Bousfield studied MA Multi-Disciplinary Printmaking at the University of the West of England, Bristol, awarded with distinction in 2007. He had previously studied BA (Honours) Animation and MSc 3D Computer Graphics. Neil is an elected member of The Society of Wood Engravers and the Royal Society of Painter-Printmakers
" A change in personal circumstances facilitated a move to a new location and landscape space. Change initiates new directions within an art practice and current thinking has allowed a deeper understanding of drawing, making and the representation of space. The emotional needs of the biological human have led to an investigative approach to understanding the emotional construct of place: the transformation of landscaped space into landscape place through an art practice drives current making. We exist in and use space but we experience and make a place through the act of living and working in a landscape. Recent practice explores a sense of place, place identity, place dependency and a narrative of place. It is through experiencing and constructing landscape narratives we construct a narrative of place and create understanding. The exploration of these concepts allows a rooting of emotional connections to the landscape and this drives Bousfield's printmaking practice "
Neil's work is widely exhibited in the UK and USA and is held within major public collections including the National Art Library, the Ashmolean Museum, the Billy Ireland Library & Museum, Ohio State University Libraries, USA and MMU Special Collections; amongst private collectors, Neil is establishing a loyal following for his work.
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New Light - 2016
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Tchebakov studied at the Omsk Art College and from 1939 to 1948 at the All-Union State Institute of Cinematography in the workshops of Fyodor Bogorodsky and Yuri Pimenov. As did most of his contemporaries, he created a series of paintings on various patriotic subjects but notably he also worked as a scenographer for Sergei Eisenstein’s flm Ivan the Terrible. He was one of the ffeen painters, led by Boris Ioganson, who created the classic work of Russian socialist realism, Lenin’s Speech at the Third Congress of the Komsomol, which was acquired by the Tretyakov Gallery in Moscow in 1950. For this, jointly with the other contributors, he received the Stalin Art Prize in 1951. His paintings are represented in many public collections in Russia, notably the State Tretyakov Gallery, Moscow, and the State Russian Museum, St. Petersburg.
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Born in 1990, Nneka Uzoigwe is a figurative artist. She trained at London Fine Art Studios, where she now teaches part-time and received the De Laszlo Foundation Scholarship in 2016 and 2017. In 2021, Nneka became an Artist in Residence at the Watts Gallery creating mythological paintings in response to exhibiting artist Henry Scott Tuke. Her final paintings, along with the paintings, ‘Alix and Her Hair Crowns’ and ‘The Marine Room’, were displayed alongside the symbolist painter George Frederick Watts. This was also an honourable first for a contemporary artist, to have their works hung with within the Watts Historic Galleries. She lives and works in London.
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Nneka Uzoigwe: Sulphur - 2023
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It is so refreshing to find a young painter who has the wit and application to master the technical skills of the painter’s studio and then actually develop her work intellectually. Nneka’s gently surreal paintings draw on a deep well of literary and art historical references, marking her out from many of her peers and promising great things to come.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Norman Adams studied at Harrow School of Art from 1940 to 1946 and subsequently at the Royal College of Art from 1948 to 1951. He was Head of Painting at Manchester College of Art from 1962 to 1970, visiting tutor at Leeds University from 1973 to 1976 and Professor of Painting at the University of Newcastle-upon-Tyne from 1981 to 1986. In 1986 he was elected Keeper of the Royal Academy in 1986, and upon retiring from this position after nine years, was appointed the Academy's Professor of Painting Emeritus in 1995. His first solo exhibition was held in 1952 at Gimpel Fils, London with subsequent regular shows held at Roland, Browse and Delbanco.
In 1955 Norman and his wife Anna bought a house in Horton in Ribblesdale where they spent much of the next fifty years together. In 1962 they paid their first regular visit to the west coast of Scotland, fascinated by the islands and the ever changing light. In 1953 he designed the stage set and costumes for 'A Mirror of Witches' produced by the Royal Ballet at Covent Garden, and again for the Sadler's Wells production of Saudades in 1955. Commissions have played a large part in Adams's career, his first being the painting of a mural for Broad Lane Comprehensive School, Coventry in 1954. In 1967 he was commissioned by the Oxford University Press to illustrate parts of the Old Testament. He went on to paint murals for St Anselm's Church, Kennington, London in 1971 and to make 14 ceramic panels of the Stations of the Cross for the Roman Catholic Church at Coffee Hall in Milton Keynes in 1975. In 1994 Adams received a commission for the Fourteen Stations of the Cross, for St Mary's Church, Mulberry Street, Manchester. These were exhibited at the Sackler Galleries, Royal Academy, prior to installation. His work can be found in numerous public collections including that of the Tate Gallery in London.
A retrospective of the artist's work was held in the Diploma Galleries, Royal Academy in 1988.
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Born in Paisley, Norman attended Glasgow School of Art in the late 1960s. A highly successful figurative and landscape artist, he built a reputation as one of Scotland’s foremost portrait painters. His list of sitters is a who’s who of business and landed aristocracy, as are his many private and corporate collectors who include HRH The Duke of Edinburgh, The Princess Royal, Glasgow University, Heriot Watt University, Flemings and Guinness. He was appointed President of Glasgow Arts Club in 1993.
Born in Preston, Norman studied at Newcastle University. Early career awards, such as the de Laszlo Award at the Royal Society of Portrait Painters and Artist and Illustrators Magazine’s Artist of the Year established his reputation, firstly as a portrait painter and then gallery artist. In 2008 he was awarded a scholarship for Postgraduate study at the Pennsylvania Academy of Fine Art. He has been a regular exhibitor at the New English Art Club and held countless solo shows commercially. He has exhibited at the BP Portrait Award and the Ruth Borchard Self Portrait Prize. He is the author of a popular book on Oil Painting technique and a trustee of the Manchester Academy of Fine Art.
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Born in Preston, Norman studied at Newcastle University. Early career awards, such as the de Laszlo Award at the Royal Society of Portrait Painters and Artist and Illustrators Magazine’s Artist of the Year established his reputation, firstly as a portrait painter and then gallery artist. In 2008 he was awarded a scholarship for Postgraduate study at the Pennsylvania Academy of Fine Art. He has been a regular exhibitor at the New English Art Club and held countless solo shows commercially. He has exhibited at the BP Portrait Award and the Ruth Borchard Self Portrait Prize. He is the author of a popular book on Oil Painting technique and a trustee of the Manchester Academy of Fine Art.
Born in the Lake Mälaren Islands, Nordberg was a child prodigy, enrolling at the Stockholm Academy of Art at just 15. He studied there from 1920 to 1926 under Albert Engström, Alfred Bergström and Carl Wilhelmsson. Like many of his Swedish contemporaries he travelled widely, visiting Italy, France, Spain and Norway on painting study trips. He was particularly impressed by the folk art in the Slavic countries.
He enjoyed a successful career as a fine artist, sculptor and cartoonist. He was a member of a group of artists called ‘De Young’ and found most of his inspiration in the rocky islands and coasts around the Swedish Archipelago in Norrland.
Nordberg was known for the humour and naivety of his figurative works and was called the Chagall of the Mälaren Islands. His imagination and ingenuity transformed the everyday subjects he favoured into comic burlesques, infused with something of a fairy tale aura that lightened the otherwise humdrum scenes of real life in post war Sweden.
Nordberg’s work was part of the painting event in the art competition at the 1936 Summer Olympics. It is therefore of no surprise that his work is represented in the Gothenburg Art Museum, the Swedish Modern Museum and the Kalmar Art Museum.
Nordberg's studio still exists on the island of Munsö and is now a museum. The world auction record for Nordberg’s work is still held by Christie’s, who sold a large oil in 2008 for £15,000.
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"Living in the Yorkshire Dales for the last four years and experiencing their dramatic ancient landscapes of Coverdale, Swaledale, Wensleydale and Richmondshire have brought new, thought provoking, ideas into my paintings. During these years I have painted the seasonal drama in this often remote countryside: depicting the turning of the wild purple heather clad moors during the middle of August, the extraordinary abundance of summer wild flowers, the first poppies and the inescapable harsh blizzards of winter snow.
These atmospheric places encompass the arrival of the Curlews and their distinctive haunting call which resonates clearly over the lands inspiring my first thoughts for paintings. The ever-present stone walls are a constant element in my Yorkshire paintings and emphasise how parts of the landscape has not changed since medieval times and some of these tumbled down field boundaries date back to late prehistoric preserving Romano–British field systems. The irregularity of the stone walls and their moss covered and lichen-encrusted appearance give them a look of having grown organically from the landscape over centuries–all wonderful to paint as no two are the same!
Over recent years I have been revisiting the West Coast of Scotland including the Isle of Mull, Kentra Bay, Ardnamurchan, Jura, and Arygllshire".
-Oona Campbell
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Oona Campbell: Terra Nova - 2023
Oona Campbell: Curlew Calls - 2020
Oona Campbell: Walls and Falls - 2018
Oona Campbell: Seasons - 2015
Oona Campbell: Nine Hedgerows - 2013
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"Living in the Yorkshire Dales for the last four years and experiencing their dramatic ancient landscapes of Coverdale, Swaledale, Wensleydale and Richmondshire have brought new, thought provoking, ideas into my paintings. During these years I have painted the seasonal drama in this often remote countryside: depicting the turning of the wild purple heather clad moors during the middle of August, the extraordinary abundance of summer wild flowers, the first poppies and the inescapable harsh blizzards of winter snow.
These atmospheric places encompass the arrival of the Curlews and their distinctive haunting call which resonates clearly over the lands inspiring my first thoughts for paintings. The ever-present stone walls are a constant element in my Yorkshire paintings and emphasise how parts of the landscape has not changed since medieval times and some of these tumbled down field boundaries date back to late prehistoric preserving Romano–British field systems. The irregularity of the stone walls and their moss covered and lichen-encrusted appearance give them a look of having grown organically from the landscape over centuries–all wonderful to paint as no two are the same!
Over recent years I have been revisiting the West Coast of Scotland including the Isle of Mull, Kentra Bay, Ardnamurchan, Jura, and Arygllshire".
-Oona Campbell
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Oona Campbell: Terra Nova - 2023
Oona Campbell: Curlew Calls - 2020
Oona Campbell: Walls and Falls - 2018
Oona Campbell: Seasons - 2015
Oona Campbell: Nine Hedgerows - 2013
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Although traditionally a painter of Britain’s more extreme elements, a recent move to Dorset and the elegant environs of the Stalbridge Park Estate has led to this series of more sedate views of the English countryside. Oona’s distinctive energy and passion of course comes across in her thickly applied impasto oils but the Dorset countryside is sun drenched and awash with wild flowers, clouds moved by a fresh breeze and fields in fresh snowfall.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold● ReservedIf you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
*Please note, Orson Kartt's prints are made using unique book pages for each edition so your purchase may vary slightly from the images shown on our website.
"So when words fail, as they often do, I make art, because being is a doing word.” - Orson Kartt
Orson Kartt inherently believes that he has always been an artist, since he was first taught how to draw at the age of seven in his school playing field. However, it was not until the age of eleven that his creativity and love of drawing was tarnished when his art teacher confirmed he ‘was doing it all wrong.’ Kartt has commented that he “didn’t dare do anything really creative again until [he] was in [his] early 20’s.” Kartt attended art school at the age of twenty-five, and it was then that he began to reignite his love of creating and developing art work.
"I was taught that there is no such thing as art, just artists. As an artist my view is that art is about expressing the experience of being human.Being human, is often shaped, coloured and shaded by the light gleaned from our ever present media.
Being an artist is I believe, about seeing… things in the world around us and seeing things in the mind’s eye. Asking questions, so the work becomes an observation of the universe we live in. Both the physical one around us and the internal one which is always trying to make some sense of it all.” In his piece, ‘Rust never sleeps,’ the composition and subject matter came about due to loving the quality of the material. “The texture, the multitude of colour and sense of warmth that sometimes happens when steel oxidizes and changes from being a strong supportive material. This beauty is so often overlooked in so many aspects of our lives.”
The subject of death is a recurring theme in Kartt’s vocabulary. He states that,
“science tells us that the nature of our lives are finite. My personal countdown was calculated using family and personal health records and lifestyle history. It is quite shocking to be presented with this data, a bit scary and yet strangely liberating . It is a very real, bitter/sweet perspective. A confrontation of reality.”
Kartt’s works have been described as post iconic, therefore Dadaist and Surrealist. In answer to this, Kartt would say, “Art can be used as a tool to confront reality I like to think I work in this way.”
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Kartt's Miscellany
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Tiffany Panter and Matthew Hall met while working together in a commercial gallery in the West End of London. In 2000 they decided to open their own gallery, taking a lease on a small Georgian building in Shepherd Market. In 2006 they added Oakham Contemporary gallery to the business, trading from both for five years. In 2011 they consolidated both galleries into a larger site in Bury Street, branding it solely as Panter & Hall. A lease end in 2013 saw P&H on the move again and they moved to the current grand gallery in Pall Mall.
With hundreds of exhibitions and art fairs behind us, we have forged a solid reputation for dealing in art and artists of talent and value. We look forward to the next twenty years of Panter & Hall with excitement and relish if no longer with the advantage of youth!
A selection of paintings for Christmas from our regular gallery artists – what more thoughtful gift is there than a personally chosen original work of art?
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUOpen for click-and-collect by appointment+44 (0)20 7399 9999enquiries@panterandhall.com
About the artist
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This is the intro to the P&H Exhibition. The paintings featured below are just samples. Not the real thing
A selection of paintings for Christmas from our regular gallery artists – what more thoughtful gift is there than a personally chosen original work of art?
Patrice Lombardi is an American/British painter who divides her time between her home in East Anglia and Italy. She trained in Boston and Paris before receiving her Masters of Fine Art in Painting from the Graduate School of Fine Art at Villa Schifanoia in Florence, Italy. She regularly exhibits her work in London, Italy, the USA and Mauritius.
In developing her vision in paint she has had over 20 solo exhibitions and participated in many group exhibitions. She has a base of collectors worldwide and works with clients, academic institutions and public institutions in executing commissions. Her work focuses on object studies, landscape, her interpretation of classical sculpture, as well as portraiture and animal studies. She has also taught painting for different American universities in both Italy and the USA.
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Born in London Algar studied at Wimbledon School of Art and the Royal Academy Schools. There she won several prizes for painting and drawing, including the silver medal for composition. She started visiting Nancledra, Cornwall in the mid-1960s, before settling in St Ives in 1976. In the 1990s she spent time in America painting and visiting collectors, exhibiting her work in San Diego and Dallas. Returning to Cornwall she settled in Marazion where she continued to paint and exhibit until her death in 2013. Her work is held in the collections of Winsor and Newton, the Falmouth Art Gallery and Penlee House and Museum, Penzance.
Inspired by the magic of folklore and characterized by a warm, muted palette and aged plaster work layering, reminiscent of fresco painting, narrative threads are woven around the interactions between Paul’s anthropomorphize figures, in a world free from the boundaries of time and culture.
Paul lives and works in the north of Scotland.
Born in Birmingham, Paul Curtis completed a foundation diploma in art and design in fine art at Bournville College of Arts, and later his master’s at the Royal Academy. He moved to Sheffield in 1965 and lectured at Sheffield Hallam University for over 30 years. Since 1997, he has been living between Sheffield and London whilst painting full time and delivering workshops and courses on painting and drawing throughout the United Kingdom. In 2011 he was elected a life member of the NEAC.
