Jenna Burlingham Gallery Paintings

Untitled (Spring Flowers) by Tessa Newcomb, 1989 Additional information: Medium: styrofoam print 22.7 x 17 cm 9 x 6 3/4 in signed and dated Born in Suffolk in 1955, Tessa Newcomb i...

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...

Untitled (Cornishware Jug) by Tessa Newcomb, 1989 Additional information: Medium: styrofoam print 33.1 x 25.4 cm 13 x 10 in signed with initials and dated Born in Suffolk in 1955, ...

Mont St. Michel I, Oil on Board Painting by Peter Greenham Additional information: Medium: Oil on Board 6 1/8 x 12 1/4 in 15.5 x 31.1 cm Signed with initials lower left A larger p...

Jo Mossman’s Eggcup, Oil on Board Painting by Stephanie Richards B. 1978, 2024 Additional information: Medium: Oil on board 30 x 36 cm 11 3/4 x 14 ...

North Sea Port, Oil on Canvas by Douglas Swan, 1963 Additional information: Medium: Oil on Canvas 66 x 77 cm 26 x 30 1/4 in Signed and dated Douglas Li...

Still life with Fruit and Flowers, Oil on Canvas by Matthew Smith, 1950s Circa Additional information: Medium: Oil on Canvas 25.5 x 31 cm 10 1/8 x 1...

Paultons Square, Chelsea, Oil on Canvas Painting by Laurence Scarfe, 1947 Additional information: Medium: Oil on canvas 14 x 20 in 35.6 x 50.8 cm Signed and dated; titled on overlap...

Abstract Composition, Charcoal Painting by William Scott, 1959-1960 circa Additional information: Medium: Charcoal 63.5 x 77.5 cm 25 x 30 1/2 in Signed William Scott was a British ...

Mosaic, Oil on Board Painting by Laurence Scarfe, 1960 Additional information: Medium: Oil on board 50.8 x 111.8 cm 20 x 44 in Signed with initials; signed again, dated and titled v...

Still Life with Jugs, Oil on Canvas by Stella Steyn, 1951 Additional information: Medium: Oil on Canvas 61 x 91 cm 24 1/8 x 35 7/8 in Dated and titled verso Stella Steyn trained in Dublin, Berlin and Paris in the 1920s, meeting Samuel Beckett and James Joyce for whom she undertook the illustrations for ‘Finnegan’s Wake...

Untitled 34, Oil on Board Painting by Laurence Scarfe, 1969 Additional information: Medium: Oil on board 8 x 10 in 20.3 x 25.4 cm Signed with initials; further signed and dated vers...

Barcos Rabelos, Oporto, Portugal, Laid on Board by Hans Tisdall, 1936 Additional information: Medium: Oil on Canvas, Laid on Board 43 x 51 cm 16 7/8 x 20 1/8 in Signed using natal n...

Woman in Interior (Washing by the Fireplace) by Philip Wilson Steer, 1895 Circa Additional information: Medium: Oil on Canvas-board 30.5 x 20.3 cm 12 x 8 in Numbered '#156' verso; w...

Butterfly Collage, Ink and Collage by Colin Self, 2013 Additional information: Medium: Ink and Collage 25 x 14.5 cm 9 7/8 x 5 3/4 in Signed Colin Self is a British artist, known for his Pop Art affiliations and themes of Cold War culture in his work. Born in Norfolk in 1941, Self studied first at Wymondham College, followed by Norwich School of Art where he was taught by Jeffrey Camp...

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...

Red Net, Oil on Canvas by Douglas Swan, 1959 Additional information: Medium: Oil on Canvas 105 x 48 cm 41 3/8 x 18 7/8 in Signed, titled and dated vers...

BenJonson, Acrylic on Canvas by Michael Tyzack, 1965 Additional information: Medium: Acrylic on Canvas 183 x 183 cm 72 1/8 x 72 1/8 in Signed, dated an...

Feeling That Way, Oil on Canvas by Frank Avray Wilson, 1961 Additional information: Medium: Oil on Canvas 101.6 x 76.2 cm 40 x 30 in Signed, dated and titled verso Provenance gifte...

Village Garden, Oil on Canvas by Philip Sutton, 1956 Additional information: Medium: Oil on Canvas 71 x 86.5 cm 28 x 34 1/8 in Signed, dated and titled verso Philip Sutton i...

