Jenna Burlingham Gallery Drawings and Watercolor Paintings

Jane Skingley b. 1963 Hokusai Ocean Blue III, 2024 mixed media on vintage book pages laid onto canvas 50 x 50 cm 19 3/4 x 19 3/4 in signed and titled verso Jane Skingley paints seas...

Jane Skingley b. 1963 Hokusai Covers II, 2025 mixed media on old book cover 26 x 17 cm 10 1/4 x 6 3/4 in signed verso Jane Skingley paints seascapes and landscapes in oils. Her firs...

Jane Skingley b. 1963 Hokusai Covers I, 2025 oil and collage on book cover 28 x 18 cm 11 x 7 1/8 in signed, titled and inscribed on a label attached verso Jane Skingley paints seasc...

Jane Skingley b. 1963 Hokusai Covers VI, 2025 mixed media on old book cover 26 x 17 cm 10 1/4 x 6 3/4 in signed Jane Skingley paints seascapes and landscapes in oils. Her first exhi...

Jane Skingley b. 1963 Hokusai Covers II, 2025 mixed media on old book cover 26 x 17 cm 10 1/4 x 6 3/4 in signed verso Jane Skingley paints seascapes and landscapes in oils. Her firs...

Pamela Burns b. 1938 In the Evening Light, 1999 oil pastel and pencil 25.4 x 33 cm 10 x 13 in signed, titled and dated 'August' on the reverse Pamela Burns is a British painter. ...

Peter Potworowski 1898-1962 Untitled (Gates and Pink Path) watercolour with crayon 24 x 32.5 cm 9 1/2 x 12 3/4 in unsigned Tadeusz Piotr (Peter) Potworowski was a Polish abstract a...

Peter Potworowski 1898-1962 Cornwall, 1953/1954, circa watercolour 17.5 x 23 cm 6 7/8 x 9 in Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative painter who lived...

Peter Potworowski 1898-1962 Cornish Beach, 1953/1954, circa watercolour 17 x 22.5 cm 6 3/4 x 8 7/8 in unsigned Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative...

Peter Potworowski 1898-1962 Woodland Scene, 1956, circa gouache and pastel 25.1 x 28.2 cm 9 7/8 x 11 1/8 in unsigned Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figu...

Lloyd was born in Alsager, Cheshire, the son of a policeman who had taken up farming. He had worked on his father's farm until the age of 19, when he too joined the police force. Llo...

Estate of Paul Roche, the Artist's partner. Unsigned. Duncan Grant was a British artist, designer and prominent member of the Bloomsbury Group. His father...

Rowland Suddaby was a painter and illustrator, mainly of landscapes. Suddaby was born in Kimberworth, Yorkshire, and studied at Sheffield College of Art from 1926, winning a scholars...

Asphodelus Lutea

Wagons in the Field, Poland

Lily

Canopy Vase with Abstracts

Haystacks, Oil on Canvas Board by John Guthrie Spence Smith Additional information: Medium: Oil on Canvas Board 32 x 42 cm 12 5/8 x 16 1/2 in Signed

Study for Reclining Form (The Wildenstein Hermitage) Watercolour by William Tillyer, 1991 Additional information: Medium: Watercolour 25.4 x 76.2 cm 10 x 30 in Signed

Student Life, Morning (Gunter Grove, Chelsea), Watercolour Painting, 1941 Additional information: Medium: Watercolour over pen and ink 12 x 15 in 30.5 x 38.1 cm Signed and dated; si...

Spring Flowers, Oil on Board by Dorothea Sharp Additional information: Medium: Oil on Board 50.8 x 40.6 cm 20 x 16 in Signed Dorothea Sharp was born in Kent and is best known for h...

Putney Road, Winter, Oil on Canvas by Carel Weight, 1949 Circa Additional information: Medium: Oil on Canvas 52.1 x 69.8 cm 20 1/2 x 27 1/2 in Closely related to the Ingram Collecti...

The Lake Isle of Innisfree 11, Watercolour on Paper by William Tillyer, 1992 Additional information: Medium: Watercolour on Paper 55.9 x 76...

