Jenna Burlingham Gallery Abstract Paintings

Untitled, Mixed Media on Rag Paper Painting, by Trevor Bell, 1998 Additional information: Medium: Gouache 35 x 45.5 cm 13 3/4 x 17 7/8 in Signed and dated; further signed, dated and...

Out of the Thicket, Oil on Board Painting by Mary Adshead Additional information: Medium: Oil on board 179.5 x 75.5 cm 70 5/8 x 29 3/4 in Signed English mural painter and designer ...

XXV (White Painting ENW9), Oil on Canvas by Richard Allen, 1995 circa Additional information: Medium: Oil on canvas 24 1/8 x 24 1/8 in 61 x 61 cm With Estate stamp on overlap Richard Allen was an Abstract artist of the 20th century who worked across painting, graphic and technological media. Allen was born in Worcester in 1933. Influenced by his father, he attended Shropshire Institute of Agriculture where he studied for a National Diploma. From there he became aware of what he considered his “irrational” yet unshakeable interest in art, since the College shared buildings with Worcester School of Art. Upon the advice of his window-cleaner Bob, Allen decided to apply to the School. Whilst in Worcester he attended Geoffrey Whiting’s pottery course. Allen took national service in 1952 during the Korean War, serving as an engineer. He returned to Worcester in 1954 to study for his A levels and NDD, after which he attended Bath Academy of Art, Corsham, in 1957. He embraced Bath's unconventional teaching of that time and developed a keen interest in abstract painting. In 1959, his last year at Bath, he was commissioned to make a 15 x 9 foot abstract mosaic for a Wiltshire college, in which the first signs of Allen's grid construction, and blocks of colour within a grid, are seen to appear. In 1960 he won an Italian Government Scholarship in Art to study in Ravenna. After only three months in Ravenna, working on restoration of Byzantine mosaics, he moved to the more lively city of Milan in which he worked with large-scale mosaic production. These commercialised mosaics informed his later works, and Allen considers his time in Milan to be one of fruitful cultural interaction. He married fellow Bath Academy of Art student Eve Laurens the next year, and began teaching part time. He taught at Croydon College of Art for eight years, during which time he began working on his Op Art paintings and was awarded the title of Commonwealth Scholar in Art and Architecture. The scholarship gave him the opportunity to study in the Indian Institute for Advanced Studies in Shimla for a year, during which he was able to travel India extensively. During his time in London Allen worked alongside such figures as Bridget Riley and Bruce McLean, their commitment to artistic professionalism informing his own identity as an artist. Allen started experimenting with line, colour, optical effects and the relationship between art and science. His Op Art works relied upon Interferometry, allowing him to lay grid lines over paintings to create visual manipulations. In 1967 he had his first solo exhibition at the University of Sussex. In 1971 he was invited by Malcolm Hughes to join the Matrix group of artists, whose exhibition opened at the Arnolfini Gallery that year which led to a further exhibition at the Whitechapel gallery the following year. The Matrix group was concerned with Systematic painting, which worked to create images that consciously reveal their own methods of construction. This led to his involvement with the Systems movement in music, with performances often accompanying the openings of System exhibitions. Concern with systems informed Allen’s work throughout his life. In 1972 Allen returned to graphic works, namely making large-scale charcoal pieces on canvas. His work at this time was still very much based on the grid and cross. His work was included in the Hayward gallery British painting Exhibition in the mid 1970s, and was also displayed in a solo exhibition at the London Institute of Contemporary Arts. Allen moved to Jersey in 1977, where he continued working with charcoal and exhibiting internationally. The minimalist exhibition ‘Fundamental Painting’ in Amsterdam, 1975, inspired Allen to put together a similar English exhibition. His position on the Committee of the Art Information Registry/Air and Space, enabled him to work on this. The exhibition was held in the Air Gallery in Charing Cross and led to his curation of Fundamental Painting exhibitions in Holland, Belgium, France and Italy. In 1991 he returned to England and began working on his "white paintings", having not worked with colour for twenty years, which were to be his last works. Shortly after his wife Eve died in 1997 he was diagnosed with Motor Neuron Disease. Allen began working with specially adapted computer software...

XXVIII (White Painting ENW5), Oil on Canvas by Richard Allen, 1995 circa Additional information: Medium: Oil on canvas 61 x 61 cm 24 1/8 x 24 1/8 in With Estate stamp on overlap Richard Allen was an Abstract artist of the 20th century who worked across painting, graphic and technological media. Allen was born in Worcester in 1933. Influenced by his father, he attended Shropshire Institute of Agriculture where he studied for a National Diploma. From there he became aware of what he considered his “irrational” yet unshakeable interest in art, since the College shared buildings with Worcester School of Art. Upon the advice of his window-cleaner Bob, Allen decided to apply to the School. Whilst in Worcester he attended Geoffrey Whiting...