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Clemens grew up in Milwaukee and graduated in art history from the University of Wisconsin–Madison in 1932. He then studied fine art at the Art Institute of Chicago where he met his first wife Ruth a sculptor and fellow student who modelled for many of his more famous works. He began painting for the Depression-era Works Progress Administration and won several awards for figure painting, which he taught at Los Angeles’ Otis Art Institute in the early 1940s. Having settled in California he began an association with Life magazine, painting numerous portraits of the Film Stars of the day to accompany profiles in the magazine.
His sitters included Katherine Hepburn, Spencer Tracy, Audrey Hepburn, William Holden, Frank Sinatra, Henry Fonda, Ava Gardner and Frank Sinatra. The latter two, a married couple at the time became great friends of Clemens and his portrait of Sinatra, a birthday gift from Gardner became Sinatra’s favourite painting.Clemens fame grew and in 1942 the Durand Ruel galleries mounted a solo show of his paintings, the first for an American artist since 1895. Through his work for Life magazine he met the actress Eleanor Parker who became his second wife (she went onto play ‘the Baroness’ in the Sound of Music). His work had the romantic ambiance, delicate hues and luminous quality of the 19th century French painters and critics often referred to Clemens as “the American Renoir”. His work has been exhibited at the Carnegie International in Pittsburgh, the Metropolitan Museum in New York and the National Academy of Design where he was elected Academician in 1965. His ‘Head of Ruth’ is in the permanent collection of the Smithsonian.
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Often called the last of the Impressionists, Maze had a reputation as one of the great artists of his generation. He was born in 1887 into an artistic circle in Le Havre, where the young Maze learned the rudiments of painting from family friends that included Renoir, Monet, Dufy and Pissarro. His father, a tea merchant, sent him to school in Southampton where he began a life long love affair with all things English. On the outbreak of War, the sight of the Scots Greys disembarking at Le Havre inspired him to sign up immediately as their interpreter. A brave and highly decorated soldier, Maze was awarded the Distinguished Conduct Medal and Military Medal and bar; he sketched continually throughout the Great War, his pencil and paper never far from his bayonet.During this time he encountered Winston Churchill and a mutual interest in painting led to a lifelong friendship, often with Maze acting as Winston’s artistic mentor. Writing from Chartwell before the Second War Winston described Maze as “an artist of whose keen eye and nimble pencil record impression with a revealing fidelity.” This facility to record the events of his life wherever and whatever they were with distinctive immediacy led a British tommy to describe his work as “pictures done in shorthand”.Maze immortalized the English Season in art: Goodwood, Trooping the Colour, Henley Eights and Cowes Week where he was a familiar figure on the Squadron steps shrouded in tweed coats and a large hat, whatever the weather.Maze exhibited at a number of major commercial art galleries in London, Paris and America. In London he had shows at Marlborough and a major retrospective ‘Paul Maze & The Guards’ at Wildenstein in 1973.Maze’s fascinating life was reviewed in Anne Singer’s biography ‘Paul Maze – the Lost Impressionist’.
From 'The Passions of Paul Maze' exhibition catalogue at Panter & Hall in Feb/March 2016 -
Jessie
Paul Maze fell in love with Jessie Lawrie in the early 1930s, she became the second Mrs Maze in 1950 and the couple remained devoted to each other until Paul's death in 1979. He painted and drew Jessie constantly, almost to the exclusion of anyone else in their later years. It was his great friend and mentor Édouard Vuillard who convinced Paul Maze to adopt Pastel as his principal medium. He introduced the young Maze to his pastel maker the great Dr Roche, who had discovered a new formula for chalks that had allowed for 1,600 shades. Later Maze had described the experience as having been "taken by God to meet God". The medium was perhaps put to best use in his loving studies of Jessie. His simple glimpses of domestic moments are reminiscent of the later intimiste works of Bonnard and Vuillard finding beauty in the otherwise mundane. This intimacy found in his small pastels of Jessie, say much for his feelings for her. They are the most natural of all his subjects as, one would guess after years of living under the artists eye, Jessie appears oblivious to the viewer and artist as she carries on with her daily routine, bathing and dressing un-posed and undirected.
Pomp and Ceremony
As a highly decorated soldier in the Great War, Maze new the military arena intimately. In the Second War he commanded a battalion of the Home Guard interrupted by a spell on the continent on a yearlong special mission for Sir Arthur 'Bomber' Harris at SHAEF. He enjoyed the visual feast that a splendid martial and state occasion afforded an artist. His many contacts in the military establishment, including Sir Winston Churchill, who he'd first encountered in the trenches, allowed him privileged access to the annual Trooping the Colour ceremonies and he was often to be seen, a lone figure at an easel at Horse Guards or Windsor Great Park recording each event for posterity. Indeed for major state occasions, coronations and the like, the army erected a special wooden stand granting a unique perspective above the throng. Wildenstein's held a show of his work depicting military pageantry in 1973 entitled 'Paul Maze and the Guards'. After his death a memorial service at the Royal Hospital, Chelsea was organised for him by his friend General Sir Michael Gow.
West Sussex
In January 1950 the newly married Paul and Jessie bought Mill Cottage in Treyford, a small hamlet near Midhurst. Paul had been struck by the beauty of the countryside while commanding the local Home Guard and had decided to spend his remaining days there. He painted en plein air in the Sussex Downs in all seasons and weather until his death nearly thirty years later. Particular attention was paid to the garden at Mill Cottage, a mature garden to which the Maze's added a number of rare plants that Jesse ensured filled the interiors of Mill Cottage in summer. Maze adored the open countryside and most mornings set out with a low stool and a 'baby carriage' laden with hundreds of pastels carefully ordered so as to be chosen by touch so as not to lose concentration on the Sky, fields and woodland for a moment.
In his preface to Paul Maze's 1948 solo exhibition at Marlborough Fine Art the Critic Simon Levy wrote "To be able to capture nature in its moods and in its movement and to achieve in so delicate a medium as pastel so complete a self-expression is a consummation that one cannot but admire"
Travels
As a French Norman by birth and a naturalised British subject Maze spent the majority of his time between France and England. He fought in France in the Great War and took a studio in Paris between the wars settling for the most part in West Sussex from 1950. He had enjoyed a close friendship with Consuelo Balsan since the war and she lent the Maze's a mill house on her estate St Georges Motel, a château in a small commune near Dreux, about fifty miles from Paris. Consuelo (nee Vanderbilt) had been Duchess of Marlborough until her divorce in the 1920s and was still close to Winston Churchill who often visited to paint alongside the community of impressionists that gathered there.
In the early 1950s the Maze's were introduced to Laurence and Mary Rockefeller who soon became firm friends and patrons. In 1952 the Rockefellers invited Paul and Jessie to stay in New York to attend Paul's large solo show opening at Wildenstein's. A planned month turned into a year's sojourn, having been lent a house in Centre Island they enjoyed invitations to Maine, Palm Beach and Fisher Island and another show was held at the Worth Avenue Gallery in Palm Beach.
Although most of the post war period was spent in the rural idyll of Mill Cottage, Treyford the Maze's did summer occasionally in Monte Carlo and Majorca, the latter in a house lent by the Duke of Beaufort, who as David Somerset had organised Paul's exhibitions at Marlborough Fine Art.
Influences
Growing up in Le Havre at the turn of the last century Maze was fortunate to have both the encouragement of a father who patronised the contemporary artists of the day and to be surrounded by some of the greatest names of French painting of the day setting up their easels on his doorstep. He watched Pissarro paint and painted side by side by an indulgent and sometimes instructive Raoul Dufy. Georges Braque was a childhood and lifelong friend.
After the Great War he returned to Paris and set up studio at 13 rue Bonaparte, fortuitously his neighbours on either side on the fourth floor were Andre Derain and Andre Dunoyer de Segonzac. They introduced him to their extraordinary circle of friends that included Jean Marchand and Ker-Xavier Roussel. Collette the writer amongst so many artists had a habit of nick-naming each member, dubbing Paul Maze 'Le Berger' - 'The Shepherd'. At this stage it was really only de Segonzac who had a significant influence on his career helping him mount his first exhibition at the Galerie des Beaux Arts in Nice in 1921.
In 1932 Maze met Édouard Vuillard in London and they became great friends. Vuillard's Paris dealer Joss Hessel owned a small country house Les Clayes, near St Cyr which he would throw open to a general melee of artists, musicians and statesmen. Here Maze cemented his friendship with Vuillard and the latter convinced Maze to concentrate on working in Pastels, the medium for which he has perhaps become best known; even paying him the great compliment of introducing him to his personal pastel supplier in Paris.
Copyright Panter & Hall
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Paul Maze: Cher Maitre - 2022
Twentieth Century British Painting - 2019
Paul Maze: Works from the Treyford Collection - 2018
Paul Maze: A Private Collection - 2016
The Passions of Paul Maze - 2016
Paul Maze: Impressions of a Life - 2012
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Born in London, Paul studied at the Slade School of Fine Art where he was awarded a French Government scholarship to travel and work in France. He spent the 1970s in art education with a year in Rome that decided his concentration on watercolour as his medium of choice. He exhibits widely and is a prolific prize-winner, notably the House & Garden Award and the Hugh Casson Drawing Prize at the Royal Academy, the purchase prize at the Discerning Eye and the Smith & Williamson Cityscape Prize at the Sunday Times Watercolour Competition. He has served as Vice President of the Royal Watercolour Society and continues to serve as its Honorary Curator.
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Paulo was born in Florence, the son of a professional painter. He and his elder brother Valentino were tutored from an early age before his independent spirit led him to leave his father’s studio and move to Verna where he lived and painted for five years in the 1920s. He made his painting debut in Milan in 1929 at the Galleria Pesaro, showing alongside his father and brother. It is said that his mother was responsible for sending his work to the first Rome Quadrennial in 1931, without his knowledge. Whatever the truth, he was accepted and hung in what was then the principal national showcase for the best in Italian art and crafts. His brother had befriended Ettore Petrolini, a famous film and stage actor of the day and through his connections Paulo was launched onto the capital’s art scene. He soon established himself as the portrait painter of choice in Roman society, even painting Josephine Baker on a trip to Paris.
In the 1960s he spent a prolonged period in California, living in Los Angeles and San Francisco, portraying Hollywood and its players; at the end of the decade he moved back to Verna, in Tuscany , where a renewed interest in his work led to major public exhibitions including a solo show at the Galleria Michelangelo di Firenze in 1967, another in Florence in 1973 at Palazzo Strozzi, in Rome at the Quadriennale's Palazzo delle Esposizioni, and in 1975 in Assisi with a large exhibition inspired by St. Francis.
His works are found in museums internationally:, the Metropolitan Museum of Art, the Museum of the Scala of Milan, the public collection Ricci Oddi in Piacenza , the Modern Art Museum of Livorno , the gallery modern art of the Pitti Palace, the Balzan foundation, the Carima Foundatio and two self-portraits at the Uffizi.
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Pen gained her Masters in Painting and Printmaking at the Art Institute of Chicago on an International Peace Scholarship. On graduating, she was awarded the Institute’s Ryerson Travelling Scholarship and the Austin Museum’s Juror’s Award. She has exhibited at the Royal Scottish Academy, Inverleith House, Talbot Rice Gallery, Edinburgh; and internationally in Chicago, Banff and Texas. She is a published and performing poet.
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Born in Edinburgh where she studied at the College of Art under William Gillies. Beaton worked briefly as a school mistress at Hamilton Academy where she greatly encouraged the young Glasgow Girl, Mary Nicol Neill Armour. She joined the staff of the Edinburgh College of Art in 1919 and remained until her retirement as senior lecturer and head of the junior department. John Maxwell was her assistant during her tenure. Her paintings were exhibited widely throughout her life and are held in the collections of the Royal Scottish Academy and Edinburgh University.
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Painter, draughtsman, printmaker and teacher, born in Cleethorpes, Lincolnshire. He studied at Grimsby School of Art, then Leicester College of Art. He taught mainly in Newark, Nottinghamshire. Brannan was elected RBA in 1960 and was president of Lincolnshire and South Humberside Artists. He showed in mixed exhibitions at RA, NEAC, LG and elsewhere, having a series of solo shows with Trafford Gallery, one at Usher Gallery, Lincoln, 1978, and a retrospective at Goldmark Gallery, Uppingham, in 1995. Usher Gallery, Grundy House Museum in Blackpool and Lincolnshire Education Committee hold his work. Brannan admired the work of French Post-Impressionists, also Cotman and Chardin. Lived in Welbourn, Lincoln.
Text source: 'Artists in Britain Since 1945' by David Buckman (Art Dictionaries Ltd, part of Sansom & Company)
Brannan showed a great admiration for the work of the French Post-Impressionists and also the still-lifes of Chardin. Yet the Lincolnshire landscape held equal appeal as a source of inspiration and throughout his 30 years in Newark Brannan produced numerous paintings of the market town and its people. As art critic Eric Newton observed, “it is evident that Newark is as stimulating to him as Montmartre was to Utrillo.” Courtesy of Goldmark Gallery in Uppingham, Rutland who have several of his paintings.
The current dynamic president of the New English Art Club, Peter is universally known as ‘Pete the Street’ after his practice of painting in the streets of our major cities in all hours and weathers. He took his foundation year in Bath before graduating from Manchester. He returned to Bath in 1993 and still lives and works there today. He now travels worldwide in search of inspiration but retains his discipline of weathering whatever the elements can throw at him while practicing what he calls ‘See and put’ painting. He has won many awards at various national exhibitions including the Critic’s Choice Prize at the NEAC half a dozen times. His work is held in numerous public and corporate collections, including the RAC Club, The Holburne Museum, Bath, the Victoria Art Gallery, Bath, the Howard de Walden Estate and the National Library of Wales.
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Cumming was born in west London in 1916. He trained at Hammersmith College of Art and at the Royal Academy Schools, where he won the Silver Medal for drawing. During the Second World War he served with the RAF and the Air Sea Rescue service in Malta, where he often drew portraits of his comrades in return for extra rations. Drawings from his sketchbooks, of life in besieged, wartime Malta, as well as a later oil painting of the rescue boat of which he was part of the crew, can be seen at the Imperial War Museum in Valetta. Following the war he worked as a freelance artist and illustrator before combining painting with teaching in 1950, when he became lecturer at the City of Oxford School of Art – exhibiting widely in Oxford and London, and receiving many private commissions. In 1960 he moved to Dorset, took up the post of lecturer at Bournemouth and Poole college of art. In 1979 he retired and moved with his family to Iwerne Minster in north Dorset, where he lived and painted until his death.
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Peter’s professional career as a freelance illustrator was mainly in the field of book jacket, advertising and packaging design. With agents in new York, Hamburg and London, he established himself as one of Europe’s leading illustrators. In 1995 Peter switched careers and established himself as one of Scotland’s foremost landscape painters. Over the last few years a new direction has emerged featuring portraits and the urban environment, and in some works a highly political content is beginning to evolve.
Education
1967–8 Foundation course, Middlesbrough College of Art
1967–71 Degree course, Central School of Art, London
Commission
2000–2 commissioned by the Hon Philip Astor to design and paint a series of art works (24) and three stained glass windows for private chapel in Migvie, Aberdeenshire.
