Jenna Burlingham Gallery Paintings

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and at the age of fourteen he was awarded a grant to enter art school which he accepted. From 1947 to 1950 he studied at Luton School of Art, Bedfordshire, and St. Albans School of Art, Hertfordshire. House's contemporaries included Richard Smith and John Plumb with whom he remained close. During the early fifties, after finishing art school, House began work as assistant to the ecclesiastical sculptor Theodore Kern. He also spent time at an advertising studio where he honed his burgeoning skills in typography and graphic design. In 1952 House was offered the position of designer for Imperial Chemical Industries Plastics Division where he stayed until 1959. This was followed by two years spent as graphic designer for the Kynoch Press in London. In 1961 House set out on his own as a self-employed designer and typographer. Initially this was supplemented by part-time teaching at art schools in and around London but by 1964 House was able to devote himself entirely to his design work which freed up valuable time to concentrate on his own artistic output in the studio. In the late fifties, informed by the new art emerging from America and that of his contemporaries in England, House began to create large-scale abstract works which he was invited to show in 1959 at Dennis Bowen's legendary New Vision Centre in Marble Arch. House was an active participant in the vibrant London art scene of the sixties, regularly attending lectures, exhibitions and discussions. In 1960 he exhibited in 'Situation' the key abstract exhibition of the decade held at the RBA Galleries. Other participating artists included Robyn Denny, Bernard and Harold Cohen, Gillian Ayres, John Hoyland, Richard Smith and William Turnbull among others. These artists, united by a common admiration for American Abstract Expressionism, were frustrated by the lack of exposure given to large-scale abstract works in commercial galleries so they organised their own exhibition. The name was derived from the participants' idea that an abstract painting that occupied the whole field of vision would involve the spectator in an 'event' or 'situation'. This exhibition was followed by 'New London Situation' in 1961 and a nationwide touring Arts Council presentation in recognition of the significance of the two earlier shows. In 1961 House began producing his first prints at the Kelpra Studio, run by Chris and Rose Prater, where he made the earliest fine art screenprint ever to be produced in Britain. Artists such as Paolozzi and Hamilton followed in his footsteps and together they started a printmaking revolution in Britain. They cemented the medium of the screenprint in the world of fine art as opposed to the commercial sphere and secured the reputation of Kelpra in the process. Later, together with Cliff White, House set up the White Ink (Ltd.) print studio in London, where he produced etchings and wood engravings on a series of magnificent antique printing presses...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and at the age of fourteen he was awarded a grant to enter art school which he accepted. From 1947 to 1950 he studied at Luton School of Art, Bedfordshire, and St. Albans School of Art, Hertfordshire. House's contemporaries included Richard Smith and John Plumb with whom he remained close. During the early fifties, after finishing art school, House began work as assistant to the ecclesiastical sculptor Theodore Kern. He also spent time at an advertising studio where he honed his burgeoning skills in typography and graphic design. In 1952 House was offered the position of designer for Imperial Chemical Industries Plastics Division where he stayed until 1959. This was followed by two years spent as graphic designer for the Kynoch Press in London. In 1961 House set out on his own as a self-employed designer and typographer. Initially this was supplemented by part-time teaching at art schools in and around London but by 1964 House was able to devote himself entirely to his design work which freed up valuable time to concentrate on his own artistic output in the studio. In the late fifties, informed by the new art emerging from America and that of his contemporaries in England, House began to create large-scale abstract works which he was invited to show in 1959 at Dennis Bowen's legendary New Vision Centre in Marble Arch. House was an active participant in the vibrant London art scene of the sixties, regularly attending lectures, exhibitions and discussions. In 1960 he exhibited in 'Situation' the key abstract exhibition of the decade held at the RBA Galleries. Other participating artists included Robyn Denny, Bernard and Harold Cohen, Gillian Ayres, John Hoyland, Richard Smith and William Turnbull among others. These artists, united by a common admiration for American Abstract Expressionism, were frustrated by the lack of exposure given to large-scale abstract works in commercial galleries so they organised their own exhibition. The name was derived from the participants' idea that an abstract painting that occupied the whole field of vision would involve the spectator in an 'event' or 'situation'. This exhibition was followed by 'New London Situation' in 1961 and a nationwide touring Arts Council presentation in recognition of the significance of the two earlier shows. In 1961 House began producing his first prints at the Kelpra Studio, run by Chris and Rose Prater, where he made the earliest fine art screenprint ever to be produced in Britain. Artists such as Paolozzi and Hamilton followed in his footsteps and together they started a printmaking revolution in Britain. They cemented the medium of the screenprint in the world of fine art as opposed to the commercial sphere and secured the reputation of Kelpra in the process. Later, together with Cliff White, House set up the White Ink (Ltd.) print studio in London, where he produced etchings and wood engravings on a series of magnificent antique printing presses...