Interior with Young Girl, Oil on Canvas by Ernest Herbert Whydale Additional information: Medium: Oil on Canvas 40.6 x 35.6 cm 16 x 14 in Signed

Guns on Cardiff Dock, Oil on Canvas by Nan Youngman, 1960 Additional information: Medium: Oil on Canvas 45.7 x 66 cm 18 x 26 in Signed and dated Nan ...

Glamorgan Shore, Oil on Canvas by Nan Youngman, 1962 Additional information: Medium: Oil on Canvas 50.8 x 76.2 cm 20 x 30 in Signed and dated Nan You...

Olive, Mallorca, Chalk Pastel Painting by David Nash, 1995 Additional information: Medium: Chalk pastel 11 x 15 cm 4 3/8 x 5 7/8 in Signed, titled and dated

Spots I, Acrylic on Paper Painting by Breon O'Casey 1928-2011, 2000 Additional information: Medium: Acrylic on paper 9 7/8 x 12 7/8 1 1 Born in London 1928, Breon O’Casey was the s...

Deux Personnages, Ink Painting by Wolfgang Paalen 1936 Additional information: Medium: Ink 24 x 16.5 cm 9 1/2 x 6 1/2 in Signed, dated and titled; further signed, and inscribed vers...

Small Mound, Chalk Pastel Painting by David Nash, 1992 Additional information: Medium: Chalk pastel 15 x 11 cm 5 7/8 x 4 3/8 in Signed and dated

Kirby Hall, Northamptonshire, Gouache with Ink and Wash Painting, 1940-42 circa Additional information: Medium: Gouache with ink and wash 15.2 x 18.5 cm 6 x 7 1/4 in As part of an eight-page pamphlet for The Colour of English Country Houses in 1944, Piper included a lovely auto-lithograph of Kirby Hall in Northamptonshire. This work was most likely sketched on the occasion of his visit to the Hall at this time and is of a slightly different angle. It is a working version of the cover of C Aspinall-Oglander's 'Admiral’s Widow’, 1942 (Hogarth Press). The print is cat. no.51.\\\ Piper gives a lovely description of this Elizabethan country house in the introduction to the pamphlet as follows: ‘A yellow stone house of the seventeenth century, in rolling green hunting-country. It gleams in the sun, forms a warm eye-catcher in dull weather and glimmers whitely in moonlight. It is another ruin, partly roofless, and has recently taken over by the Office of Works to be preserved as a show-place.’ (John Piper). Here, Piper, painting at night in the light of the moon, depicts the north front from the inner courtyard, capturing the brilliance of the moonlit night as it dances over the ruins making it in Piper’s own words ‘glimmer whitely’ whilst the dramatic shadows darken the archways and windows. John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen Holding...

Harbour Scene, Cornwall, Black and Grey, Gouache Painting, 1953-1955 Additional information: Medium: Gouache 22 x 26.5 cm 8 5/8 x 10 3/8 in Tadeusz Piotr (Peter) Potworowski was a ...

Projets(?) de Tableaux, Ink Painting by Wolfgang Paalen, 1936 Additional information: Medium: Ink 22 x 16 cm 8 5/8 x 6 1/4 in Signed, dated and titled; inscribed '5/ top / line bloc...

Untitled (Blues and Browns), Oil on Board Painting by Wendy Pasmore, 1961 Additional information: Medium: Oil on board 12 3/4 x 17 3/4 in 32.5 x 45 cm Signed, dated and inscribed ve...

Cheltenham (Fantasia/Panorama), Pen and Ink Painting by John Piper, 1939 circa Additional information: Medium: Pen and ink 19 x 26.5 cm 7 1/2 x 10 3/8 in Inscribed extensively The upper image closely resembles a 1940 painting, Cheltenham Fantasia, which was sold to a Mr Anderson at the Leicester Galleries in March of that year. The lower image is a study for Piper's 1940 Curwen Press auto-lithograph 'Cheltenham', produced while he was also working on illustrations for the Shell and BP Shilling Guide to Gloucestershire (1939; not used in the project). Betjeman, then head of the project, also used the image to illustrate his article "Book Illustration Can Colour a Whole Town or City" in 'Signature' in 1940. The Cheltenham design is covered and reproduced in Hugh Fowler-Wright's book on Piper. John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen Holding...

Line on Turquoise, No.25 - July, Oil on Canvas Painting by Paul Huxley B. 1938, 19632 Additional information: Medium: Oil on canvas 127 x 127 cm 50 x 50 i...