Collections, Public and Commercial
Victoria & Albert Museum, Saatchi &Saatchi Penguin Books, Baxter’s Foods, William Collins & Sons, ICL, National Savings, British Telecom, Quantas Airlines, Scania Motors, Whitbread, Bergsoe 3, CBC, Grisewood & Dempsey Publisher, BBC, Intergrated Engineering Services, Cidel Bank, Peter Justenson,Duncan & Todd, Scandutch
E Catalogues
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Peter Goodfellow: Treason of the Scholars - 2015
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Born in London, Greenham studied English at Magdalen College, Oxford before studying Fine Art at Byam Shaw. He was elected a member of the RA in 1960 and in 1964 succeeded Sir Henry Rushbury as Keeper of the Royal Academy Schools, a position he held with distinction until his retirement in 1985. He was an influential figure in the post-War generation of British artists having taught many well-known modern British artists including Martin Yeoman and Peter Kuhfeld. He served as President of the Royal Society of British Artists and was a prolific writer on art. He is perhaps best remembered as a portraitist and was commissioned by the Welsh Guards to paint H M the Queen in 1962. His work is represented in the collections of the Royal Academy and the Tate.
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Peter Howson was born in London in 1958; he moved to Scotland in his childhood and enrolled in the Glasgow School of Art in 1975. Peter has admitted that it was only in his final year of art school that his talent was finally recognised and able to grow with the assistance of his tutor, mentor and friend: Sandy Moffat. Peter credits Sandy with discovering his potential as an artist and giving him the confidence to begin his career.
In 1983, after graduating from University, Peter débuted his first public commission, a series of wall murals dedicated to the community in Feltham, London. From this point on, Peter has built a reputation as one of his generation’s most formidable figurative artists and has consistently exhibited both internationally and in the United Kingdom.
Peter’s work is collected throughout the world by many famous and faithful patrons. Throughout his career Peter has been honoured for his services to the visual arts; first, with a Doctors of Letters Honoras Causa from the University of Strathclyde, and most recently, with an Order of the British Empire (OBE) which was awarded to the artist by the Queen in her birthday honours of 2009.
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Peter Kelly trained in graphic design at the West Ham School of Art and Technology and afterwards at the Central School of Art and Design in London. In 1982 he was elected a full member of the Royal Society of British Artists and in 1995 became a member of the Small Paintings Society. From 1957 he pursued a career as a graphic designer, illustrator and painter. In 2007 he was elected a member of the New English Art Club. Peter is the grandson of the Victorian bird artist, John Gerrard Keulemans.
Born in Edinburgh and schooled in Fife, Peter then studied at the Edinburgh College of Art. While there Peter won the John Kinross Scholarship, from the Royal Scottish Academy, which allowed him to study in Florence, and the Richard Ford Award, from the Royal Academy in London, to study the works in the Prado, Madrid. Early influences include the collection of Scottish Colourists and post war expressionist paintings found in his home town of Kirkcaldy's Museum. As a student he travelled by bicycle to see collections in Amsterdam, Arnhem, Paris and London. Post graduation, Peter won an Andrew Grant Scholarship which introduced him first hand to American art. Wyeth, Pollock, Lichtenstein and Warhol. In 1989 he won the inaugural British Airways Most Promising Artist Award. This award allowed him to travel and exhibit worldwide for the first time. These experiences have largely influenced what and how Peter has painted ever since.
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Peter McLaren Recent Paintings - 2014
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Described as the ‘Grandfather of British illustration’ his economy of line was said to have modernised his trade and certainly influenced the next generation of cartoonists from Frank Reynolds to David Low. My monk is a perfect example of his simple draughtsmanship and pared down humour.
May was born at Wortley, near Leeds, the son of an engineer, who died when May was nine years old. His mother was the daughter of Eugene Macarthy, one time manager of the Theatre Royal, Drury Lane. She was left in very poor circumstances and the family had a great struggle to exist.
May's grandfather, a country gentleman, had some talent as a draughtsman and liked drawing caricatures. At the age of twelve, in Leeds, May became friendly with Fred Fox, whose father was the scenic artist at the recently opened Grand Theatre. That gave him a free run of the theatre, where he used to sketch sections of other people's designs for costumes, as well as sketching actors' portraits, for which he received one shilling, later rising to five shillings.
May had begun to earn his living in a solicitor's office, but before he was fifteen he had acted as time-keeper at a foundry, had tried to become a jockey and had been on the stage at Scarborough and Leeds. He had drawings accepted for the Yorkshire Gossip at only fourteen. Arriving in London with a sovereign in his pocket, he suffered extreme want, sleeping out in the parks and streets, until finally obtaining employment as designer to a theatrical costumier. He also drew posters and cartoons, and for about two years worked for the St Stephens Review, until he was advised to go to Australia for his health.
From 1886 to 1889 he lived in Sydney working on the staff of the Sydney Bulletin and producing some of his best work. Returning north he travelled to Paris via Rome where he worked until arriving back in London in 1892. He resumed his interrupted connection with the St Stephens Review where his studies of the London guttersnipe and the coster-girl rapidly made him famous. His overflowing sense of fun, his genuine sympathy with his subjects, and his kindly wit were on a par with his artistic ability.
He became a regular member of the staff of Punch in 1896, and in his later years his services were retained exclusively for Punch and The Graphic. In 1898, he was a founder member of the London Sketch Club. He died from tuberculosis in 1903 at his home in St John's Wood, London.
Philip Hugh Padwick was born on 28th April 1876 in Horsham, the youngest of six sons born to Henry and Jane Padwick. Padwick was sent to boarding school in Derbyshire as a boy.
By 1901, Philip Padwick was established as a professional landscape artist painting scenes around Arundel, Clymping, Pulborough, Rye, Winchelsea and other places in Sussex, travelling around from his home in the West Sussex village of Fittleworth.
Padwick was a member of the Royal Society of British Artists (RBA) and in 1929 exhibited at the Royal Academy of Arts with two pieces Harbour Scene and Scene in Yorkshire. He has exhibited at the principal London galleries including Barbizon House, the Chenil Gallery, the Fine Art Society, the International Society, the New English Art Club, the Royal Society of British Artists, the Royal Cambrian Academy, the Ridley Gallery, the Royal Hibernian Academy, the Royal Institute of Oil Painters, the Royal Scottish Academy and the Walker Gallery.
Philip Padwick died in 1958 in Midhurst, West Sussex aged 82.
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Not much is recorded of Whitten’s life other than he was an artist, educator and latterly a potter of some renown. He was born in Leyton, Essex and studied at Hornsey School of Art from 1937 to 1940, under Norman Janes and John Charles Moody. He went on to Accrington School of Art from 1941 to 1942 then to the Royal College of Art from 1946 to 1949 under Carel Weight, Edward Bawden and Ruskin Spear. He taught at Eastbourne School of Art, in Sussex, where he lived and was a member of the Society of Artists. He seems to have been a friend of Duncan Grant as the latter wrote an open letter praising Whitten as a man and a teacher. He exhibited in London but principally in Eastbourne, where he had a show at the Towner Art Gallery. In later years he experimented with Pottery and Ceramic sculpture.
A remarkable painter who came from Polish-Jewish immigrant stock, at thirteen he won a scholarship to Leeds School of Art then at eighteen won a place at the Royal Academy Schools. He was granted a Royal Exhibition award for three years at the Royal College of Art. He was widely travelled, exhibited extensively at the principal societies and had a reputation as a portrait painter that won him many high-profile commissions. His humble roots appealed to the nascent Labour Party and both Prime Minister Ramsay MacDonald and his Chancellor, Philip Snowden, sat for him. He remained based in Leeds all his life, marrying Millie Astrinsky, the tailoress daughter of Lithuanian immigrants at the city’s New Central Synagogue in 1933.
Naviasky’s art market story is a familiar one. His early works are vital, confident paintings in which we recognise an artist who’s talent won him so many plaudits before he was twenty. An artist who painted the first labour Prime Minister and has more than thirty works in public collections. Then in the late 1960s his sight began to fail and he gave up exhibiting publicly. Sadly, for his reputational legacy he clearly daubed away happily for the next twenty years and after his death the shallows of the art world are awash with frankly terrible but absolutely genuine Philip Naviasky paintings.
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Grisot was born in Paris. At the suggestion of his family, he was trained as an engineer and even took a job as one in Besancon, France. However, he nurtured a secret passion for the arts and eventually enrolled himself at the Ecole des Arts Decoratifs in Paris. Studying there for a year he moved on to the Ecole des Beaux Arts where he received a diploma as a drawing instructor. He began a career teaching painting and drawing but soon gave it all up to concentrate on his own art, holding his first solo show in German occupied Paris in 1942. After the war he spent some time in Tunisia, travelling the world exhibiting his paintings in Germany, Belgium, Sweden and the United States. He exhibited frequently in Paris at the Salon des Independants and with the Paris School, the group that included Vlaminck, Raoul Dufy and Villon. He is also known for his hat and perfume advertisements for Christian Dior, and as a fashion illustrator for the journal 'L'Officiel de la Mode et de la Couture'.
A man of many parts, Berjole was a painter, art teacher, illustrator, art school director, theatrical scene painter and interior decorator. He entered the École des Beaux-Arts in Tours but war service interrupted his studies. After the armistice he continued at the École des Beaux-Arts in Paris and at Montparnasse. On graduation he settled in Paris becoming a member of the Montparnasse group of artists that included Paul Cézanne and Jean-Léon Gérome. At this time he was known for traditional landscapes painted across rural France, Corsica and the Balearic Islands. Between the wars he moved to North Africa, adopting the Orientalist style and began teaching at the School of Fine Arts in Tunis. He was appointed the School’s Director shortly afterwards. He illustrated a number of literary and musical works. Returning to France he settled in Nice, where he continued to paint until his death in 1990.
Pieter Wagemans was born on 11 August 1948 in Merksem, close to the city of Antwerp, Belgium. From his youth Pieter has always been able to express himself spontaneously through the artistic gift that he probably inherited from his father. Even from his early years it seemed likely that he would develop this gift further. At the age of 15 he decided to take lessons at the Royal Academy of Fine Arts in Antwerp.
During his training at the Academy Pieter had many opportunities to practise life drawings, mainly still lifes, but also nudes and landscapes, each time under the inspiring leadership of professors such as Jacques Gorus and Victor Dolfyn. Through much hard work, they gave him a good grounding in classical painting skills and taught him to master the techniques of an artist.
In 1969 Pieter obtained the commercially valuable diploma of graphic designer, artist and illustrator. After his military service he set out as a free-lance illustrator and designer, working for various publishers over a number of years.Throughout these years Pieter has continuously refined his painting technique. It was a long journey, searching for the style that best fitted his vision and working methods. His training at the Academy had helped him onto the right path, but there was still a long way to go. In this period Pieter took on a commission to paint a series of large ceiling paintings in the 16th century home of the Antwerp artist David Van Noort. These paintings, in the style of the old masters, gave Pieter valuable experience in their use of colour, contrast with light and shadow and the importance of composition.
Gradually it became clear to Pieter that he had an increasing preference for fine art painting. "It is more a character trait than a conscious style," according to Pieter.By studying famous still life paintings and the work of flower painters such as David de Heem, Willem Heda and Rachael Ruys, Pieter strengthened his insight into colour harmony and deepened his understanding. Thematically he prefers still life paintings with antique objets d'art. Looking for the symbolic value of a composition he builds a moving story. The 'vanitas' motif is a major source of inspiration. Reflecting on the transitory nature of life, beauty often is incorporated in the form of a flower.
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Annigoni was born in Milan in 1910 but by the end of the 1920s was studying in Florence at the College of the Piarist Fathers. In 1927 he was admitted to the Academy of Fine Arts in Florence, where he studied painting under Felice Carena, sculpture under Giuseppe Graziosi and etching under Celestino Celestini. At the same time he took life classes run by the Florentine ‘Circolo degli Artisti’. In 1932 he was given his first solo show at the Bellini Gallery in the Palazzo Ferroni and the art critic of the Corriere della Sera began to write about him. He won the Trentacoste Prize in the same year.
The open opposition of Annigoni to the fascism of Mussolini led to his ostracism from the cultural establishment within Italy until the end of the Second World War. But conditions so changed from 1945 that he was able to produce some of his greatest and most characteristic works. In 1947, he founded the Modern Realist Painters’ Group with six other artists, including Gregorio Sciltian and the brothers, Antonio and Xavier Bueno, and together they signed a manifesto that came out in open opposition to abstract art and the various movements that had sprung up in Italy in these years. However, the group folded in 1949, and Annigoni was alone among its members to remain true both aesthetically and ethically to its opposition to abstraction.
Annigoni looked to England for a new market and in 1949 he had his first works accepted for the Royal Academy Summer Exhibition. He was taken up enthusiastically by the London art world. In the 1950s he held shows at Wildenstein’s and Agnews and his fame was secured by a commission in 1955 to paint HM The Queen. The image travelled the world in print form, adorning embassy walls and government offices across the Commonwealth. More high profile commissions followed, Pope John XXIII, Presidents John F. Kennedy and Lyndon B. Johnson, the Shah and Empress of Iran, Princess Margaret and various members of the extended British Royal Family.
An outspoken artist, Annigoni wrote essays challenging modern art that disregarded the basic ability to draw. He alienated critics, who claimed his art was too representational, discounting the unique dramatic signature the artist brought to Renaissance tradition.
The Italian Republic made him a Cavaliere di Gran Croce Ordine al Merito della Repubblica Italiana in 1975. In October 2010, the Italian Post Office issued a stamp commemorating the centennial of Pietro Annigoni's birth.
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PJ lives and works in Gloucestershire and is an artist of international repute, having dealers in Paris, Canada and New York as well as London. We regularly hold highly successful solo exhibitions of PJ's work and her renown stretches abroad where this summer the Morohashi Museum of Modern Art in Japan held an exhibition of her work drawn from their own large collection and paintings borrowed from the studio and private British collections, which had three million visitors. Also through the summer the Museum of Gloucester showed thirty of PJ’s paintings paired with thirty paintings from their historic collection, an exhibition that broke attendance records.
PJ’s paintings combine a highly distinctive style with extraordinary technical mastery. Rather than painting from photographs or direct observation, PJ prefers to draw from a combination of remembered observation and imagination, resulting in an intuitive and resolved composition. Few contemporary artists are more accomplished at depicting perspective or depth of field, and the viewer has a sense of being invited into each painting, encouraged by the inclusion of the frame in the picture surface.
Her work features in many major private and public collections including that of Imperial War Museum London; Ha’avatz, Israel; El Mundo, Madrid; La Ville de Paris; the Department for Transport, London; the late King Abdullah of Saudi Arabia; the President of Estonia; Conrad Black; Lord Bamford; the Marquess of Bath; Paul Allen; Jackie Collins; Peter Gabriel; Robert Fripp and Toyah Willcox.
PJ has received numerous awards including an honorary doctorate of art in 2010 and MBE for services to art in 2011.
E Catalogues
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The Small Paintings Group - 2023
PJ Crook: Shapeshifters - 2023
PJ Crook: Pandemonium - 2021
PJ Crook: Preserving the Species - 2019
PJ Crook: Now & Then - 2016
PJ Crook: Dreams by Day & Dreams by Night - 2015
PJ Crook: Past, Present & Future - 2014
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Why Pandemonium? Whist lying in bed, contemplating what form this exhibition should take, I remembered a painting I’d started in 2006 after being commissioned to go Japan to observe the people and culture. An almost six-foot square canvas of two sumo wrestlers, A Bout was in its infancy and it occurred to me that it might almost be analogous with the world’s current dilemma fighting the coronavirus, which like a wrestler throws back variant after variant. It is also in homage to the Morohashi Museum of Modern Art who currently have an exhibition of surrealism that contains works by Dali, de Chirico, Ernst, Masson, Miro and me.