Drawing (Green with Three Tongues), Pastel on CutOut Paper by Richard Smith, 1970 Additional information: Medium: Pastel on Cut-out Paper with Staples 99 x 143 cm 39 x 56 1/4 in Signed and dated Smith was a key figure in the British development of Pop Art. By 1970 when this work was executed, Smith was primarily concerned with the examination of the two-dimensional nature of painting and was experimenting in both his oils and his works on paper with extending the paint surface out into a three-dimensional space. In this work we see the added extensions in collage (the ‘three tongues’) to the normal rectangular format. The large scale is testament to the influence of advertising in Smith's late 60s and early 70s works. This work was made in the same year that Richard Smith represented Great Britain at the XXXV Venice Biennale, with a solo show in the British Pavilion. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. It was a hugely defining period in Smith's career, including the creation of his sculpture-cum-paintings 'Waterfall', 'Triangular' (both in the collection of Tate, London) and Sphinx Series (British Council), before he began developments towards his Kite Series in 1971. Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...

Student Life, The Artist-Orientalist Having Tea, Chelsea, Painting, 1941 Additional information: Medium: Watercolour over pen and ink 10 x 15 in 25.4 x 38.1 cm Signed and dated; fur...

Montrose Harbour Lock Gates (The Dutch Boat) by Douglas Swan, 1950s Circa Additional information: Medium: Gouache, Ink and Pastel 56.5 x 36.5 cm 22 1/4...

Bait Store, Iceland, Watercolour by Leon Underwood, 1923 Additional information: Medium: Watercolour 43.7 x 51.1 cm 17 1/4 x 20 1/8 in Leon Underwood was a British sculptor, wood engraver, painter and writer of the twentieth century. Underwood was born 25 December 1890 in London, and studied at the Regent Street Polytechnic from 1907 to 1910, the R.C.A. from 1910 to 1913, and at the Slade School from 1919 to 1920 after undertaking war service between 1914 and 1918 during which he held the position of Captain in the R.E. Camouflage Section. Underwood was awarded a premium in the Rome Prize competition in 1920 but instead of going to Italy went to Iceland. He started his own school of drawing in 1921, and held his first one-man exhibition at the Chenil Galleries in 1922. He visited Holland in 1911, Russia in 1913, Dalmatia and Italy in 1925; he went to the United States and Canada between 1926 and 1927 during which time he published Animalia; he travelled in Mexico during 1928, studying Mayan and Aztec sculpture, and in Spain studying cave paintings. Underwood reopened his drawing school in 1931 and founded the magazine The Island, to which Henry Moore and C. R. W. Nevinson contributed. He wrote Art for Heaven's Sake in 1934, and served in Civil Defence Camouflage from 1939 to 1942. In 1945 Underwood visited West Africa and wrote several books on African...

Death and the Maiden, Oil on Canvas by Carel Weight, 1947 Circa Additional information: Medium: Oil on Canvas 10 7/8 x 8 3/4 in 27.5 x 22.2 cm Si...

May 60 (Duomo Pisa), Watercolour Painting by Ben Nicholson 1894-1982, 1960 Additional information: Medium: Watercolour and pencil on paper, mounted on the Artist's board 46.2 x 60.4...

The Industrial Landscape as it Passes By (From the Train), Pencil Drawing by Mary Newcomb 1922-2008 Additional information: Medium: Pencil 13.3 x 20.6 c...

Dorelia Looking Up, Pencil on Paper Drawing by Augustus John 1878-1961 Additional information: Medium: Pencil on paper 39.4 x 20.3 cm 15 1/2 x 8 in Signed Provenance Arthur Tooth &...

Composition (Blue, Green, Orange and Red), Acrylic Painting by James Hull 1921-1990, 1987 Additional information: Medium: Acrylic and watercolour on paper ...

Study of Young Girl, Ink and Crayon Painting by Jacob Kramer Additional information: Medium: Ink, pencil and crayon 20.3 x 17.8 cm 8 x 7 in Signed Provenance Private Collection, UK.