Painting, Oil on Canvas Board by Arthur Jackson 1911-2003, 1937 Additional information: Medium: Oil on canvas board 49 x 70 cm 19 1/4 x 27 1/2 in Signed, titled, dated and inscribed...

Foot of Pistyll Rhaeadr, Ink and Wash Painting by John Piper, circa 1939-1941 Additional information: Medium: Ink and wash 12.5 x 17.7 cm 4 7/8 x 7 in Titled under the mount John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen Holding...

Exposed Painting, Paynes Grey/Cobalt, Oil on Canvas Painting by Callum Innes B. 1962 Additional information: Medium: Oil on canvas 175 x 165 cm 68 7/8 x 65 in Signed, dated and insc...

Still life with Chair, Oil on Canvas Painting by John Hubbard 1931-2017, 1958 Additional information: Medium: Oil on canvas 38 x 36 in 96.5 x 91.4 cm Signed and dated "John E Hubbar...

Bajazet Encag'd, Oil on Canvas Painting by Jack Knox 1936-2015, circa 1965 Additional information: Medium: Oil on canvas 122 x 153 cm 48 1/8 x 60 1/4 in Signed; with title and Artist's address verso Provenance Acquired from the below by a private collector Exhibitions Royal Scottish Academy, 1965, cat. no.219 Jack Knox was a Scottish painter and teacher. Born in Kirkintilloch, East Dunbartonshire in 1936, Knox studied at Glasgow School of Art 1953-57, with teachers such William Armour and David Donaldson, before spending a year at the Paris atelier of the French painter André L'hote. Combining what he took from this experience with the impact of seeing the first show of American Abstract Expressionists in Europe in 1959, he began a diverse career which saw constantly changing styles, from gestural abstraction to still lifes and portraits. In 1965 he was appointed lecturer at Duncan of Jordanstone College of Art where he worked alongside fellow artists such as Alberto Morrocco...

Study for Twin Arches, Gozo, Oil on Paper Painting by Philip Jones 1933-2008, 1992 Additional information: Medium: Oil on paper 35.6 x 41.9 cm 14 x 16 1/2 in Signed, dated and title...

Transcend, Oil on Canvas Painting by Albert Irvin B. 1922, 1973 Additional information: Medium: Oil on canvas 177 x 202.9 cm 69 3/4 x 79 7/8 in Signed, titled and dated on the reverse Provenance Sale, Christie's South Kensington, where acquired by the present owner Albert Irvin was an English painter born in 1922. As a student he painted in an Impressionist style, but during the 1950s his style turned towards Realism, after he was heavily influences by the Kitchen Sink painters (Walter Richard Sickert, Jack Smith, Edward Middleditch...

Vase Fragment Banjul, Oil on Board Painting by Philip Jones 1933-2008, 2004 Additional information: Medium: Oil on board 15 x 19 in 38.1 x 48.3 cm Signed and dated Philip Jones was...

Only Under a Dark Sky, Oil on Canvas Painting by Tess Jaray B. 1937, 2003 Additional information: Medium: Oil on canvas 115.5 x 111.5 cm 45 1/2 x 43 7/8 in Signed; further signed an...

Swimming Pool, Oil on Board Painting by Philip Jones 1933-2008, 1992 Additional information: Medium: Oil on board 7 1/2 x 12 1/2 in 19.1 x 31.8 cm Signed and dated verso Philip Jon...

Vanessa Bell VII, Oil on Canvas Painting by Mark Lancaster 1938-2021, 1980 Additional information: Medium: Oil on canvas 91.5 x 61 cm 36 x 24 in Signed and dated Mark Lancaster was...

Provencal Landscape, Oil on Canvas Painting by Henry Inlander 1925-1983, 1971 Additional information: Medium: Oil on canvas 35 x 29 in 88.8 x 73.5 cm T...

Phenomena High Octave, Acrylic on Canvas Painting by Paul Jenkins 1923-2012, 1979 Additional information: Medium: Acrylic on canvas 89 x 134.5 cm 35 x 53 in Signed; further signed, ...

Figures Talking, Oil on Paper Painting by Philip Jones 1933-2008, 1973 Additional information: Medium: Oil on paper 55.9 x 76.2 cm 22 x 30 in Signed, dated and titled Philip Jones ...

Still life, Oil on Board Painting by Bryan Pearce, 1987 Additional information: Medium: Oil on board 61 x 50.8 cm 24 x 20 in Signed and dated verso Born...