Pandemonium seemed a good title as it’s also the word that follows pandemic in the dictionary and as we can see in the newspaper headlines, because the situation is so unusual, it has at times created pandemonium across the globe. As I further considered the idea, perhaps because it rhymes, the word harmonium entered my mind in the same instance as recalling that twenty-five years ago I had acquired a beautiful antique Welsh-chapel-type harmonium feeling that when the time was right, I might incorporate it into a three dimensional art work. Now collaged with newspapers that have been used as reference in the painting Weekend of 7th & 8th March 2021 and others which all related to the pandemic, it marks this historic period when we have lost so many. But there is hope in the butterflies on the music stand that I have painted as symbols of rebirth and resurrection and unseen by the viewer but there nonetheless. Collaged on the back are pages from the same newspapers which are full of stories of sports and gossip - thus life goes on.
After lighting candles honouring our brilliant NHS and also commemorating those we have lost, my painting The Candle seemed to evolve almost of its own volition.
For the artist and observer, in an era of adversity such as this there is an abundance of inspiration in the many related tales it conjures up. The Captain’s Table is perhaps on board a cruise ship. Early in the pandemic some vessels filled the news with stories of being unable to dock and disembark because of the fear of outbreaks on board. The painting also makes reference to The Last Supper.
Concurrently, I worked on the octagonal Albatross (A Tale of the Sea) gliding safely above the sea but making reference to the plight of our oceans and the ever inspirational and prophetic Coleridge’s The Rime of the Ancient Mariner and Herman Melville’s Moby Dick, both of which I was reading at the time.
The Captain’s Cat was inspired by the closeness that individuals felt towards their feline and canine friends during Lockdowns. There was even a spike in pet thefts as people became conscious that they needed an animal companion. This particular beast is perhaps the ginger tom who frequents our garden for his romantic assignations; he gives me an indignant look thinking that it is I who is the intruder.
The smaller paintings The Albatross and Sea Shanty, were also on easels at the same time. For some reason, sea shanties became very popular during early lockdowns. The one form of travel that couldn’t be stopped was journeying through the imagination.
The Foundling was sparked by a news item about a baby who had been found in the New York subway and adopted by the man who found him.
Time Running Out also addresses climate change and the predicament in which the world finds itself; likewise, Metronome (Marking Time), The Lamp, The Angel & the Ark, And So They Passed. The large 3D piece Death by Plastic is constructed from recycled plastic drainpipe, fishing line and various tiny ephemera; often little toys that have fallen from Christmas crackers and Kinder Eggs which I have been accumulating to recycle in this way for years. Plastic is such a brilliant and colourful material with all its seductive, vibrant qualities also used through the pandemic in hospitals, but becomes a hazard to sea and wildlife when it fills our oceans as debris and micro-plastics. I have interwoven taxidermied fish parts and shells including a swordfish bill which my sister gave me when she found it in her cellar where it may have lain for hundreds of years - John Donne originally lived there.
Dance Perpetual, recently acquired back, again reflects my preoccupation with time which continues to thread its way through my oeuvre.
In this exhibition in the beautiful Panter & Hall Pall Mall gallery, there are three of my corrugated works which create the illusion of movement as one walks past. Fake News (on the Grapevine) is an older work and Notre-Dame de Paris references the tragic fire. I’ve always been fascinated by masks and intrigued by the mystery they bring to the wearer but rarely has the population as a whole been forced to use them so I felt I should create this undulating 3D piece, Masque; whilst obscuring the lower half of our faces these” face coverings” often become quite animated with the movement of the lips and vibration of the voice. The painting was influenced by Japanese manga.
- PJ Crook
If you are interested in any of the reserved paintings, it is worth contacting the gallery as there is a chance that they may become available.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays +44 (0)20 7399 9999enquiries@panterandhall.com
About the artist
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PJ lives and works in Gloucestershire and is an artist of international repute, having dealers in Paris, Canada and New York as well as London. We regularly hold highly successful solo exhibitions of PJ's work and her renown stretches abroad where this summer the Morohashi Museum of Modern Art in Japan held an exhibition of her work drawn from their own large collection and paintings borrowed from the studio and private British collections, which had three million visitors. Also through the summer the Museum of Gloucester showed thirty of PJ’s paintings paired with thirty paintings from their historic collection, an exhibition that broke attendance records.
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10.00 AM - 6.00PMSaturdays: BY APPOINTMENT ONLY Sundays: ClosedClosed Bank Holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Even after a long and successful international career, PJ consistently manages to keep her work fresh and interesting, attracting new admirers across generations of art collectors. This process of artistic regeneration grows out of her ability to find new inspiration for each exhibition, drawing on her observation of the human condition and current global contexts. Her current collection explores several conjoined themes around physical transformations, merging classical literature and modern contexts to produce a feast of colour, form and narrative.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold● ReservedIf you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
It has been far too long since we last brought you a collection of Vanessa’s joyful, life affirming paintings. The exhibition has the usual riot of colour and gentle wit, her familiar still life oils and a new series of English gardens and gardeners that can’t fail to bring a smile to your face.
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CECIL COURT GALLERY22-24 Cecil CourtLondonWC2N 4HEMonday to Sunday: 10AM - 6PM(Closed for lunch: 2 - 3PM)+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
Poppy Ellis is a contemporary British artist, she lives on the edge of the English Channel in a windswept corner of Kent. Ellis grew up in Sunderland and studied Illustration at Newcastle. She has worked as an art director in publishing, packaging and food styling. Poppy's style layers painterly and abstract with graphic elements and patterns. Ellis loves colour and the joy that brings, Smartie blue, peppermint, bubblegum and sherbet lemon abound.
Poppy's sensuous use of paint and wonderful consistency of quality make her a natural successor to the early 20th century colourists-she identifies herself a 'new colourist.' 'I am an observer of faces, if I’m looking at you quizzically it’s not because you have crumbs in your beard, I’m looking at the planes and the nuances of light as it plays across your cheekbones and upper lip.
I record moments of bewilderment, joy, defiance and internal dialogue. Catching these fleeting, candid moments unobserved, I am a stalker of character.'
Poppy's vibrant portraits draw on a huge cross-section of old and modern masters, but perhaps the strongest comparisons are Matisse, Soutine and Cezanne. Ellis worked as an art director in London for many years and has now traded in her train card for her studio which she shares with her husband and two barky dogs.
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Rachel studied at Central St Martin’s, graduating with a degree in Graphic Design and Illustration in 1987. For two decades she worked as a professional Illustrator before embarking on a career as a fine artist, becoming full time in 2010. The same year she won her first prize at the Royal Glasgow Institute and was hung in the Sunday Times Watercolour Competition at the Mall Galleries. She has exhibited regularly at the Royal Scottish Academy, the Royal Scottish Watercolour Society and the Lynn Painter-Stainers Prize where she was a runner up in 2012. Her work is held in the permanent collection of the Walter Scott & Partners Corporate Art Collection in Edinburgh.
Artist's statement -
I have always loved observational drawing and painting. It is a form of magic to me to recreate the world around me in two dimensions and my work has developed from that. I know that people enjoy the technical skill in my work but I want to affect them at a deeper emotional level with what I choose to paint and how I paint it.
I first became a fine artist after working as an illustrator for about 20 years. I enjoyed my illustration career very much but eventually became frustrated by the restriction of answering a brief. My transition from illustrator to painter was gradual and started in an unconscious way. I began to enter my paintings into open exhibitions and was invited to exhibit in galleries while I was still working as an illustrator. Eventually I was able to focus purely on painting.
At first, I chose to paint the shoes that my children had outgrown, a subject matter with a strong emotional undertone for me. Subsequent work has evolved from that. I get given or seek out possessions of others from the past. I like my subjects to be worn or handled. The patina they have developed of creases and scratches suggest the passing of time, a life lived. I take great care over composition presenting my subjects rather as if they are in a museum case. Ordinary objects often dismissed, presented with a heightened weight and meaning.
I work in acrylic paint, a medium I became proficient with as an illustrator. I understand how it works and now feel very comfortable with it. I like to paint on to wooden panels rather than canvas giving a smooth surface to paint on, which makes painting detail easier.
I always work from direct observation rather than photographs. I believe I can understand the form and the subtleties of a subject so much better that way. I do however use a camera to help with the planning of compositions. This takes quite a lot of time. I plan very thoroughly and tend not to change composition once I have started a painting.
My studio is a conservatory so the light is fantastic. This reliance on natural light does however mean my working days during the winter are considerably shortened. I like to work on one painting at a time seeing it through to completion before starting another. I start off by painting in the background and then working in layers, first with reasonably large brushes. It is then a process of adding layers of refinement. Fine brushes sharpen up the final details. Colour can change throughout the time of painting depending on time and weather but that doesn’t seem to matter. I think this constant change gives the painting life that could never be achieved by painting from a photograph.
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Blog Posts
Rachel Ross: Balance - 2020
Rachel Ross: Recollections - 2018
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Conversation with the artist - July 2020
Rachel studied at Central St Martin’s, graduating with a degree in Graphic Design and Illustration in 1987. For two decades she worked as a professional Illustrator before embarking on a career as a fine artist, becoming full time in 2010. The same year she won her first prize at the Royal Glasgow Institute and was hung in the Sunday Times Watercolour Competition at the Mall Galleries. She has exhibited regularly at the Royal Scottish Academy, the Royal Scottish Watercolour Society and the Lynn Painter-Stainers Prize where she was a runner up in 2012. Her work is held in the permanent collection of the Walter Scott & Partners Corporate Art Collection in Edinburgh.
Artist's statement -
I have always loved observational drawing and painting. It is a form of magic to me to recreate the world around me in two dimensions and my work has developed from that. I know that people enjoy the technical skill in my work but I want to affect them at a deeper emotional level with what I choose to paint and how I paint it.
I first became a fine artist after working as an illustrator for about 20 years. I enjoyed my illustration career very much but eventually became frustrated by the restriction of answering a brief. My transition from illustrator to painter was gradual and started in an unconscious way. I began to enter my paintings into open exhibitions and was invited to exhibit in galleries while I was still working as an illustrator. Eventually I was able to focus purely on painting.
At first, I chose to paint the shoes that my children had outgrown, a subject matter with a strong emotional undertone for me. Subsequent work has evolved from that. I get given or seek out possessions of others from the past. I like my subjects to be worn or handled. The patina they have developed of creases and scratches suggest the passing of time, a life lived. I take great care over composition presenting my subjects rather as if they are in a museum case. Ordinary objects often dismissed, presented with a heightened weight and meaning.
I work in acrylic paint, a medium I became proficient with as an illustrator. I understand how it works and now feel very comfortable with it. I like to paint on to wooden panels rather than canvas giving a smooth surface to paint on, which makes painting detail easier.
I always work from direct observation rather than photographs. I believe I can understand the form and the subtleties of a subject so much better that way. I do however use a camera to help with the planning of compositions. This takes quite a lot of time. I plan very thoroughly and tend not to change composition once I have started a painting.
My studio is a conservatory so the light is fantastic. This reliance on natural light does however mean my working days during the winter are considerably shortened. I like to work on one painting at a time seeing it through to completion before starting another. I start off by painting in the background and then working in layers, first with reasonably large brushes. It is then a process of adding layers of refinement. Fine brushes sharpen up the final details. Colour can change throughout the time of painting depending on time and weather but that doesn’t seem to matter. I think this constant change gives the painting life that could never be achieved by painting from a photograph.
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Videos
Blog Posts
Rachel Ross: Balance - 2020
Rachel Ross: Recollections - 2018
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Conversation with the artist - July 2020
This stunning new collection from the studio of Rachel Ross combines her extraordinary talent for capturing the minutiae of objects in paint with her fascination with the intricate domestic treasures of times past.
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PALL MALL GALLERYDownstairs11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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A Russian painter from the Soviet Union, she married the much older artist Sergei Mikhaylov (1893–1952) with whom she had a daughter Irina, also a painter. A three man exhibition of her work along with her husband and daughter’s paintings was held at the Kovcheg Gallery in Moscow in 2003. Raisa’s work became popular in London with the influx of Russian painting into the UK in the 1980s and 90s. It is thought that Raisa and her daughter are now living in New York.
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Rebecca Collins lives in the northwest Highlands and finds her subject in the varied and dramatic landscape around her home, inspired by the ever changing conditions of light and weather on this remote area of Scotland.
Rebecca trained at Brighton Art College, where she graduated BA with Honours. For the last few years, Rebecca has had one man shows and regularly exhibits in Edinburgh and London.
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Born in London in 1928. He studied at the Slade School 1945 - 50 and afterwards, on a French Government scholarship, worked under Hayter in Paris at Atelier 17. In 1955 he designed the sets and costumes for Cranko's 'The Lady and the Fool' at Covent Garden and subsequently worked for him in Stuttgart. He taught print-making at the Chelsea School of Art and is a founder member of the Printmakers Council.
Richard Beer has had many one-man exhibitions including those at the St. George's, Zwemmer, Curwen and Studio Prints Galleries. In 1970 he collaborated with John Betjeman to produce a portfolio of prints and essays 'Ten Wren Churches', published by Editions Alecto. In 1973 he was commissioned by Christies Contemporary Art, who now regularly publish his prints. London Transport commissioned him to design a poster on Hawksmere buildings. He exhibits regularly at the Royal Academy, and travels widely every summer, usually in Italy.
His works are mainly architectural and landscape which display the artist's great elegance, his ability to interpret both basic forms and decorative material with an economic line, his special ability for capturing textural detail, and perhaps most importantly his huge talent for evoking the feeling and atmosphere of the places he visits.
Richard Beer captures with great accuracy the elements of light, colour, form and texture that in synthesis, communicate the full atmosphere of a location; but they do so also with the freshness of revelation for which Richard Beer has become well known.
Born in London in 1928. He studied at the Slade School 1945 - 50 and afterwards, on a French Government scholarship, worked under Hayter in Paris at Atelier 17. In 1955 he designed the sets and costumes for Cranko's 'The Lady and the Fool' at Covent Garden and subsequently worked for him in Stuttgart. He taught print-making at the Chelsea School of Art and is a founder member of the Printmakers Council.
Richard Beer has had many one-man exhibitions including those at the St. George's, Zwemmer, Curwen and Studio Prints Galleries. In 1970 he collaborated with John Betjeman to produce a portfolio of prints and essays 'Ten Wren Churches', published by Editions Alecto. In 1973 he was commissioned by Christies Contemporary Art, who now regularly publish his prints. London Transport commissioned him to design a poster on Hawksmere buildings. He exhibits regularly at the Royal Academy, and travels widely every summer, usually in Italy.
His works are mainly architectural and landscape which display the artist's great elegance, his ability to interpret both basic forms and decorative material with an economic line, his special ability for capturing textural detail, and perhaps most importantly his huge talent for evoking the feeling and atmosphere of the places he visits.
Richard Beer captures with great accuracy the elements of light, colour, form and texture that in synthesis, communicate the full atmosphere of a location; but they do so also with the freshness of revelation for which Richard Beer has become well known.
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Richard Demarco (born in Edinburgh, 1930) is an artist and promoter of the visual and performing arts.