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and at the age of fourteen he was awarded a grant to enter art school which he accepted. From 1947 to 1950 he studied at Luton School of Art, Bedfordshire, and St. Albans School of Art, Hertfordshire. House's contemporaries included Richard Smith and John Plumb with whom he remained close. During the early fifties, after finishing art school, House began work as assistant to the ecclesiastical sculptor Theodore Kern. He also spent time at an advertising studio where he honed his burgeoning skills in typography and graphic design. In 1952 House was offered the position of designer for Imperial Chemical Industries Plastics Division where he stayed until 1959. This was followed by two years spent as graphic designer for the Kynoch Press in London. In 1961 House set out on his own as a self-employed designer and typographer. Initially this was supplemented by part-time teaching at art schools in and around London but by 1964 House was able to devote himself entirely to his design work which freed up valuable time to concentrate on his own artistic output in the studio. In the late fifties, informed by the new art emerging from America and that of his contemporaries in England, House began to create large-scale abstract works which he was invited to show in 1959 at Dennis Bowen's legendary New Vision Centre in Marble Arch. House was an active participant in the vibrant London art scene of the sixties, regularly attending lectures, exhibitions and discussions. In 1960 he exhibited in 'Situation' the key abstract exhibition of the decade held at the RBA Galleries. Other participating artists included Robyn Denny, Bernard and Harold Cohen, Gillian Ayres, John Hoyland, Richard Smith and William Turnbull among others. These artists, united by a common admiration for American Abstract Expressionism, were frustrated by the lack of exposure given to large-scale abstract works in commercial galleries so they organised their own exhibition. The name was derived from the participants' idea that an abstract painting that occupied the whole field of vision would involve the spectator in an 'event' or 'situation'. This exhibition was followed by 'New London Situation' in 1961 and a nationwide touring Arts Council presentation in recognition of the significance of the two earlier shows. In 1961 House began producing his first prints at the Kelpra Studio, run by Chris and Rose Prater, where he made the earliest fine art screenprint ever to be produced in Britain. Artists such as Paolozzi and Hamilton followed in his footsteps and together they started a printmaking revolution in Britain. They cemented the medium of the screenprint in the world of fine art as opposed to the commercial sphere and secured the reputation of Kelpra in the process. Later, together with Cliff White, House set up the White Ink (Ltd.) print studio in London, where he produced etchings and wood engravings on a series of magnificent antique printing presses...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and at the age of fourteen he was awarded a grant to enter art school which he accepted. From 1947 to 1950 he studied at Luton School of Art, Bedfordshire, and St. Albans School of Art, Hertfordshire. House's contemporaries included Richard Smith and John Plumb with whom he remained close. During the early fifties, after finishing art school, House began work as assistant to the ecclesiastical sculptor Theodore Kern. He also spent time at an advertising studio where he honed his burgeoning skills in typography and graphic design. In 1952 House was offered the position of designer for Imperial Chemical Industries Plastics Division where he stayed until 1959. This was followed by two years spent as graphic designer for the Kynoch Press in London. In 1961 House set out on his own as a self-employed designer and typographer. Initially this was supplemented by part-time teaching at art schools in and around London but by 1964 House was able to devote himself entirely to his design work which freed up valuable time to concentrate on his own artistic output in the studio. In the late fifties, informed by the new art emerging from America and that of his contemporaries in England, House began to create large-scale abstract works which he was invited to show in 1959 at Dennis Bowen's legendary New Vision Centre in Marble Arch. House was an active participant in the vibrant London art scene of the sixties, regularly attending lectures, exhibitions and discussions. In 1960 he exhibited in 'Situation' the key abstract exhibition of the decade held at the RBA Galleries. Other participating artists included Robyn Denny, Bernard and Harold Cohen, Gillian Ayres, John Hoyland, Richard Smith and William Turnbull among others. These artists, united by a common admiration for American Abstract Expressionism, were frustrated by the lack of exposure given to large-scale abstract works in commercial galleries so they organised their own exhibition. The name was derived from the participants' idea that an abstract painting that occupied the whole field of vision would involve the spectator in an 'event' or 'situation'. This exhibition was followed by 'New London Situation' in 1961 and a nationwide touring Arts Council presentation in recognition of the significance of the two earlier shows. In 1961 House began producing his first prints at the Kelpra Studio, run by Chris and Rose Prater, where he made the earliest fine art screenprint ever to be produced in Britain. Artists such as Paolozzi and Hamilton followed in his footsteps and together they started a printmaking revolution in Britain. They cemented the medium of the screenprint in the world of fine art as opposed to the commercial sphere and secured the reputation of Kelpra in the process. Later, together with Cliff White, House set up the White Ink (Ltd.) print studio in London, where he produced etchings and wood engravings on a series of magnificent antique printing presses...