XXIX / ENW27 (White Painting), Oil on Canvas by Richard Allen, 1995 circa Additional information: Medium: Oil on canvas 61 x 61 cm 24 x 24 in Signed and titled on the overlap Richard Allen was an Abstract artist of the 20th century who worked across painting, graphic and technological media. Allen was born in Worcester in 1933. Influenced by his father, he attended Shropshire Institute of Agriculture where he studied for a National Diploma. From there he became aware of what he considered his “irrational” yet unshakeable interest in art, since the College shared buildings with Worcester School of Art. Upon the advice of his window-cleaner Bob, Allen decided to apply to the School. Whilst in Worcester he attended Geoffrey Whiting’s pottery course. Allen took national service in 1952 during the Korean War, serving as an engineer. He returned to Worcester in 1954 to study for his A levels and NDD, after which he attended Bath Academy of Art, Corsham, in 1957. He embraced Bath's unconventional teaching of that time and developed a keen interest in abstract painting. In 1959, his last year at Bath, he was commissioned to make a 15 x 9 foot abstract mosaic for a Wiltshire college, in which the first signs of Allen's grid construction, and blocks of colour within a grid, are seen to appear. In 1960 he won an Italian Government Scholarship in Art to study in Ravenna. After only three months in Ravenna, working on restoration of Byzantine mosaics, he moved to the more lively city of Milan in which he worked with large-scale mosaic production. These commercialised mosaics informed his later works, and Allen considers his time in Milan to be one of fruitful cultural interaction. He married fellow Bath Academy of Art student Eve Laurens the next year, and began teaching part time. He taught at Croydon College of Art for eight years, during which time he began working on his Op Art paintings and was awarded the title of Commonwealth Scholar in Art and Architecture. The scholarship gave him the opportunity to study in the Indian Institute for Advanced Studies in Shimla for a year, during which he was able to travel India extensively. During his time in London Allen worked alongside such figures as Bridget Riley and Bruce McLean, their commitment to artistic professionalism informing his own identity as an artist. Allen started experimenting with line, colour, optical effects and the relationship between art and science. His Op Art works relied upon Interferometry, allowing him to lay grid lines over paintings to create visual manipulations. In 1967 he had his first solo exhibition at the University of Sussex. In 1971 he was invited by Malcolm Hughes to join the Matrix group of artists, whose exhibition opened at the Arnolfini Gallery that year which led to a further exhibition at the Whitechapel gallery the following year. The Matrix group was concerned with Systematic painting, which worked to create images that consciously reveal their own methods of construction. This led to his involvement with the Systems movement in music, with performances often accompanying the openings of System exhibitions. Concern with systems informed Allen’s work throughout his life. In 1972 Allen returned to graphic works, namely making large-scale charcoal pieces on canvas. His work at this time was still very much based on the grid and cross. His work was included in the Hayward gallery British painting Exhibition in the mid 1970s, and was also displayed in a solo exhibition at the London Institute of Contemporary Arts. Allen moved to Jersey in 1977, where he continued working with charcoal and exhibiting internationally. The minimalist exhibition ‘Fundamental Painting’ in Amsterdam, 1975, inspired Allen to put together a similar English exhibition. His position on the Committee of the Art Information Registry/Air and Space, enabled him to work on this. The exhibition was held in the Air Gallery in Charing Cross and led to his curation of Fundamental Painting exhibitions in Holland, Belgium, France and Italy. In 1991 he returned to England and began working on his "white paintings", having not worked with colour for twenty years, which were to be his last works. Shortly after his wife Eve died in 1997 he was diagnosed with Motor Neuron Disease. Allen began working with specially adapted computer software...

Still Life (with Book), Oil on Canvas Painting by Mildred Bendall, 1925 circa Additional information: Medium: Oil on canvas 46 x 38 cm 18 1/8 x 15 in Signed Known for her brightly ...

EN24, Oil on Canvas Abstract Painting by Richard Allen Additional information: Medium: Oil on canvas 78.5 x 78.5 cm 30 7/8 x 30 7/8 in Richard Allen was an Abstract artist of the 2...

Lilac Recession, Acrylic Painting by Thomas Nathaniel Davies, 1976 Additional information: Medium: Acrylic 50.8 x 50.8 cm 20 x 20 in Signed Nathaniel Davies was born in Dowlais, M...

Grey Recession, Acrylic on Canvas Painting by Thomas Nathaniel Davies, 1979 Additional information: Medium: Acrylic on canvas 91.4 x 91.4 cm 36 x 36 in Nathaniel Davies was born in Dowlais, Merthyr Tydfil, and studied at the Cardiff School of Art, where he was taught by Ceri Richards. In 1942 his studies were put on hold as he was called up for war service. After demobilisation, Davies completed his studies at Cardiff and, with a letter of recommendation from Ceri Richards, was awarded a teaching post at Newton Abbot Art School. He married in 1958, bought a house with a studio, had four children and made paintings, sculptures, constructions and prints. His studio work and teaching kept him busy in Devon, though a number of artists visited Davies including Terry Frost, Patrick Heron...