He has been one of Scotland’s most influential advocates for contemporary art through his work at the Richard Demarco Gallery and the Demarco European Art Foundation, as well as his professorship at Kingston University in London.
His contributions to contemporary art internationally have been recognised on numerous occasions, receiving the Polish Gold Order of Merit, the Cavaliere della Republica d’Italia, the Chevalier des Arts et Lettres de France and the Order of the British Empire.
He was co-founder of the Traverse Theatre in Edinburgh in 1963. Three years later he and other organisers of the gallery space left the Traverse to establish what became the Richard Demarco Gallery.
For many years, the Gallery promoted cross-cultural links, both in terms of presenting artists such as Marina Abramovic within Scotland and in establishing outgoing connections for Scottish artists across Europe.
His involvement with Joseph Beuys led to various presentations, from Strategy Get Arts in 1970 to Beuys' hunger strike during the Jimmy Boyle Days in 1980.
Also particularly notable were the presentations by Tadeusz Kantor's Cricot 2 group during the 1970s and 1980s. An unofficial performance of The Water Hen at the former Edinburgh poorhouse during the Edinburgh Festival in 1972 was a notable success. Cricot 2 returned to Edinburgh in later years. Demarco introduced Beuys and Kantor to one another and in one performance of Lovelies and Dowdies Beuys performed under Kantor's direction.
Since the early 1990s, Richard Demarco's activity has been through the Demarco European Art Foundation.
Richard Demarco has attended every Edinburgh Festival. He has attended or been extensively involved with the Edinburgh Festival (and Festival Fringe), the largest arts festival in the world, since its inception.
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Richard Forsyth was born in Glasgow and worked for many years as a carpet designer before devoting himself to full-time painting in 1983. Many of Forsyth's landscapes featured scenes of the Scottish countryside, particularly around Fife. I his lifetime he enjoyed an enthusiastic following of collectors in America.
Richard Pikesley was born in 1951 in London, and studied at the Harrow School of Art, the City of Canterbury College of Art and the University of London. He was elected to the New English Art Club in 1974 and to the Royal Watercolour Society in 1997.
Richard regularly contributes to mixed exhibitions in Britain and abroad, including the RA Summer Exhibitions, The Royal West of England Academy, Minton Fine Art in Toronto, the New Academy Gallery in London, Valley House Gallery in Texas, and "The Discerning Eye". In addition, he has had over 10 one-man shows throughout the UK. In 1991 he was commissioned by Swallow Books to write book on landscape painting in a series edited by Ken Howard. This was published under the title of 'The Complete Artist' bound up with three other titles in series.
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The Small Paintings Group - 2023
Five British Impressionists - 2019
Three British Impressionists - 2017
Tradition - Modern figurative painting in Britain - 2014
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For some years Richard worked mainly as a painter of landscapes, portraits, still lifes, and aerial views of grand houses. Today, his distinctive pictures are reinventions of reality, based on a lifetime of drawing and painting and looking at life; he paints ‘people doing things’.He is a past president of the Royal Watercolour Society (2006 to 2009), and a member of the New English Art Club, the Royal Society of British Artists, and The Art Workers’ Guild. He has had many solo exhibitions in Britain and USA. His work is held in the V&A, the Museum of London, the collection of the National Trust, as well as in many private collections worldwide.
He lives with his wife, Sue, in the far west of Cornwall.
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The Small Paintings Group - 2023
Richard Sorrell: Things I have Noticed - 2019
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Richard Sowman studied at Byam Shaw and Falmouth School of Art from 1971 to 1975 where his tutors included Euan Uglow, Francis Hewlett and Bob Organ. Currently based in Cornwall, Richard is a highly respected and dedicated painter with work shown at the Royal Academy and galleries throughout Europe. After art school he worked for many years in carpentry and sailing boats returning to full-time painting in 1999.
His paintings are technically superb pictorial essays in light and shade; each capturing what he describes as ‘a dramatic alchemy’, the transformation of things and places when hit by sunlight or immersed in shadow. Although unpopulated, his works are full of narrative and often an element of mystery. His eye seeks the quiet places left by humanity: the relics of a once busy boat shed or a seemingly abandoned jetty, a terrace of empty chairs vacated minutes or perhaps years before. There are however no ghosts in these timeless corners of old France, instead Richard shows us a warm, inviting, sun dappled world of tranquility and beauty.
Exhibitions
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Richard Sowman: French Light - 2020
Richard Sowman: French Light - 2020
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At an early age Richard W. Boardman was exposed to the rich use of animal imagery in Russian folk stories. His main interest continues to be in animal forms some of which combine mythical elements. Intrinsic to every work is his own highly developed sense of aesthetics and humour.
Pencil and or Pen & Ink sketches are the key and starting point for all his ideas. These sketches generate sculpture, illustration, illustrated nonsense poetry and many other projects.
RWB’s creations such as the siren, a fox, an elephant, a gecko, the sphinx are inspired by - a night at the theatre - a visit to the circus - a beach in Mauritius - a surprise trip to Egypt and other adventures.
A meticulous standard of observation combined with a sense of fun gives life to daydreams and creates a unique world populated by special creatures.
RWB attended Central School of Art & Design London.
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Rob in constantly working on new paintings, so do also contact the gallery to be kept informed. Rob studied illustration at Swindon College and at Kingston-on-Thames School of Art. He lived in London until 2005 but was increasingly drawn towards the sea so settled in Cornwall to paint full-time. Since doing so he has developed a distinctive style in which the contrasting influences of his favourite painters Johannes Vermeer and Edward Hopper are clearly evident. His still lifes have a dark intensity and richness in the Dutch tradition and yet his landscapes and figures draw upon the surreal and polished style of Hopper. Despite his relatively new career as a full-time painter, Rob's reputation as a fine artist of real dedication and technical ability has grown apace.
Rob works in a classical technique using the translucency of acrylic paint, over a pencil drawing and monochrome underpainting on gessoed board, to build up tonal depth through multiple glazes of colour.
A distinctive painter of eerily timeless images, Rob’s paintings are at once vintage artefacts and contemporary artworks. His technical facility he owes to a training in illustration, it is a sad fact that if he had enrolled on a fine art course in one of our major art schools in the last 40 years he wouldn’t have learned to paint like this.
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Rob Pittam: Becalmed: Still Lifes from Cornwall - 2022
British Impressionists - 2020
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Rob’s ethereal still life paintings sell instantly from our website and we have had to determinedly hold back this collection otherwise a solo show would be impossible. These will sell quickly so do browse the collection now!
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Gallery Information
CECIL COURT GALLERY22-24 Cecil CourtLondonWC2N 4HEMonday to Sunday: 10AM - 6PM(Closed for lunch 2PM - 3PM)+44 (0)20 7399 9999enquiries@panterandhall.com
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Rob in constantly working on new paintings, so do also contact the gallery to be kept informed.
Rob has painted since he was a child under the tutelage of his artist grandmother. He attended Aberystwyth University, graduating with first-class honours before winning a bursary to study at The Royal Drawing School in London. On graduation in 2005, he was awarded the school’s Drawing Prize. He has enjoyed an increasingly successful career as a professional artist ever since. Painting entirely en plein air, he is best known for his large scale, wide-angle perspectives that burst with life and movement.
Based in South Cheshire, Rob travels widely in search of inspiration and can often be spotted painting in the streets of our major cities. His commissions have taken him all over the world; a residency with Manchester Airport saw him outside Beijing painting on the Great Wall of China. His reputation for capturing live formal occasions was key to his residency with the Household Cavalry Mounted Regiment, but has also led him to record the Royal Gala Dinner to celebrate the conservation of the Painted Hall at the Old Royal Naval College, Greenwich. HRH The Prince of Wales unveiled a 24 foot oil painting by Rob in the Council Chamber, Stoke-on-Trent, commissioned to commemorate 100 years of the federation of the six towns.
His work is held in the private collection of HRH The Prince of Wales and also hangs in the permanent collection of the Admiral's House at the Old Royal Naval College, Greenwich, Chatsworth House, Bakewell; and Weston Park, Shropshire.
Rob is a member of the Royal Institute of Oil Painters, Manchester Academy of Fine Arts, and the British Plein Air Painters Group.
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Rob Pointon: Paintings from a Residency with the Household Cavalry Mounted Regiment - 2022
Rob Pointon: Painting London - 2020
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An exciting young artist based in the North of England, Rob Pointon is brand new to Panter & Hall. He is a talented representational painter but it is his fresh take on compositions – the use of multipoint perspective – that makes his work so original. His trademark city scenes capture the movement and bustle of modern urban life while stylistically honouring the British painting tradition of post-impressionism.
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As these paintings were painted during a residency with the Household Cavalry, the regiment have been given first refusal on all paintings in the collection. 10% of the proceeds from all sales in this exhibition will be donated to the Household Cavalry Foundation. Panter & Hall is pleased to present a solo exhibition featuring work by artist in resident to The Household Cavalry Mounted Regiment, Rob Pointon. This unique and historic exhibition focuses on over 40 works which explore the fascinating lives of The Household Cavalry Mounted Regiment over a two-year period.
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Gallery Information
PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Born in Liverpool in 1964, Bushe grew up in Aberdeenshire, before graduating in painting at Edinburgh College of Art in 1990. Having simultaneously undertaken a career as artist and art lecturer, he taught painting at Gray’s School of Art, Aberdeen; was Head of Fine Art at the University of Chichester; and lectured at Kent Institute of Art and Design and Oxford Brookes University. Bushe returned to Scotland in 2007 to become the Coordinator of Short Courses at ECA and is currently a Senior Teaching Fellow at the University of Edinburgh. He was President of Visual Arts Scotland from 2013 to 2016 and was Secretary of the Royal Scottish Academy from 2018 to 2021.Bushe’s practice centres on the depiction of detailed, suggestive narratives, frequently set within expansive architectonic constructions. His work has won several national awards including the inaugural W. Gordon Smith Painting Prize in 2017 a prize-winner at John Moores Painting Prize 2020 in Liverpool, and the Highly Commended prize at Contemporary British Painting in Huddersfield 2023.
Artist photo credit - @helenpughphotography
Born in Liverpool in 1964, Bushe grew up in Aberdeenshire, before graduating in painting at Edinburgh College of Art in 1990. Having simultaneously undertaken a career as artist and art lecturer, he taught painting at Gray’s School of Art, Aberdeen; was Head of Fine Art at the University of Chichester; and lectured at Kent Institute of Art and Design and Oxford Brookes University. Bushe returned to Scotland in 2007 to become the Coordinator of Short Courses at ECA and is currently a Senior Teaching Fellow at the University of Edinburgh. He was President of Visual Arts Scotland from 2013 to 2016 and was Secretary of the Royal Scottish Academy from 2018 to 2021.Bushe’s practice centres on the depiction of detailed, suggestive narratives, frequently set within expansive architectonic constructions. His work has won several national awards including the inaugural W. Gordon Smith Painting Prize in 2017 a prize-winner at John Moores Painting Prize 2020 in Liverpool, and the Highly Commended prize at Contemporary British Painting in Huddersfield 2023.
Artist photo credit - @helenpughphotography
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Born in Streatham, Greenham trained at the Byam Shaw School of Art and then at the Royal Academy Schools from 1926 to 1929, where he was awarded a Landseer Scholarship, the Creswick Prize, the British Institute Scholarship and the Silver Medal for painting. A versatile artist he was comfortable working in most mediums and could produce figurative groups at social occasions and pastoral Suffolk landscape with equal facility. In the 1930s and ’40s Greenham painted a series of portraits of actresses and film stars, including Greta Garbo and Jessie Matthews, inspired by cinema stills taken at the time. His 1943 portrait of Martita Hunt from this series is now hanging in the National Portrait Gallery. He exhibited regularly at the Royal Academy, New English Art Club, the London Group and The Royal Scottish Academy and was an elected member of both the Royal Society of British Artists and Royal Institute of Painters in Oil. His elder brother was the painter and portraitist Peter Greenham RA.
Works are held in the collections of the National Portrait Gallery, London, Sheffield Art Galleries, Somerville Colle, Oxford, Guernsey Museums & Galleries and the Ingram Collection.
Rob is one of the great contemporary British impressionist painters. His mark making in oil is faultless, seemingly random yet always resolving to the most satisfying composition. Dark, brooding and rich in texture and incision, his paintings are infused with a dry, wry humour that adds a touch of warmth to his characters and their context.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Robert is a Yorkshire born artist specialising in city and landscape paintings around London and the North Yorkshire Moors. Most of his smaller works are painted directly from the subject and at all times of the year in all weather.
Robert moved to London in 1988 to study for a Masters Degree in The Illustration and Rendering of Architectural Spaces at London University. Prior to that he had studied at Batley Art College and worked for several years as an architectural illustrator.
He is a member of the Royal Society of British Artists and a Fellow of the Chartered Society of Designers (FCSD).
Robert has a fine reputation as one of Britain’s leading representational painters of our urban environment. Through his series of London scenes, in a distinctively British impressionist style, he is now as familiar at the Mall Galleries annual shows as Ken Howard or Peter Brown. The work is layered with texture, painted in a subtle, almost monochromatic palette, that has become his trademark. It is this tonal range that so perfectly captures the London we all recognise on a winter’s day. Robert has a knack for conveying our sense the place - the damp chill of the city in the rain and the excitement and daily bustle of life in the Capital. Robert’s London is one we know and love well, not merely because we recognise the landmarks of our daily commute but rather that he captures our lived experience of it so perfectly.
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Robert E Wells: In Perspective - 2023
British Impressionists - 2020
Robert Wells: Seven Paintings - 2019
Five British Impressionists - 2019
Tradition - Modern figurative painting in Britain - 2014
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Robert Henderson Blyth was predominantly a landscape painter, who used both oil and pen and wash to create striking semi-abstract paintings. Born in Glasgow he studied at the Glasgow School of Art from 1934 to 1939. In 1941, Henderson Blyth joined the Royal Army Medical Corps and served with them until the end of the Second World War.
During the war, Henderson Blyth continued to paint and sketch despite being on active service, producing works often influenced by his experiences. Four paintings produced from this period were acquired by the War Artists' Advisory Committee. In 1946, Henderson Blyth began teaching at the Edinburgh School of Art and became an artist in residence at the acclaimed Hospitalfield House.
In 1954, Henderson Blyth moved to Aberdeen to take a post at Gray's School of Art, where he became Head of Drawing in 1960, a post he maintained until his death in 1970.
The Scottish Arts Council organised a memorial exhibition to Blyth which toured Scotland during 1972.
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Sir Robin Philipson was a Lancashire-born painter who was influential within the Scottish art scene for over three decades.
Philipson was born in Broughton-in-Furness and moved to Scotland with his family when he was 14. He was schooled at Dumfries Academy and then studied at Edinburgh College of Art from 1936 to 1940. On the outbreak of the Second World War he joined the King's Own Scottish Borderers and saw action in India and Burma. After the war, he returned to Edinburgh and became a lecturer at the College of Art in 1947, later taking the post of Head of the Drawing and Painting Department from 1960 to 1982. Philipson's early work - mainly landscapes, still lifes and interiors – was strongly influenced by Kokoschka, whose painting “Zrani” Philipson had studied at length. He was also influenced by Gillies and Maxwell, with whom, amongst others, he shared membership of the group known as The Edinburgh School. He is particularly renowned for his cockfight paintings, a series begun in the early 1950s from sketches made during his time in Burma, which helped to establish his reputation as a painter. His later work in the 1960s explored more general figurative studies plus church and cathedral interiors and crucifixions.