No.12, from 100 Series, Watercolour Painting by Gwyther Irwin 1931-2008, circa 1981 Additional information: Medium: Watercolour 66 x 81.3 cm 26 x 32 in signed and titled Gwyther Irwin was a British abstract artist, known for his large paper collages. David Gwyther Broome Irwin was born in Basingstoke, Hampshire, but grew up at Foredore House in Trebetherick, on the north coast of Cornwall. He was educated at Bryanston School in Dorset, where Roger Hilton was his art master. The artist chose to continue his studies in London, moving to Bloomsbury and studying at Goldsmith's Art School (1951-1952) and the Central School of Art, Holborn (1952-1955). During the '50s Irwin was experimenting with European avant-garde styles such as art brut, graffiti, and the use of found images. This all fed into a style which is all his own, a form of 'three-dimensional collage', half-way between painting and sculpture. It was in 1957 that his work first came to prominence, with a solo exhibition at Gallery One, his inclusion in the celebrated exhibition 'Metavisual, Tachiste, Abstract' at the Redfern Gallery, as well as exhibiting at the AIA Gallery, Rome New York Art Foundation and 'Dimensions' at the O'Hana Gallery. He showed in Australia, Paris and New York. His first solo exhibition with Gimpel Fils in 1959 was critically acclaimed. The artist was part of the 'Situation' group in 1961 when Sylvia Sleigh...

Italian Landscape with Pylons, Watercolour and Charcoal Painting, 1950s Additional information: Medium: Watercolour and charcoal 23.4 x 32.3 cm 9 1/4 x 12 3/4 in Tadeusz Piotr (Pet...

The Tramp, Watercolour and Pencil Painting by William Roberts, 1945 circa Additional information: Medium: Watercolour and pencil 35 x 53 cm 13 3/4 x 20 7/8 in William Roberts was a British artist, sometimes known as the 'English Cubist'. Born in London Fields, Hackney in 1895, Roberts's artistic ability was evident from an early age, the teachers at his primary school allowed him to devote class time to drawing and eventually his art mistress suggested he be transferred to a school with greater art resources. Upon leaving school Roberts was apprenticed to a commercial art firm and he attended evening classes run by William P. Robins at St Martins School of Art. At fifteen years old, Roberts won a London County Council Scholarship to study at the Slade School of Art where his fellow students included Dora...

Pastoral Landscape, Gouache and Watercolour Painting by Alan Reynolds, 1953 Additional information: Medium: Gouache and watercolour 19.5 x 27.5 cm 7 5/8...

Roof Garden in Snow (Holland Park Road), Painting by Guy Malet 1900-1973, circa 1950 Additional information: Medium: Watercolour 48.3 x 34.5 cm 19 x 13 5/8 in Provenance Estate of ...

137, Pencil Drawing by Richard Lin 1933-2011, 1960 Additional information: Medium: Pencil 30 1/4 x 35 1/8 in 77 x 89 cm signed, dated and titled Executed in pencil against stark wh...

144, Pencil Drawing by Richard Lin 1933-2011, 1960 Additional information: Medium: Pencil 29 7/8 x 33 7/8 in 76 x 86 cm signed, dated and titled Emanating minimalist purity and cha...

Red, Green, Orange and Purple, Chalk Pastel Painting by Mark Lancaster 1938-2021, circa 1960s Additional information: Medium: Chalk pastel 22.9 x 30.5 cm 9 x 12 in Mark Lancaster w...

Street Scene, Pencil Drawing by Edward Burra, 1930s circa Additional information: Medium: Pencil drawing 49.5 x 61 cm 19 1/2 x 24 1/8 in With Estate stamp Painter in watercolour (f...

Untitled, Gouache & Watercolour on Paper Painting by Martin Bradley, 1962 Additional information: Medium: Gouache and watercolour on paper 65.3 x 88.9 cm 25 3/4 x 35 in Martin Brad...

Nude Study, Drawing, Ink, Painting by Horace Brodzky, 1931 Additional information: Medium: Drawing, ink 18.4 x 38.1 cm 7 1/4 x 15 in Signed and dated

Painswick, Watercolour Over Pencil Painting by Charles March Gere, 1930s circa Additional information: Medium: Watercolour over pencil 15.5 x 29.5 cm 6 1/8 x 11 5/8 in Signed and titled verso Charles March Gere RA RWS was an English painter, illustrator of books, and stained glass and embroidery designer associated with the Arts and Crafts movement. He painted his signal work in 1897 entitled The Lady of Grey Days.The painting was purchased in 1912 and given to Aurora Howard, a descendant of the Earl of Carlisle (of Castle Howard). It was last seen...