Golfers in the Rain I (The Fourteenth Hole), Oil on Canvas Painting, 1956 circa Additional information: Medium: Oil on canvas 50.8 x 63.5 cm 20 x 25 in A similar composition, Trees...

Painting, November, Oil on Board Painting by Robert Sadler, 1957 Additional information: Medium: Oil on board 48 x 61 in 121.9 x 154.9 cm Signed; titled on support bars (William) Robert Sadler produced abstract works in varying sizes with a spare poise and strong use of colour. The son of a noted racehorse trainer, Sadler was born at Falmouth House (now demolished) at the northern edge of Newmarket, Suffolk. By the age of fourteen he was drawing and painting aeroplanes, horses, houses and landscapes. After studying at Eastbourne College and Sidney Sussex College, Cambridge, where he read Mechanical Engineering, in 1930 he joined the Royal Air Force as a pilot. In 1942, whilst posted to the Air Ministry as Director of Plans, he attended art school in London and spent the following year in Turkey on special duties where he lectured at the Turkish Air Staff College and painted and rode race horses. At the end of the war he returned to the UK and took up the post of Station Commander at RAF Binbrook in Lincolnshire. In 1947 he moved to Denmark as Air Attache to the British Embassy in Copenhagen where he attended art school and two years later, whilst Vice-President of the RAF Officers' Selection Board, set-up a studio in Stockbridge whilst attending art school in Winchester. In 1953 he moved to the USA to take up the post as representative on the NATO Joint Chiefs of Staff Intelligence Committee during which period he attended the Corcoran School of Art in Washington DC where he first encountered the work of the American Abstract Expressionists. Returning to the UK in 1955 he moved back to Newmarket, having retired from the RAF 'to devote the rest of my life to painting.' He attended Heatherley's School of Fine Art in London, Cambridge Technical College and became a member of the Winchester Art Society and the Cambridge Society of Painters & Sculptors. His first one-man show was at Swaffham Prior, Cambridge and from then until 1963 he lived and painted in a largely abstract expressionist style influenced by the Ecole de Paris Tachisme of Poliakoff and de Stael and by the contemporary British work of Peter Lanyon, William Scott, Bryan Wynter...

Bergamasque (Mini), Abstract Painting by Alan Reynolds, 1972 Additional information: Medium: Emulsion on cut-out board on wood, with relief; in the Arti...

Ascending Blue, Oil on Board, Relief Painting by Alan Reynolds, 1971 Additional information: Medium: Oil on board, relief 101.6 x 121.9 cm 40 x 48 in Si...

A Rough Sea, Aldeburgh, Oil on Canvas Painting by Mary Potter, 1958 circa Additional information: Medium: Oil on canvas 61 x 50.8 cm 24 x 20 in Signed verso This view is of the shi...

Gate, Corsham Court (Blue Sky), Gouache Painting by Peter Potworowski, 1953/55 Additional information: Medium: Gouache 23.5 x 33 cm 9 1/4 x 13 in Tadeusz Piotr (Peter) Potworowski ...

Untitled Abstract, Oil on Board Painting by John Plumb, 1956/57 Additional information: Medium: Oil on board 81.3 x 121.9 cm 32 x 48 in

Wagons in the Field, Poland, Watercolour and Charcoal Painting, 1958 Additional information: Medium: Watercolour and charcoal 20.6 x 32.3 cm 8 1/8 x 12 3/4 in Tadeusz Piotr (Peter)...

Flower Piece, Oil on Board Painting by Anne Estelle Rice Additional information: Medium: Oil on board 50.8 x 40.6 cm 20 x 16 in

Christmas Card (Dark Grey with Four Painted Cut Outs) Painting by Breon O'casey Additional information: Medium: Gouache and collage 10.2 x 14.2 cm 4 x 5 5/8 in Born in London 1928, Breon O’Casey was the son of the actor Eileen Reynolds and the playwright Sean O'Casey. In 1937 the family moved to Totnes where Breon O'Casey thrived at Dartington Hall School. Dartington was founded by Leonard and Dorothy Elmhirst, who had a vision of a Utopian community which combined the working of the land with the life of the spirit through the arts. The emphasis the school placed on physical activities and skills, considering them equally important to academic skills, was crucial to him. At Dartington O’Casey learnt “to think with my hands as well as my head.” After National Service he attended the Anglo-French Art Centre in St John’s Wood...

Structures, Group II (Y), Pencil on Card Painting by Alan Reynolds, 1983 Additional information: Medium: Construction, primer, emulsion and pencil on ca...