Philipson was well-known for his bold use of colour and his liberal use of heavy impasto in his works. He was appointed as President of the Royal Scottish Academy in 1973, a position he held until 1983. He received a knighthood in 1976 for his services to art in Scotland and was elected Royal Academician in 1980.
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Rory completed a graphic design qualification at Cardonald College, Glasgow before studying Fine Art at St Martin’s School Of Art, London in 1985. This led to a flourishing career as a textile designer working freelance for many prestigious London design companies.
However, after several years, the lure of returning to Scotland to develop his passion for painting was too strong and Rory now lives and works in Ayrshire where his studio is based. There he devotes as much time as possible to painting full time using a variety of mediums.
Since returning to Scotland, he has won the coveted Royal Glasgow Institute, Cargill Award and was a finalist in the noted Aspect Painting Prize (Paisley Art Institute) culminating in a Cork Street show. This recognition of his acclaimed talent has now led to Rory’s paintings appearing in galleries across the UK. He is also regular contributor to the annual exhibitions of the RGI, RSA and Paisley Art Institute and his work appears in many private collections.
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Rowland Suddaby was born in Kimberworth, Yorkshire in 1912, and after winning a scholarship studied at the Sheffield College of Art from 1926 to 1930, while still working in the steel industry. In 1931, aged 19, he moved to London to attend the Royal College of Art, eventually finding work ornamenting titles for black and white films with a firm in Wardour Street, the then centre of the British film industry.
After getting married, still very young, and struggling to make a living, his work was noticed by the art collector Rex Nan Kivell (1898-1977). He consequently had a successful show at the Wertheim Gallery, London, in 1935 and a series of shows at the Redfern Gallery, London, from 1936. From 1943 he also exhibited at the Leger Gallery, London and at the New English Arts Club. In 1940 he was one of the artists chosen to produce work for the Recording Britain project. In 1939 he moved with his wife Elizabeth and daughter Joanna, to Suffolk, settling near Sudbury to become curator of Gainsborough’s House Museum.
After the war, until his death, Suddaby remained an active member of the local artistic community, co-founding in 1946 the Colchester Arts Society and exhibiting in the Society’s first exhibition at Colchester Castle in 1946. Suddaby’s work was acquired by many prominent collectors and public institutions, including the V&A.
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Roy Barley was born in 1935 and on leaving school he trained at the London School of Printing and Graphic Art. Studies included photographic retouching including airbrush work, graphic design and life drawing. After National Service (where he designed a number of RAF station badges in co-operation with the Royal College of Heraldry) he resumed his studies and entered an advertising agency as a general artist. He went on to further his career prospects and became an art director in one of London’s leading agencies. He designed the chequered flag box for ‘Kleenex for Men’ during the 60’s and was responsible for many major company themes. He started his own design agency with a colleague and counted a number of the leading advertising agencies as their client.
He left the advertising world to pursue his love of painting and was commissioned for a number of portraits including some of the golfing stars such as Bobby Locke, Gary Player, Sandy Lyle and Tony Jacklin (after his team’s successful Ryder cup victory) In 1985 he met Prof Claus Grimm, the German art expert who was compiling his book on Dutch still life painting. This was the catalyst which whetted his appetite to achieve an English version of a ‘Dutch Old Master’. His admiration for the old masters such as Willem Claesz Heda, Jan Davidsz and Cornelius de Heem, Willem Kalf and Adrean Coorte led him to study their work and learn about their techniques. To this day he is still experimenting with various mediums to improve the quality of his work which has resulted in sell out exhibitions.
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Roy Barley: Moments in Time - 2022
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One of the old school of British realist still life painters who set their cap at emulating the techniques of the Dutch old masters. This rare group of his immaculate oils stands comparison with the best of the contemporary Flemish realists.
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CECIL COURT GALLERY22-24 Cecil CourtLondonWC2N 4HEMonday to Sunday: 10AM - 6PM(Closed for lunch 2PM - 3PM)+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
An English painter of portraits and the picaresque, Spear was born in Hammersmith and remained there living and painting for most of his life. He studied at the Hammersmith School of Art and later at the Royal College of Art under Sir William Rothenstein from 1931 to 1934. He executed commissions for the War Artists' Advisory Committee and took part in the ‘Recording Britain’ scheme sponsored by the Pilgrim Trust throughout the Second War. He was visiting teacher at the Central School of Art from 1945 to 1948 and at the Royal College of Art from 1948 until his death. He exhibited at the Royal Academy from 1932 and was elected full member in 1954. He was elected to the London Group in 1942, serving as President from 1949 to 1950. Public collections include the Tate Gallery, National Portrait Gallery, Imperial War Museum and the Royal Academy of Arts.
A retrospective of Spear's work was held at the Royal Academy in 1980.
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Saied Dai was born in Iran and came to England at the age of six. He trained at Bournemouth and Poole College of Art and Design and later at the Royal Academy Schools under luminaries such as Peter Greenham RA and Norman Blamey RA. Here the diverse and demanding disciplines, all grounded in drawing and structure, left an indelible mark. Saied was so highly regarded he was invited back to the Royal Academy Schools to teach under Leonard McComb’s keepership. He was elected to the Royal Society of Portrait Painters in 2004 and has won several awards, the most recent of which were The Ondaatje Prize in 2021 and 2006 as well as The William Lock Portrait Prize in 2023, for the most timeless portrait with a feeling for paint and its aesthetic potential. He also recently completed a portrait of The Rt Hon Theresa May MP for the Houses of Parliament.
“The motivation and attitude of an artist can best be determined, not so much by their subject-matter, but how that subject is interpreted. The vehicle is important but should not be mistaken for the destination. Varying approaches and themes are the culmination and inadvertent diary of what has ‘caught’ me in the last couple of years. A closer look will reveal the connecting thread of focus, intention and resultant atmosphere that connects them all. Art really does come out of life. All ideas are founded on observation, for without observation there would be no content. Some are painted directly from the subject, others mostly from drawings; whilst a number are based on an idea, or even derived from imagination. Often it is a mixture of all these elements together, aiming to create a self-contained world that comes back to the reality with greater force and expression a mystery and hopefully an enigmatic beauty.” - Saied Dai
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Previously a Catering Manager, Death Grants Advisor, Cinema Usherette and Fire Extinguisher Sales Person, Sam was determined to carve out a niche as an artist. Fifteen years and a whole lot of hard work later, Sam's work is published internationally as posters, greetings cards, calendars and Limited Edition prints and has been sold through outlets such as John Lewis, Paperchase, Next and IKEA. She has had a number of successful solo shows and continues to sell original work through a small number of selected venues. Perhaps Sam's appeal as an artist has something to do with her ability to capture a sense of hope, optimism and good old fashioned British eccentricity. Her characters inhabit a world which is both otherworldly and instantly recognisable. The faded ice cream colours of the British seaside give a feeling of pathos and nostalgia: the wind is often blowing, the weather is often wet, love is often unrequited and there is always sand in the sandwiches.
"I have always considered myself to be someone who draws rather than paints. I rarely use sketchbooks now. I prefer to just start drawing on a piece of board with soft pencils, adding colour with oil pastels, and layering with washes of coloured inks. I listen to radio 4 as I work and often get ideas from half listening to some interview or other. Often I will come up with an idea whilst walking the dogs. Or perhaps take inspiration from a line in a favourite tune. I decide on the colours as I go, scraping back some areas, scratching into others, adding words, lines or splatters from a toothbrush if things get desperate... My goal is to achieve something in a finished piece that looks spontaneous, fresh, unselfconscious. It's harder than it looks. The best ideas take the least work, and it's so easy to spoil a piece with overworking. It's like, one of the hardest looks to achieve is the 'no makeup, just got out of bed ' look... It just takes ages to look that 'underdone'... And as we all know, there's a fine line between effortlessly gorgeous and a bit of a mess! I guess if I have a skill as an artist, it's knowing when to stop."
Her internationally acclaimed characters, the Mustards, lend themselves well to a more detailed narrative and Sam has self published a small book entitled 'Stories from Along the Prom'.
"There's more to life than nice art and good cake, but it's a fine place to start."
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Sam Toft: A Small Window of Lightness - 2023
Sam Toft: Keep on Keeping on - 2021
Sam Toft: We came, We looked, We liked the view - 2017
Sam Toft: One Man and His Dog - 2015
Sam Toft - Limited Edition Prints from Lucky 13
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"This year has been a strange one but it has dropped neatly in with the rest. Just another pebble in the pond.As always so many layers in the journey to create these simple paintings. And this year seems like the bumpiest ride ever. But of course it’s always bumpy. Something in me must be drawn to bumpy journeys.
I decided 2023 would be a year to try a few new things. Like meditation, throwing pots, flying a plane, painting on canvas, collaborating on projects. But it was all a bit more challenging than I’d imagined. I worried that I’d lost my way somehow. For months it seemed that I was ‘not very good’ at most everything. My oil painting efforts were excruciating and exciting in equal measure. And working with others is difficult as for decades I’ve worked alone at the studio. But Ami was so generous with her ideas and experience at the Pottery. And Graham was so gentle and funny as we decided on how best to approach the sags and wrinkles on my portrait bust … coming face to face with an older me. My little dances outside the comfort zone have felt brave and unsettling but have informed some subtle changes I think. And once more I’ve found safe harbour. With steady support from friends and family I am proud of what we’ve achieved here.
Remembering back to when I was 11 years old, and how I loved wearing my maroon blazer on the first day of ‘big school’. The motto on the pocket was ‘In my beginning Is my end.’ It has always stuck with me. Because in so many ways I’m the same girl I was back then. A little less wise maybe. Like I’ve done all the right things but not necessarily in the right order. But in my 60th year this is my largest show to date, and that sounds about right, doesn’t it? It’s like our 93 buses have arrived all at once.
It’s a long way to come for a small window of lightness. I hope you find something that shines for you."
Sam Toft
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
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Cancelled once for cancer, once for Covid this is an important and very special exhibition for me. It’s like a comeback without me ever having really been away. It’s a time for making memories. A time for nurturing ourselves. And a time to appreciate just how much we really have to be grateful for. - Sam Toft, 2021Please note, there is not a printed catalogue for this exhibition.Little Red Dot = Sold
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Panter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Perhaps Sam's appeal as an artist has something to do with her ability to capture a sense of hope, optimism and good old fashioned British eccentricity. Her characters inhabit a world which is both otherworldly and instantly recognisable. The faded ice cream colours of the British seaside give a feeling of pathos and nostalgia: the wind is often blowing, the weather is often wet, love is often unrequited and there is always sand in the sandwiches.
Sam Dodwell discovered painting at an early age and at the age of 18, while visiting Cornwall on holiday, decided that the county would be his future home. He was initially prevented from this ambition by family pressure and by the Depression, and took up a career in banking. He rose to the top of a US bank in London and served through World War II as an RAF Squadron Leader. After a major heart operation, he turned to his first love of painting. He exhibited at the Royal Academy, Royal Society of British Artists, Royal Society of Portrait Painters and the Royal Institute of Painters in Water Colours (of which he was an elected member). He was closely associated with the Mid-Cornwall Galleries at St Blazey Gate from their creation in 1980; he is commemorated at this venue by a Sam Dodwell Gallery. A major retrospective exhibition, including some 50 of his works, was staged there in February 2007. He also gave painting lessons to Prince Charles.
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Peploe is one of the group of four artists known as the 'Scottish Colourists.' Born in Edinburgh, he studied art in Paris and lived there from 1910 to 1912. It was through painting holidays in Northern France that he was introduced to the use of bold colour, inspired by the bright sunlight. He later experienced the same intensity of light while painting on the island of Iona, off the west coast of Scotland. French painting proved to be a powerful influence for Peploe throughout his life. Although his work never became abstract, it was characterised by tight composition, strong colour and assured handling.
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From his home and studio on the Scottish west coast, Sandy Murphy pursues an intensely single-minded passion for paint and its involvement in his visual response to his native Ayrshire landscape. A pupil of Robertson, Shanks and Rae at Glasgow, Sandy’s richly textured oils have clear antecedents in Gillies and Eardley. His intimate, carefully considered works stand comparison with the best works of both these masters of Scottish painting.
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From his home and studio on the Scottish west coast, Sandy Murphy pursues an intensely single-minded passion for paint and its involvement in his visual response to his native Ayrshire landscape. A pupil of Robertson, Shanks and Rae at Glasgow, Sandy’s richly textured oils have clear antecedents in Gillies and Eardley. His intimate, carefully considered works stand comparison with the best works of both these masters of Scottish painting.
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Sarah is a British artist, living and working in northwest England. She received a degree in Fine Art at St Martins College (Lancaster University), and subsequently taught painting and creative drawing on their Fine Arts BA and the teacher training courses. She has been exhibiting regularly since 1985, and her work, from large abstract canvases to minutely observed paintings and drawings has always been strongly influenced by the natural environment. Recently, Sarah has gained recognition with awards such as the Towry Award for the best artist from the North of England in the National Open Art competition and is shortly to become artist in residence at Brantwood, Cumbria.
Discussing her influences:
"One of the earliest influences of my work whilst growing up was that of Lake District artist and children’s author Beatrix Potter, whose botanical and entomological illustrations influenced my choice of observational drawings in my early teens. After poring over Beatrix Potter’s funguses, plants, dead mammals and birds, I then began to delve further into botanical and entomological studies.
I grew up constantly drawing. My father was a draughtsman, and my mother was an artist whose subject was primarily wild life. I was lucky enough to enjoy a rigorous arts education at school where a high value was placed upon accuracy of drawing. At school, we also closely studied composition where I eagerly learnt to use Fibonacci’s famed sequence as a method to compose my work. The way in which I lay out the subject matter in my work today still complies with the principles of this theory.
My decision to lay out my collected objects is also influenced by visits to the museum, especially entomology exhibits, as illustrated particularly by the frequent use of bees in my work. The dramatic decline in bees is an issue close to my heart; increasingly diminishing, I fear these insects will soon only be found as objects of curiosity, laid out in sterile cases.
Cutlery as a recurring motif in my work begins with my Grandmother. A cook for a large country house, my Grandmother allowed me to take old and tarnished knives and spoons thrown away by the household, starting my own cutlery collection.
From a family of collectors, my father collected blown birds eggs in the 1940s, which I have incorporated into my works. My personal collection of beetles, butterflies and bees also frequent my compositions.
In terms of artists, I find 16th and 17th still life painters, most notably Juan Sanchez Cotan fascinating, and I have been particularly inspired by his use of light and composition - though where he hangs his objects, I prefer to lay mine flat.
Like many artists and print makers using handmade linen paper, I cherish the decked edges and texture of the material, finding beauty in the paper itself. I believe it deserves to be seen and appreciated, hence my considered decision to float mount my work.
The pins in the corners of my work are my own personal nod to entomology, the scientific study which served as one of the earliest influencers of my visual language, and continues to inspire and shape my work."
Sarah is a great supporter of the British Bumblebee Conservation Trust - for more information on the wonderful work the BBCT do please follow this link - BBCT Website
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Sarah Jane Bellwood: Meadow Life - 2021
Sarah Jane Bellwood: Inheritance - 2016
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My practice as a still life artist starts with continually looking. Particularly looking outside, and specifically at meadows, verges, and hedgerows. The process of looking and drawing began when as a solitary child I had the freedom of wandering about the Eden Valley in Cumbria where I grew up. Along the river Eden, I made dens under hedgerows in the little sandy hollows where the sheep gave themselves dust baths and sheltered from the summer sun and frequent and sudden thunder storms. Mostly this was in the summer as the winters were just too harsh and biting.