On the Meldons Road, Watercolour Painting by William George Gillies, circa 1940s Additional information: Medium: Watercolour 41.5 x 59 cm 16 3/8 x 23 1/4 in Signed William George G...

Thun (Switzerland), Pastel and Pencil Painting by Charles March Gere Additional information: Medium: Pastel and pencil 14 x 15.5 cm 5 1/2 x 6 1/8 in Signed with monogram and title under mount The Town of Thun is in the Canton of Bern in Switzerland, Gere visited on one of his many sketching tours of the Alps. Charles March Gere RA RWS was an English painter, illustrator of books, and stained glass and embroidery designer associated with the Arts and Crafts movement. He painted his signal work in 1897 entitled The Lady of Grey Days.The painting was purchased in 1912 and given to Aurora Howard, a descendant of the Earl of Carlisle (of Castle Howard). It was last seen...

From the Calcina, September (Venice), Watercolour over Pencil Painting, 1991 Additional information: Medium: Watercolour over pencil 15.2 x 21.6 cm 6 x 8 1/2 in Signed, dated and titled on the reverse Peter Greenham was a distinguished figurative painter of portraits, landscapes and incidents from domestic life. His work was both sensitive and intelligent and like himself, without showiness or pretension. He was keeper of the Royal Academy Schools and a popular figure who taught many well-known artists including Martin Yeoman, Peter Kuhfeld, Edmund Fairfax-Lucy and Jane Corsellis. Greenham was born in Streatham and educated at Dulwich before studying English at Magdalen College, Oxford, followed by Fine Art at the Byam Shaw School of Art in Kensington from 1936-39 under the supervision of Ernest Jackson. After leaving Byam Shaw he became a schoolmaster at Magdalen College School, Oxford and was elected an Associate of the Royal Academy in 1951 and an R.A. in 1960. In 1964 he succeeded Sir Henry Rushbury as Keeper of the Royal Academy Schools, a position he held with distinction until his retirement in 1985. The Keeper has the responsibility of running the RA Schools and Greenham showed himself to have great sympathy and understanding for his students. In retirement he was able to concentrate entirely on his painting and tended to paint places he knew well such as the Norfolk coast, Northumberland, Oxfordshire and Annecy as well as his wife, the painter Jane Dowling...

Horses by a Lake (Snowdonia), Watercolour on Linen Painting, 1926 Additional information: Medium: Watercolour on linen 36.5 x 51.5 cm 14 3/8 x 20 1/4 in Signed and dated Charles March Gere RA RWS was an English painter, illustrator of books, and stained glass and embroidery designer associated with the Arts and Crafts movement. He painted his signal work in 1897 entitled The Lady of Grey Days.The painting was purchased in 1912 and given to Aurora Howard, a descendant of the Earl of Carlisle (of Castle Howard). It was last seen...

Landscape with Trees, Pencil Drawing by Michael Andrews Additional information: Medium: Pencil drawing 12.5 x 19.5 cm 4 7/8 x 7 5/8 in Michael Andrews was born into a devout Method...

Sails Furled, Pencil Drawing by Prunella Clough Additional information: Medium: Pencil drawing 41 x 24.5 cm 16 1/8 x 9 5/8 in Prunella Clough was an English painter, draughtsman an...

Buoys No.3, Watercolour Painting by Reginald Brill Additional information: Medium: Watercolour 24 x 34 cm 9 1/2 x 13 3/8 in Titled verso This is part of a group of keenly observed ...

