• Phantoms from Knossos II, 1988

    by Terry Frost

    In Phantoms from Knossos II, Terry Frost has used his signature circles and luminous colours to capture the atmosphere of the ancient city in Crete. Direct reference to the site are elicited through the mythological figures in the circles, reminiscent of medallion coins, that revolve around the bright, overpowering sun. Additionally the vibrant blues, yellows and reds conjure up the feeling of the warm Cretan sky and sun. DIMENSIONS: (unframed) 24.0 x 30.0 inches (61.0 x 76.2 cms) MEDIUM: Oil on canvas SIGNATURE: Signed and dated (verso)
  • Untitled, 1962

    by Adrian Heath

    DIMENSIONS: (unframed) 29.1 x 21.3 in./ 74.0 x 54.0 cm SIGNATURE: Signed and dated lower right MEDIUM: Oil and mixed media on paper This work is in Heath's signature medium of oils and is the epitome of his abstracted work.
  • On the Beach

    by Philip Wilson Steer

    DIMENSIONS: (unframed) 6.7 x 9.4 ins MEDIUM: Oil on panel
  • Abstract Composition

    by Donald Hamilton Fraser

    DIMENSIONS: (unframed) 28 x 36 ins SIGNATURE: Signed lower left MEDIUM: Oil on Canvas  
  • pair of abstract paintings, the left with colours in block pencil lines including yellow, blue and beige and the right work is red watercolour with a teal colour running through it

    Abstract Red and Yellow (pair)

    by Adrian Heath

      MEDIUM: Mixed media on paper DIMENSIONS: (yellow): 9.8 x 9.3 ins/ 24.9 x 23.6 cm (red): 8.0 x 8.0 ins/ 20.3 x 20.3 cm SIGNATURE: Signed ‘Heath’ and dated (lower right on Abstract Red); titled and dated (label verso, the Redfern gallery)
  • DIMENSIONS: (unframed) 16.0 x 21.0 in./40.6 x 53.3 cm SIGNATURE: Signed and dated '59' lower right MEDIUM: Oil on paper and laid down on canvas
  • Morning Light, Dordrecht

    by Christopher Sanders

    DIMENSIONS: (unframed) 20 x 24 ins SIGNATURE: Signed and inscribed verso MEDIUM: oil on canvas  
  • 1965 (Olympia)

    by Ben Nicholson

    DIMENSIONS: (unframed) 22.75 x 19.75 ins SIGNATURE: Signed 'Nicholson' (on the reverse); signed again and dated 'NICHOLSON 1965' (on the backboard) MEDIUM: Ink and oil wash on paper, shaped, on the artist's prepared board Pieces such as Olympia, take the concept of still life to its bare bones, and present a profound and timeless commentary on the tradition itself. By the early 1950’s, colour was beginning to play a much less crucial role in Nicholson’s art as the paintings regained the aesthetic purity of his earlier abstract work. Meanwhile, Nicholson’s unique ability to give the illusion of form with so few lines, reinforces the status of the paintings themselves as physical objects.
  • Promenade of People, c.1939

    by Stanley Spencer

    DIMENSIONS: (unframed) 4.5 x 15.5 in./ 11.4 x 39.4 cm SIGNATURE: Signed lower left MEDIUM: Pencil on paper
  • Red and Black Mug or cup, 1981

    by Ben Nicholson

    DIMENSIONS: (unframed) 4.8 x 4.0 inches/ 12.2 x 10.2 cms SIGNATURE:  Signed and inscribed "for Pat and David Xmas 81 Nicholson 81" on the reverse MEDIUM: Ink, wash and gouache on paper This striking work by Ben Nicholson was a gift to Barbara Hepworth’s assistant, David Lewis, for the Christmas of 1981.  
  • Cattle Watering

    by Algernoon Talmage

    DIMENSIONS: (unframed) 30.0 x 40.0 in./ 76.20 x 101.60 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Nude

    by Frederick Gore

    DIMENSIONS: (unframed) 25.50 x 37.50 in./ 64.77 x 95.25 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Still Life with Oranges and Lemons

    by Frederick Gore

    DIMENSIONS: (unframed) 11.0 x 16.0 in./27.94 x 40.64 cm SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • DIMENSIONS: (unframed) 19.75 x 19.75 ins 50.17 x 50.17cms SIGNATURE: Signed and dated lower left MEDIUM: Oil on canvas Still Life with Pear, Melon and Grapes is a painting by British artist Mary Fedden. Born in 1915, Fedden had a lifelong passion for art and left school at the age of sixteen to study at the Slade School of Art under the theatre designer Vladimir Polunin. Following her tutor’s lead, Fedden went on to work as a set painter at Sadler’s Wells and the Arts Theatre in Great Newport Street in London. This painting reveals Fedden’s career-long preoccupation with still life painting; a genre that she described as her ‘real love’. While the subject may be a traditional one, with a well established place in art history, Fedden rejected the classical origins of the genre with its symbolic significance and realistic representations; instead, Fedden followed the example of earlier Modernists such as Pablo Picasso and Paul Cezanne who strove to break its formal stereotypes, reducing the subjects to their basic forms. Fedden always denied the symbolic significance of the objects in her still life paintings, instead seeing them simply as items that she enjoyed painting.
  • Black and White Ball, 2007

    by Mary Fedden

    Mary Fedden very much developed her own individual style of still life painting. In an article in 'The Artist' magazine, Fedden wrote: 'I really float from influence to influence. I found the early Ben Nicholson's fascinating as were the paintings of his wife Winifred. I also admire the Scottish artist Anne Redpath and the French painter Henri Hayden.' DIMENSIONS: (unframed) 31.50 x 35.50 ins 80.01 x 90.17 cms SIGNATURE: Signed and dated lower left MEDIUM: Oil on canvas  
  • Black Bottle, 2009

    by Mary Fedden

    DIMENSIONS: (unframed) 16 inches x 20 inches / 40.64 x 50.8 cm SIGNATURE: Signed and dated lower right MEDIUM: Oil on canvas  
  • Pineapple, 2007

    by Mary Fedden

    DIMENSIONS: (unframed) 23 inches x 27 inches / 58.42 x 68.58 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
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