The summer meadows and hedgerows were home to a wealth of insects, birds, and wild flowers. The hedge rows were also a handy pantry, supplementing a Dairy lea sandwich with a pudding of wild straw ¬berries, tiny raspberries, and some very sour wild gooseberries only to be eaten as a last resort. With the aid of a trusty pen knife, (which appears in some of my paintings) pignuts could be dug up and eaten as an entrée.
My still life practice is born of studying these meadows where a profusion of wild flowers supports a whole universe of insect life. My patient husband is dragged from one hidden corner of the Northwest to another in search of Bee Orchids, Fragrant Orchids, Marsh Orchids and Helleborines. I once abandoned my car on a dual carriageway because I’d spotted Greater Butter fly Orchids growing in the gravel between the curb and the verge. These plants fascinate me.
I’m mesmerised by the beauty of clover. Each little trumpet of Permanent Rose making up a stunning bouquet. White clover is equally gorgeous. Yellow Bird’s-foot Trefoil supports 37 species of insect and is delicately stunning. Lying on my stomach in these meadows and watching daytime moths, all the different species of bumble bee and, if you are lucky, a hawking dragonfly, is amazing. And we have all this on our doorstep to look at and wonder over.
Each meadow study takes about three months of solid painting in oils. The images are worked from dark to light with painting and scraping back. As with the water colours I use a triple zero brush. The paintings are labour intensive, multi-layered and a meditative process. They are part of a quiet routine of thought and memory and a documenting of the places I love.
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CECIL COURT GALLERYPanter & Hall22-24 Cecil CourtLondonWC2N 4HEOpen Monday to Sunday 10am to 6pm (closed for lunch 2-3pm)+44 (0)20 7399 9999enquiries@panterandhall.com
Sarah Spencer studied painting at Camberwell School of Art and gained a Scholarship from The Arts Club for postgraduate study at the Royal Academy Painting Schools. She has received major national and international awards for her work and has exhibited with the National Portrait Gallery’s BP Portrait Award, the Royal Academy, Royal Society of Portrait Painters and is a regular exhibitor at the Mall Galleries. In 2013 she was awarded the Painter-Stainer prize, and in 2011 was selected for inclusion as “one of ‘Britain’s most eminent contemporary figurative artists” in the ‘Pure Gold’ exhibition celebrating the Federation of British Artists’ 50th anniversary. She became the Vice President of the New English Art Club in 2018.
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We began twenty years ago with a definite bias towards Scottish painters and we still hold our annual Scottish Show dedicated to their art today. Having a large following of Scottish collectors, we find it helpful to keep this category alive.
Opens Tuesday 25th January at noon.
Our annual selection from a century of Scottish painting, showing our regular artists alongside new contemporary discoveries and a few historical rarities.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Our annual selection from a century of Scottish painting, showing our regular artists alongside new contemporary discoveries and a few historical rarities.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
Our annual selection from a century of Scottish painting, showing our regular artists alongside new contemporary discoveries and a few historical rarities.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold ● Reserved If you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
Serena Rowe is a Scottish painter of landscapes, interiors, and still lifes. She trained at the Florence Academy of Art, following graduation from the University of Edinburgh in 2000. Serena was awarded the Royal Glasgow Institute of Fine Arts Exhibition Award in 2004 which led to her first solo show at the Kelly Gallery, Glasgow in 2005. Serena then went on to attend the Scholarship postgraduate MA course at the Prince’s Drawing School the following year. She was a Winsor & Newton Young Artists Finalist at the Royal Institute of Oil Painters annual exhibition in 2010 and exhibited at the Glyndebourne Festival in 2007. Her work is represented in the collection of HRH The Prince of Wales.
“I had always wanted to paint people but when I couldn’t find anyone who would sit for me I started to find things that would: pieces I found around me in my studio, in my grandmother’s house, in the woods, or brought in by the tide on the shore. My foraging resulted in a cuckoo’s nest of characters. These things - random belongings of humans and nature - have memories, meanings and characters - just as people do. They had their stories to tell as well. And so I began to paint their portraits.”
“It can be an object’s shape and form that catch my eye and I impose human characteristics onto them I suppose; a sensual curve of a cup handle, a mischievous edge of a knife, a laughing jug. I see them as individuals, and just as humans behave differently on their own and in groups, so too do these objects when brought together under one canvas. The canvas becomes the plane for them to exist in and converse with one another.”
“I mostly work from life and occasionally from drawings and memory. I always try to capture the essence of my subject whether it be pinned butterflies, a Chinese bowl or that night by the sea. Because once in paint they have permanence.”
Serena Rowe
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British Impressionists - 2020
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Serena Rowe is a Scottish painter of landscapes, interiors, and still lifes. She trained at the Florence Academy of Art, following graduation from the University of Edinburgh in 2000. Serena was awarded the Royal Glasgow Institute of Fine Arts Exhibition Award in 2004 which led to her first solo show at the Kelly Gallery, Glasgow in 2005. Serena then went on to attend the Scholarship postgraduate MA course at the Prince’s Drawing School the following year. She was a Winsor & Newton Young Artists Finalist at the Royal Institute of Oil Painters annual exhibition in 2010 and exhibited at the Glyndebourne Festival in 2007. Her work is represented in the collection of HRH The Prince of Wales.
“I had always wanted to paint people but when I couldn’t find anyone who would sit for me I started to find things that would: pieces I found around me in my studio, in my grandmother’s house, in the woods, or brought in by the tide on the shore. My foraging resulted in a cuckoo’s nest of characters. These things - random belongings of humans and nature - have memories, meanings and characters - just as people do. They had their stories to tell as well. And so I began to paint their portraits.”
“It can be an object’s shape and form that catch my eye and I impose human characteristics onto them I suppose; a sensual curve of a cup handle, a mischievous edge of a knife, a laughing jug. I see them as individuals, and just as humans behave differently on their own and in groups, so too do these objects when brought together under one canvas. The canvas becomes the plane for them to exist in and converse with one another.”
“I mostly work from life and occasionally from drawings and memory. I always try to capture the essence of my subject whether it be pinned butterflies, a Chinese bowl or that night by the sea. Because once in paint they have permanence.”
Serena Rowe
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British Impressionists - 2020
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In several introductions to previous shows, I’ve spent much print musing on the over commercial appropriation of the term ‘impressionism’. Wading through the mire of social media, I regularly blanche at the abuse and over use of art historical terms as they are deployed, atlas like, to bolster the appearance of work that is at best mediocre. What Russian divorcee with a paintbrush isn’t inspired by Picasso, Monet, Van Gogh, et al? Henceforth no more mithering about the exhibition title and more about the talent. It is undeniably true that these seven painters are all professionals and their work needs no hyperbole to gild the lily.
For a collector, the purpose of a gallery has always been as a filter, we sift through the great mass of artists and their work, using our experience and knowledge to present our clients with an offering that we are proud to put our name and reputation to. Of course, there is an element of subjectivity in our choice and needless to say ‘other galleries are available’ but that is a matter of personal taste. However, quality, value for money, and presentation are not subjective. These seven artists have been carefully chosen for their talent and professionalism out of the many who approach us on a daily basis and who we believe to stand out in the blizzard of artistic noise engendered by the online world.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Shane Keisuke Berkery is one the most interesting and highly fêted young contemporary painters to come out of the vibrant Dublin art scene in the last few years. His Irish-Japanese cultural heritage is an obvious influence in his work and his more fantastical imagery derives from the visual storm of unfiltered social media posts encountered in our daily forays on-line. The latter inspired Sinead O' Connor to commission a mural for her home in Ireland. Definitely one to watch!
He primarily works out of his studio in Dublin and is represented by the Molesworth gallery.
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Shane Berkery: Four Paintings - 2021
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Born in Stratford upon Avon, Simon studied for a diploma in technical illustration before going onto concentrate on illustration and graphic design at Swindon College of Art. Working life began as a graphic designer and freelance illustrator of books and magazines but he soon moved into comics work in the early 1990s.
Simon now divides his time between portrait painting and comic book illustration for the cult British comic 2000 AD. His fully-painted work for the title has been collected into numerous books worldwide and he believes that the discipline of his comic-strip work complements his oil painting, allowing him to produce ‘dynamic’ images in an ‘economical way’.
He paints using oils and mainly square brushes, working from the photographs that he takes of his sitters. In 2008, he was runner up in the BP Portrait award and that same year was elected as a member of the Royal Society of Portrait painters (RP). He was their Vice-President from 2014 to 2021.
For 2000 AD, Simon has been a major contributor to the Missionary Man strip with writer Gordon Rennie, and to Sinister Dexter with Dan Abnett. He painted the Sinister and Dexter duo's first full-length story, "Gunshark Vacation", described by then-editor David Bishop as "a big fat hit". He has also been the sole illustrator on a number of recent stories including Black Siddha and Stone Island.
Simon’s choice of work is always eclectic and this includes storyboarding music videos for the likes of Tori Amos and Muse, designing a tattoo for Alex Garland’s film ‘Annihilation’ and painting the poster for Ben Wheatley’s film, ‘Happy New Year, Colin Burstead’.
His work is in collections all over the world and is exhibited widely.
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Simon Davis: I Am Because You Are - 2022
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This exhibition of thirty small portraits is a self-portrait. All through my life as a painter and illustrator, I have taken inspiration and guidance from all kinds of sources. Some have directly informed how I paint, others how I think about the act of painting.
This project began with the portrait of my father, John, as it was the obvious place to start.
All through my childhood in the 1970s, I took on board all kinds of visual influences, from Brooke Bond Tea cards to magazines like the Beano, Look-in and Look and Learn, and like a kind of magpie, I collected and stored all this amazing imagery in my head. As I embarked on my career in art, they all played their part.
Over the course of my professional life, I have been inspired by a circle of creative giants, both from the past and present. Part of the process of this project was to meet with these artists who had all been, and continue to be, so influential to me.
I Am Because You Are has been a long process and the final stages coincided with trying to negotiate the Covid lockdowns, so I’m pleased to have finally completed it with the initial idea intact. But of course, it will never be finished, as it’s both necessary and a joy to constantly seek out and be inspired by new artists.
- Simon Davis
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LU,Monday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays
+44 (0)20 7399 9999enquiries@panterandhall.com
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Born in Glasgow, Simon studied at the Glasgow School of Art from 1982 to 1987, remaining to complete his postgraduate studies there. He has painted professionally and exhibited publicly since graduating in 1988. Only three years later, he was given his first solo exhibition on Cork Street, London and, in the following decade, continued to hold solo exhibitions there, as well as in Scotland and Toronto.
While exhibiting at the Royal Glasgow Institute, Simon won the Ernst & Young Award (1990), the Scottish Craft Council Award (1991) and the Teachers Whiskey Travel Award (1992) and, in 1991, was elected a member of the Royal Scottish Society of Painters in Watercolour. In 2000, Simon was also elected a member of the Royal Glasgow Institute. His work can be found in many notable private and public collections, including the permanent collections of the Contemporary Art Society, London, the Aberdeen Art Gallery, Ferens Art Gallery, Hull, Unilever, London, TSB Headquarters, London, The Royal Bank of Scotland and the Scottish Football Association.
Simon’s paintings are typically inspired by everyday objects and the ever-changing Scottish landscape; they have been said to combine the purity and formalism of the St Ives School with the rich tradition of the Scottish Colourists. On first encounter they appear light hearted and joyous, both in their vibrant palette and choice of everyday items placed in jaunty juxtaposition. As with many painters of similar stature the rich decorative quality of each work belies a greater complexity. Simon is a very serious painter and his current approach is the culmination of several decades at his craft. Originally an abstract constructionist he produced monochromatic three-dimensional works before developing a more colourful series of found object boxed sculptures in the 1980s and 1990s. Since then he has returned to the flat surface, to paint and collage, to refine the ideas he had explored to the full in the constructions. These paintings are the culmination of that distillation process, the reduction of reality to simple form and colour.
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Simon Laurie - 2020
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Simon Quadrat was born in London in 1946, the son of Jewish émigrés who separately fled Germany in the 1930s. During his school years he painted factories and desolate urban landscapes. Reading and visiting art galleries became part of his lifestyle; however, he has stated that at that time he “had no thought of becoming an artist.” Instead he read law at university and went on to establish himself as a criminal barrister in the Temple in London and then from 1985, in Bristol. When not at work, he spent many hours painting and playing the piano. Yet, after thirty years, Simon “succumbed to a strong urge to paint professionally and so gave up the Bar to become a full time artist.”
In 2000, Simon took to becoming a full-time artist painting his Still Lifes, urban landscapes, and imaginary narrative compositions. “As for my work, the paintings must speak for themselves. The viewer will see themes, preoccupations and influences.” Artists from the 14th century to the present are acknowledged influences upon his work, in particular some of the Modern British and European painters from the immediate pre and post war period. Documentary films, as in the GPO Film Unit and Recording Britain, and archive photographs recording images and events of the 1950s, the period of his childhood in London, all supplement his memory, feed the imagination and metamorphose into his painting.
Since 2000 his work has been exhibited in one-man shows in London, Bristol, Bath, and Cambridge, and also in numerous group exhibitions, major London Art Fairs and at the RWA. In 2004, he was elected an Academician of the Royal West of England Academy and in early 2007 was invited to become its Academicians’ Chairman.' In this capacity he chaired the Exhibitions Committee, responsible for the major exhibitions in the main galleries at the RWA. He was elected President of the Royal West of England Academy in 2010.
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Simon Quadrat: There is No Correct Time - 2021
Simon Quadrat: Story - 2019
Simon Quadrat PPRWA NEAC: A Painter’s Tale - 2016
Simon Quadrat: The Unguarded Moment - 2014
Simon Quadrat: There are other places - 2011
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Quirky and eccentric compositions, deeply rooted in the aesthetics of post war British art by one of Britain's most original contemporary painters. If you are interested in any of the reserved paintings, it is worth contacting the gallery as there is a chance that they may become available.
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MAIN GALLERYPanter & Hall11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Irish painter. After spending a winter term at Heatherley's School of Art, London, he moved in 1881 to Paris where he studied at the Académie Julian.
After Lavery's return to Glasgow in 1885, renderings of the urban middle class replaced his earlier interest in peasant subject-matter. Lavery became one of the leaders of the Glasgow boys, a group of young painters committed to the ideals of naturalism. He obtained a sitting from the Queen and thereafter his position as the premier young portraitist of his generation was assured. Lavery moved to London in 1896. He became vice-president of the International Society, which was set up in 1897 to hold regular international exhibitions in London, under the successive presidencies of Whistler and Rodin.
Lavery's work was favoured in Paris, Rome and Berlin rather than in London. He exhibited at all the major European salons and secessions.
When World War I broke out Lavery began recording scenes at military camps, naval bases and munitions factories. He was appointed Official War Artist in 1917, assigned to the Royal Navy; one of his duties was to paint the surrender of the German Fleet at Rosyth (Fife) in 1918. At the end of the war Lavery became involved in Irish affairs..
Lavery travelled widely between World War I and World War II, producing many ‘portrait interiors' of the rich and famous, caught in a mood of elegant relaxation. He also painted horse-racing, swimming-pool and casino subjects. At the outbreak of World War II, he retreated to Kilkenny.