Study for Men in the Trench, Pen, Ink & Watercolour on Paper Painting 1950 circa Additional information: Medium: Pen, ink and watercolour on paper 11 3/4 x 26 in 29.8 x 68.5 cm Reginald " Reggie" Brill was a versastile 20th century artist and teacher. Brill was born in London in 1902 and spent his early childhood there and in Yorkshire. By the time of the First World War, at the age of 13, he was living in lodgings in London, working in a City office and attending St Martins School of Art in the evenings. Considering his lack of education, winning a scholarship to The Slade (now part of University College London) in 1921 where he studied under Henry Tonks for three years, was a huge achievement. On leaving The Slade he found patronage in Lincolnshire, but by the time of the General Strike (1926) he had returned to London and was working on Lansbury's Labour Weekly. He married Rosalie, also an artist, and in 1927 won the Prix de Rome in Decorative Painting. Following two years at The British School in Rome, Brill went to teach at Blackheath School of Art. During 1930 he spent three months painting in Egypt and it was there that he met Col. T G Gayer-Anderson, one of the twin brothers who were to bequeath The Little Hall in Lavenham as a hostel for art students. It was there that Brill retired to act as warden, thus continuing his nurturing of art students until his death in 1972. Brill took up his appointment at The School of Art, Kingston upon Thames in January 1934. It was situated in the Technical Institute (Kingston Hall Road) and Brill found it bohemian and disorganised. He proceeded to inject enthusiasm, order and discipline. Within 5 years of his appointment a purpose-built School of Art was opened in Knights Park. It remained open throughout the war and by 1945 there was a waiting list for places. Under the skilled and totally dedicated direction of Brill, Kingston School of Art became established with national reputation for excellence. In 1961 Sir Charles Wheeler opened the new building at Knights Park. Costing £100,000, this more than doubled the size of the Art School. Brill, was a well-known figure in Kingston. His eloquence made him popular as a guest speaker and his promotion of Art and Design stretched well beyond the doors of Knights Park. Apart from establishing two of the main buildings which makeup what is now known as the Faculty of Design, one of the most visible local contributions he made was the setting up of a topographical collection of paintings depicting Kingston, which has since become known as The Brill Collection at Kingston Museum. Brill gained huge respect and admiration from the hundreds of pupils who studied at Kingston during his 30-year leadership. He published two books, Modern Painting 1946 and Art as a Career 1962, both bearing a strong educational angle. He regularly exhibited along with leading artists of his era at The Royal Academy, both his paintings and his acutely observed drawings. All the while he was a prolific artist, although reading his diaries, intensely self-critical. His perfectionism, acute powers of observation and relentless research can be seen in his drawings, which via the media and methods he explored throughout his life reflect mid 20th century British Art at its most typical. His major series of work, known as 'The Martyrdom of Man', was carried on in parallel to his career as a teacher. These paintings reflect his care for fellow man and depict people at work, e.g., The Operation, The Jury, Linemen, Waiting Room and Rest, which recently sold at Sotheby’s and was specially restored for The Brill Retrospective. His smaller works also play with the theme of everyday events and communication amongst people, such as The Bull Ring and Market Place paintings. Brill's name is associated particularly with human figure compositions, but he also worked on landscapes, portraits and details of plants, animals, interiors etc. As one would expect he moved from one media to another, and his unusual hand painted and cut paper mosaics...

Abstract, Gouache and Watercolour Painting by John Hubbard 1931-2017, 1976 Additional information: Medium: Gouache and watercolour 12.5 x 20 cm 4 7/8 x 7 7/8 in signed, initialled a...

Pencil on Paper 'Untitled I' Painting by Jon Probert B. 1966, 2023 Additional information: Medium: Pencil on paper Dimensions: 59.5 x 42 cm 23 3/8 x 16 1/2 in Signed and dated. Hav...

Untitled IV, Pencil on Paper Drawing by Jon Probert B. 1966, 2023 Additional information: Medium: Pencil on paper Dimensions: 40 x 40 cm 15 3/4 x 15 3/4 in Signed and dated Having ...

Untitled II, Pencil on Paper Drawing by Jon Probert B. 1966, 2023 Additional information: Medium: Pencil on paper Dimensions: 40 x 40 cm 15 3/4 x 15 3/4 in Signed and dated Having ...

Untitled IX (Linear Motif), Pen on Paper Drawing by Jon Probert B. 1966, 2022 Additional information: Medium: Pen on paper Dimensions: 42 x 59.5 cm 16 1/2 x 23 3/8 in Having studie...

White Pot, Oil on Panel Painting by Tom Harford Thompson B. 1964, 2022 Additional information: Medium: Oil on panel Dimensions: 20 x 30 cm 7 7/8 x 11 3/4 in Signed with stamp and da...

Untitled X (Linear Motif), Pencil on Paper Drawing by Jon Probert B. 1966, 2022 Additional information: Medium: Pencil on paper Dimensions: 40 x 40 cm 15 3/4 x 15 3/4 in Having stu...