"Ballinger’s images, constructed with often thick impasto paint, interlocking shapes or blocks of colour, a nod to the symbolic style of post-impressionist painters such as Paul Gaug...

After travelling widely throughout the 1980s, Pearce returned to settle and work near Padstow in Cornwall. As a self-taught artist, he sought inspiration from St Ives artists includi...

Peter Joyce was born in Poole, Dorset, and was educated at Bournemouth & Poole College of Art & Design from 1980. He went on to study at Stourbridge College of Technology & Art and q...

“I do not draw in the landscape, I draw from it. It’s taken me inside, to the studio, imagining how it should be ... It's fun for me to make up relative scenarios about my life that ...

Peter Joyce was born in Poole, Dorset, and was educated at Bournemouth & Poole College of Art & Design from 1980. He went on to study at Stourbridge College of Technology & Art and q...

Iconography Study IV: Three Figures

Composition (Blue, Green, Orange and Red), 1987 signed and dated acrylic and watercolour on paper 69 x 92 cm 27 1/8 x 36 1/4 in

Lilac Recession

Interior with Young Girl

Still Life, Red and Yellow Flowers

Bay III

Landscape, oil on canvas painting by Robert Frame,1959 circa Additional information: oil on canvas 20 x 24 in 50.8 x 61 cm (RF002)

Landscape, acrylic painting by Peter Joyce,1993 Additional information: signed and dated acrylic 21 5/8 x 29 1/8 in 55 x 74 cm (PJ367)

Brown Abstract (6), Oil on Canvas Painting by John Armstrong 1893-1973, 1965 Literature/Press Andrew Lambirth, 'John Armstrong: The Complete Paintings, Catalogue Raisonne', London: ...

Two Dales, Derbyshire, Oil on Canvas Painting by George Hammond Steel 1900-1960, circa 1950s Provenance P. W. F. Burton esq.; Private Collection, UK Exhibitions London, Leicester G...

Estuary, Collage on Board Painting by Keith Purser b 1944, 2006 Additional information: Oil, sand and collage on board Dimensions: 10 5/8 x 29 7/8 in 27 x 76 cm (KP500)

Green Parakeet II, Oil on Paper Painting by Peter Kinley 1926-1988, 1977 Provenance Collection of an American Corporation, Virginia Additional information: Signed Oil on paper Dim...

Untitled 09 (Dark Stripes), Painting by Barry Daniels 1931-2010, circa 1960 Additional information: Enamel paint on board Dimensions: 23 1/4 x 24 3/4 in 59 x 63 cm (BD009)

A Vase of Flowers, Oil on Canvas Painting by Gertrude Harvey 1879-1966, circa 1930 Provenance Bette Moore, the sister of Midge Bruford Exhibitions Fa...

Flight, Oil and Sand on Board Painting by Keith Purser b 1944, 2006 Additional information: Oil and sand on board Dimensions: 12 1/4 x 29 7/8 in 31 x 76 cm (KP523)

East Road (Orange), Oil and Sand on Board Painting by Keith Purser b 1944, 2007 Additional information: Oil and sand on board Dimensions: 10 1/4 x 28 1/8 in 26 x 71.5 cm (KP104)

Hokusai Green V, Oil and Ink Painting by Jane Skingley B. 1963, 2023 Additional information: Medium: Oil and ink on an old book sheet 26 x 18 cm 10 1/4 x 7 1/8 in Signed and dated ...