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Born in Dulwich the son of a shoemaker, he won a scholarship to Edinburgh College of Art where ih studied under William Ghillies in the late 1930s. After active service with the artillery in Italy Reid joined the staff of the Tate in 1946. He was appointed the right-hand man of the then Director, John Rothenstein, becoming deputy director in 1954 and keeper in 1959. He was appointed Director when Rothenstein retired in 1964. His tenure saw the expansion of the 'North East Quadrant' of the old gallery the expansion of the collection in the area of early twentieth-century European art. In 1972, the Tate purchased Equivalent VIII, a 1966 work by American sculptor Carl Andre which consisted of a stack of 120 ready-made fire bricks – the ensuing press hostility caused great embarrassment, overshadowing the remainder of his career. His artistic training allowed him to forge strong personal relationships with artists that led to significant donations – Mark Rothko’s Seagram Murals being perhaps the best known. Barbara Hepworth (Reid later acted as one of her executors), Ben Nicholson, Naum Gabo and Henry Moore all gifted works to the Tate out of their personal respect for Reid. He is widely regarded as the foremost of the Tate's Directors, having developed the gallery into a first rank international museum. Reid’s work is represented in the Scottish Gallery of Modern Art.
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Peter Blake's work reflects his fascination with all streams of popular culture, and the beauty to be found in everyday objects and surroundings. Many of his works feature found printed materials such as photographs, comic strips or advertising texts, combined with bold geometric patterns and the use of primary colours. The works perfectly capture the effervescent and optimistic ethos of the sixties, but are also strikingly fresh and contemporary. There is also a strain of sentimentality and nostalgia running throughout his work, with particular focus towards childhood innocence and reminiscence, as can be seen clearly in his recent Alphabet series. Blake is renowned for his connection with the music industry, having produced iconic album covers for the Beatles, Paul Weller, The Who, and Oasis.
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Sir Robin Darwin, painter and principal of the Royal College of Art and great grandson of the naturalist Charles Darwin. Born London he attended Eton College and Cambridge University and Slade School of Fine Art. He exhibited at the RA and other main London galleries. Appointed as head of the Royal College, where he stayed from 1948 - 71. The College assumed independent university status under his direction. Frances Spalding's book also says that through his leadership, he oversaw a famous period at the RCA which is now rightly known as 'the Darwin era' and his contribution to the world of art was immense and still carries to this day. Knighted in 1964 for his administrative abilities which overshadowed his very real talent as a painter. Landscape was his main interest although he was a good portrait painter, and he produced highly professional and atmospheric examples in oil and watercolour in Britain and abroad.
A Welshman born in Cirencester; Llewellyn always knew he wanted to paint. He grew up in the glory days of Victorian academic painting, enrolling in the National Art Training School in South Kensington. There he studied under Edward Poynter, one of the high priests of the Victorian art world, a brother-in-law of Burne-Jones he was an uncle of Kipling and a future President of the Royal Academy. Llewellyn moved to Paris where his nascent establishment tendencies were set in concrete. The Atelier Ferdinand Cormon was virtually created to guide students to create paintings which would be accepted by the then rather staid jury of the Paris Salon, Llewellyn proved a model student. He excelled as a painter in the grand academic tradition long after the fauves and cubists had presented alternatives. Elected a member of the Royal Academy in 1920, he served as its President from 1928 to 1938. Two knighthoods followed and after his death he was honoured with a funeral at Westminster Abbey. His ashes lie in a memorial designed by Lutyens in the crypt at St Paul's Cathedral.
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Originally an illustrator and designer in his native Edinburgh, Flint moved south to work on the Illustrated London News. After war service he began painting professionally and settled on the style for which he is best known. From the 1950s onwards his prints of muscular, nude women draped improbably on beaches and riverbanks, became the essential wall covering of every British drawing room. Flint was elected to the Royal Academy and the Royal Watercolour Society as President for twenty years for which he was knighted.
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Siân is one of Britain’s most talented contemporary realist painters. Every one of her poetically perfect still life compositions is a masterclass in precisely rendering the surface textures of both manmade and natural objects in paint.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PM Closed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
Siân Hopkinson was born in Hertfordshire in 1967. She attended Wimbledon School of Art and graduated in 1989. In her final year she became deeply engaged with the genre of still life, in particular the still life paintings of Spain in the 17th century where everyday humble objects become moving and miraculous. She took particular inspiration from the works Chardin, Velazquez, Manet and Morandi.
Shortly after graduating she was commissioned by Euphrosyne Doxiadis to provide 36 pen and ink drawings for her book The Mysterious Fayum Portraits – Faces From Ancient Egypt (London: Thames and Hudson, 1995). She was further commissioned by the author to produce studies from Fayum funerary portraits in the British Museum which Doxiadis used during her lecture tour to illustrate elements of ancient technique. The beauty found in the art of this period continues to influence her today. Her exquisite still life compositions, crafted with such gem like clarity are, in the words of the painter Jeff Stultiens, ‘the product of the sort of intensive search that was once the hallmark of good figurative painting.’
Sian exhibited her own work in and around London, including in many successful solo shows, before finding representation with Panter and Hall. Her work has been exhibited in Amsterdam, Antwerp, Athens and Istanbul, and has sold in both Europe and America.
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Siân Hopkinson: The Beauty in Clarity - 2022
Siân Hopkinson: The Beauty of Ordinary Things - 2016
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Now this is something else, utterly joyous and if it’s possible to paint sound into a picture then this is about as loud as it gets. During the Great Depression Levenson had joined the federal Works Progress Administration. Set up as part of FDR’s New Deal it employed hundreds of artists nationwide and Levenson was put to work painting murals of American history. On his death in 2006 it was thought he was the last surviving WPA artist. Although not from his WPA period this is a relatively early work and its appeal and ultimately its value is derived entirely from the subject. The Blues had an enormous influence on popular music in 1950s America and ‘Torch singers’ - the likes of Ella Fitzgerald, Billie Holliday and Sarah Vaughan - were at the height of their fame. I’m not sure if this is a portrait from life or Levenson’s imagined ideal, either way it is a wonderful evocation of a musical moment in American history. We had fun framing this stunning chanteuse and settled on an extremely grand eighteenth century portrait frame that used to house a Gainsborough. We’ve kept the little Gainsborough name tablet just to confuse people.
Sophie Dickens is a contemporary British sculptor. Her instantly recognisable, exuberant, modern sculptures have adorned cathedrals and enlivened skylines from London to LA. United by an energy and wit, her body of work is broad and restless, covering a wide range of abstract and figurative subject matter, classical and de-pedestalised, installations of packs and flocks, athletes, gods and lovers.
Armed with a degree in the history of art from the Courtauld Institute, Sophie set out to learn the practicalities of making figurative sculpture, attending the Sir John Cass School of Art, and also the department of anatomy at University College, London. Her distinctive style comes from her technique of building figures from abstract geometric shapes of curved wood and attaching them to an armature to create fluid, muscular form.
Sophie was the first winner of the Founders' Prize for figurative sculpture in 2007 with a piece called The Turning Man. Loosely inspired by Michelangelo's Last Judgement in the Sistine Chapel, this gravity defying sculpture was exhibited at the V and A in London. Later notable pieces include a 3m stainless steel minotaur for an apartment in San Francisco (also exhibited at the first Masterpiece Art Fair in London in 2010). Matthew, Mark, Luke and John'- a roaming installation of winged beasts, toured British churches and cathedrals in 2011. An abstract re-organisable piece made of corten, Variable Landscape, was on the cover of Galleries Magazine and bought by the architect Sir Michael Hopkinson in 2014. That year she had a piece on British television when she created a brazen bull for the chef Heston Blumenthall.
Sporting pieces include a large bronze judo throw for the London 2012 Olympics, and a sequence based on a Nadal serve for a client in Saudi Arabia. A large bronze carriage horse was commissioned for the atrium of The Principal Hotel in Manchester in 2016, and a diver for the champagne bar of the Connaught Hotel in London. More recently, a pack of wolves made from recycled chestnut floorboards was exhibited in Turin.
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Sophie Dickens: Sculptures in Bronze - 2023
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Initially training at St Martin’s and later Camberwell School of Art, MacPherson is heavily inspired by the coastline and landscape around her family home in the west of Scotland. Her work is represented in many corporate collections, notably Charterhouse Bank, McKinsey, Barclays Bank, the Royal Bank of Scotland and the Fleming Collection.
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A twentieth century Finnish painter, born Saimi Mykrä studied at the then newly founded Free Art School in Helsinki from 1944 to 1948, exhibiting publicly in the city for the first time in 1950. Although little is known biographically, she was a member of the Group of Ten painters and the National Association of Professional Artists in Finland. In the early 1970s she moved to the United States with her husband the typographer Christopher Taxell, adopting the name Sophie and holding exhibitions in Virginia, Maryland, Florida and Washington DC. Her work is held in the National Gallery of Finland and the collection of the Washington D.C. Public Library.
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Battersea Evolution, Battersea Park, Queenstown Road, London SW11 4NJWednesday 9th March: 5 to 9pmThursday 10th March: 11am to 9pmFriday 11th March: 11am to 9pmSaturday 12th March: 11am to 6pmSunday 13th March: 11am to 6pm
There are a limited number of complimentary tickets for the fair, please do contact the gallery if you are interested.
Evolution London, Battersea Park, Queenstown Road, London SW11 4NJ
Opening hours -
Thursday 9 March, 11am - 9pmFriday 10 March, 11am - 9pmSaturday 11 March, 11am - 6pmSunday 12 March, 11am - 6pmWeekend Family Hour - 11am -12pm
We have a limited number of complimentary tickets available for the fair, so please do contact the gallery if you are interested.
Evolution London, Battersea Park, Queenstown Road, London SW11 4NJOpening hours - Thursday 7 March, 11am – 9pmFriday 8 March, 11am – 9pmSaturday 9 March, 11am – 6pmSunday 10 March, 11am – 6pmWeekend Family Hour, 11am – 12pmWe have a limited number of complimentary tickets available for the fair, so please do contact the gallery if you are interested.
This week would have been the Spring Decorative Fair – one of my personal favourites – each time we meet the most famous interior designers and decorators in the world in a tent in Battersea Park. Although well attended by international dealers, it is essentially a very British affair. It brings together all the visual strands and trends current in interior design worldwide and offers something for any tastemaker or nest-builder looking to create that unique environment. From the eccentricities of the British country house to the sleek modernism of a Stockholm penthouse, the Decorative Fair has it all.
Our stand at the fair is our showcase for Panter & Hall Decorative, here we can show off the best of our collection of mid-century modern paintings, twentieth century works that are consciously sourced and priced with our interior designer clients in mind.
As we sadly won’t be able to catch up with our old friends and regulars at Battersea this week, we have put together a collection of paintings in the form of a small exhibition on line – we hope you enjoy them and might even find they are just the ticket for your latest project!
Brien was born in Poland and surfaced in Britain during the 1930s as a popular graphic artist, much in demand for designing transport posters for the major railway companies as well as Shell and London Underground. The latter featured a Hoolock Gibbon monkey drawn in charcoal in his distinctive art deco style. He exhibited his paintings at the Redfern Gallery in the early 1930s.
Although no further biographical details are currently available, Brien was clearly well thought of amongst his peers. This collection of works on paper come from the collection of his friend and colleague, the Scottish painter and printmaker Iain Macnab.
About the pleasures and challenges of capturing animals, he writes:
“In setting out to portray animal life one soon realises in observing their movements the impossibility of approaching them in the same way as one would in drawing a portrait or a landscape.
They are perpetually on the move; pacing, leaping, climbing or scampering about.
In the case of a bear notice how smoothly he slouches along, his limbs and muscle seem to move freely like a piece of well-oiled machinery.
This may also be said of the lion, in fact of all the cat tribe. These lovely beasts even when at rest unknowingly take up graceful attitudes but still display in their supple limbs muscular vigour and a distinct power of reserve.
There are the points I have tried to express on paper and which make the drawing of animals so alluring.
The accompanying drawings, therefore, claim to be pictures of movement, life and character, rather than mere diagrams over-burdened with information about such things as colour, marking or texure of fur. To get these I have chosen to make use of only those things which are useful in typifying the animal in question.
I have always been specially attracted by the plain coloured animals such as the lion, wolf and bear, simply because the form and play of muscle is not camouflaged as is the case with strongly marked ones.
These remarks, I think, are enough to give some idea of my point of view and explain the very simplified style I have adopted for animal drawing.”
- Extract by The Ambassador Publishing Co. Ltd (1928) (150, Chandos House, Buckingham Gate, London SW1).
Exhibitions
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Stanislaus Brien: Selected Works - 2014
Stanislaus Brien: Selected Works - 2014
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Born in Kirkwall, Orkney, Stanley Cursiter was one of Scotland's most prolific twentieth-century painters as well as being a writer and curator. He was one of the first students of the newly-opened Edinburgh College of Art and played an important role in introducing Post-Impressionism and Futurism to Scotland. He was appointed Director of the National Galleries of Scotland in 1930 and King's Limner for Scotland in 1948. Cursiter initiated the campaign to create a Scottish National Gallery of Modern Art.
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Although born in London, Stanley Grimm was whisked back to Russia by his family to be educated first at Riga and then Munich. In 1911 he attended the Knirr Atelier immersing himself in the Munich art world in the years immediately before the Great War and absorbing the excitement of the Blaue Reiter group of Kandinsky and Franz Marc. He eventually made his way back to London after a period being conscripted by the Bolsheviks to paint propaganda posters in Russia.Grimm had one man shows at the Redfern Gallery in 1925, Beaux Arts in 1927, Bloomsbury Gallery in 1930 and the Wertheim Gallery in 1932. His work is held in many private and public collections, notably the Government Art Collection and the Sheffield Art Gallery’.
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A small collection of timeless plein air paintings depicting a bucolic vision of British life between the wars. Bone was a well-known figure in the artistic establishment of the day and his rural scenes illustrated many publications including a Shell Guide to the west coast of Scotland. Most have been held by the family until recently and haven’t been exhibited since the 1930s.
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PALL MALL GALLERY11-12 Pall MallLondonSW1Y 5LUMonday to Friday: 10AM - 6PMSaturdays: 11AM - 2PMClosed bank holidays+44 (0)20 7399 9999enquiries@panterandhall.com
● Sold● ReservedIf you are interested in any of the reserved paintings, it is worth contacting the gallery as they may become available.
Born in London, the son of the artist Sir Muirhead Bone he studied at the Slade School of Art from 1922 to 1924 under Henry Tonks, and in 1925 won a gold medal for wood engraving in the International Exhibition in Paris. From 1936 to 1939 he served on the committee of the Artists' International Association, helping artist refugees from Germany to live and work in Britain. During the Second World War he served as a civilian camouflage officer and later as an Official War Artist attached to the Navy. He was art critic to the Manchester Guardian from 1948, and in the 1950s emerged as a broadcaster, frequently serving on the panel of the BBC radio programmes 'The Critics' and 'The Brains Trust', and on the long-running and television programme 'Animal, Vegetable and Mineral'. He was also the author of the Shell Guide to the West Coast of Scotland. In 1957 he was briefly Director of Hornsey College of Art before his untimely death in London a year later.
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Stephen Bone: Rural Memories - 2023
Twentieth Century British Painting - 2019
Twentieth Century British Painting - 2019
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