French Landscape with Sign, Oil on Canvas Painting by Robin Wallace 1897-1952, circa 1937 Additional information: Medium: Oil on canvas (unframed) 16 x 20 in 40.6 x 50.8 cm

Hokusai Green X, Oil and Ink Painting by Jane Skingley B. 1963, 2023 Additional information: Medium: Oil and ink on an old book sheet 26 x 18 cm 10 1/4 x 7 1/8 in Signed and dated ...

Autumn Flowers, Oil on Board Painting by Jane Skingley B. 1963 Additional information: Medium: Oil on board 30 x 30 cm 11 3/4 x 11 3/4 in Jane Skingley paints seascapes and landsca...

Islands by Tania Kovats, 2001 Additional information: Medium: ink on layered matte acetate 41 x 29 cm 16 1/8 x 11 3/8 in

Islands, Ink on Layered Matte Acetate, Painting by Tania Kovats, 2001 Additional information: Medium: Ink on Board 41 x 29 cm 16 1/8 x 11 3/8 in Provenance: Asprey Jacques, London...

Black Bird and Sculptural Pebble, oil on board by Jo Aylward, 2024 Additional information: Medium: Oil on board 30.5 x 23 cm 12 x 9 in Signed Jo Aylward is a British ruralist whose...

Sheep and First Blossom of Spring, oil on board by Jo Aylward, 2024 Additional information: Medium: Oil on board 30.5 x 30.5 cm 12 x 12 in Signed Jo Aylward is a British ruralist w...

Islands, Ink on Layered Matte Acetate, Painting by Tania Kovats, 2001 Additional information: Medium: Ink on Board 41 x 29 cm 16 1/8 x 11 3/8 in Provenance: Asprey Jacques, London...

Islands, Ink on Layered Matte Acetate, Painting by Tania Kovats, 2001 Additional information: Medium: Ink on Board 41 x 29 cm 16 1/8 x 11 3/8 in Provenance: Asprey Jacques, London...

Islands by Tania Kovats, 2001 Additional information: Medium: ink on layered matte acetate 41 x 29 cm 16 1/8 x 11 3/8 in

Nimes, Etching with Aquatint Painting by Julian Trevelyan 1910-1988, 1972 Additional information: Medium: Etching with Aquatint 24 x 30 in 61 x 76.2 cm Signed and titled in pencil ...

Islands by Tania Kovats, 2001 Additional information: Medium: ink on layered matte acetate 41 x 29 cm 16 1/8 x 11 3/8 in

Islands by Tania Kovats, 2001 Additional information: Medium: ink on layered matte acetate 41 x 29 cm 16 1/8 x 11 3/8 in

Islands, Ink on Layered Matte Acetate, Painting by Tania Kovats, 2001 Additional information: Medium: Ink on Board 41 x 29 cm 16 1/8 x 11 3/8 in Provenance: Asprey Jacques, London...

Broken Circle, Oil on Canvas Painting by Madeleine Strindberg B. 1955 Additional information: Medium: Oil on canvas 35 7/8 x 35 7/8 in 91 x 91 cm Signed verso Provenance Acquired d...

Islands, Ink on Layered Matte Acetate, Painting by Tania Kovats, 2001 Additional information: Medium: Ink on Board 41 x 29 cm 16 1/8 x 11 3/8 in Provenance: Asprey Jacques, London...

Mosaic I by Theo Mendez Additional information: Medium: mixed media 69 x 49.5 cm 27 1/8 x 19 1/2 in

Red by Tessa Newcomb, 2024 Additional information: Medium: oil on board 25 x 9.5 cm 9 7/8 x 3 3/4 in signed with initials and dated; further signed, titled and dated verso Born in ...

Pigeon Perching Above the Dahlias, oil on board by Jo Aylward, 2024 Additional information: Medium: Oil on board 25.5 x 20.5 cm 10 x 8 1/8 in Signed Jo Aylward is a British ruralis...

Untitled I by Jon Probert, 2023 Additional information: Medium: pencil on paper 59.5 x 42 cm 23 3/8 x 16 1/2 in signed and dated Having studied Fine Art and Art History at Newcastl...

Islands, Ink on Layered Matte Acetate, Painting by Tania Kovats, 2001 Additional information: Medium: Ink on Board 41 x 29 cm 16 1/8 x 11 3/8 in Provenance: Asprey Jacques, London...

Waving by Tessa Newcomb, 2024 Additional information: Medium: oil on board 21.5 x 25.5 cm 8 1/2 x 10 in signed with initials and dated; further signed, titled and dated verso Born ...