Work on Paper IV, Oil on Wove Laid on Board Painting by Bernard Cohen, 1958 circa Additional information: Medium: Oil on wove laid on board 11 1/8 x 11 5/8 in 28 x 29.5 cm

Untitled (May), Oil on Paper Painting by John Hubbard 1931-2017, 1960 Additional information: Medium: Oil on paper 57 x 65 cm 22 1/2 x 25 5/8 in Signed and dated 'V-1960' American-...

Untitled 01 (Blue Through), Oil on Board Painting by Barry Daniels, 1960s Additional information: Medium: Enamel paint on board 70 x 89 cm 27 1/2 x 35 in Barry Daniels was a member...

Landscape (Hay Rick and Tree), Acrylic on Canvas-Board Painting, 2000-2005 circa Additional information: Medium: Acrylic on canvas-board 30.5 x 40.6 cm 12 x 16 in Signed

Untitled (Stack), Gouache and Pencil Painting by Prunella Clough, 1975 circa Additional information: Medium: Gouache and pencil 21.6 x 18.2 cm 8 1/2 x 7 1/8 in Prunella Clough was ...

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...

Étude en rouge, Gouache Painting by Henri Hayden 1883-1970, 1964 Additional information: Medium: Gouache 50 x 50 cm 19 3/4 x 19 3/4 in Signed and dated Henri Hayden was a School of...

Standing Upright Forms, Acrylic on Canvas Painting by Thomas Nathaniel Davies, 1976 Additional information: Medium: Acrylic on canvas 71.1 x 71.1 cm 28 x 28 in Nathaniel Davies was...

Coaster, Oil on Canvas Painting by John Hubbard 1931-2017, 1962 Additional information: Medium: Oil on canvas 178 x 152.5 cm 70 1/8 x 60 1/8 in Signed, dated, titled and inscribed '...

Untitled (Green), Oil on Paper Painting by John Hubbard 1931-2017, 1962 Additional information: Medium: Oil on paper 21 x 21 cm 8 1/4 x 8 1/4 in Signed and dated '22-VII-62'; furthe...

Untitled, Oil and Pencil Painting by Adrian Heath 1920-1992, 1968 Additional information: Medium: Oil and pencil 56 x 76.5 cm 22 x 30 1/8 in Signed with initials and dated

Roma, Interior, Oil on Canvas Painting by John Hubbard 1931-2017, 1958-9 Additional information: Medium: Oil on canvas 144 x 160 cm 56 3/4 x 63 in signed and dated; further signed, ...

The Blue Door, Oil on Canvas Painting by Ivon Hitchens 1893-1979, 1972 Additional information: Medium: Oil on canvas 41 x 109 cm 16 1/8 x 42 7/8 in Signed and dated; titled and inscribed on a label attached to the stretcher This depicts the back door of Greenleaves, the Sussex home that Hitchens built for his family after being bombed out of London in 1940. The door had become a regular motif in Hitchens’ work by 1972, as had the distinctive use of a wide-format canvas, where guides the viewer across the surface. Hitchens’ concern lay in expressing the experience of a place, rather than creating a mere likeness, ‘my pictures are painted to be “listened” to’ he declared in a 1956 article for the Royal College of Art journal. His later work shows his commitment to ‘visual sound’, becoming brighter in colour and more fractious in form: ‘visual sounds is of first and greatest importance. Without it the picture is useless’. Provenance Private Collection, London Ivon Hitchens was a British painter, mainly of landscapes. 'Setting up canvas and box in all weathers, I seek first to unravel the essential meaning of my subject, which is synonymous with its structure, and to understand my own psychological reactions to it. Next I must decide how best it can be rendered in paint, not by a literal copying of objects but by combinations and juxtapositions of lines, forms, planes, tones, colours etc., such as will have an aesthetic meaning when put down on canvas ... My pictures are to be listened to.' (The Artist, personal memorandum, c.1954) "Hitchens was born in London, son of the painter Alfred Hitchens, and studied at St John's Wood School of Art (1911-12) and the Royal Academy Schools (several years on and off between 1912 and 1919). In 1920, he became a founder member of the progressive 'Seven & Five Society' and was the only artist to belong to it throughout its entire lifetime until its demise in 1935. During this time, he experimented with pure abstraction (he exhibited as one of the 'Objective Abstractionists' in 1934), but by the late 1930s he had created a highly distinctive style on the borderline between abstraction and figuration in which broad, fluid areas of lush colour, typically on a canvas of wide format, evoke but do not represent the forms of the English countryside that were his inspiration. In 1940, following the bombing of his London studio, he settled permanently at Lavington Common, near Petworth, in Sussex. His work altered little from then, apart from the fact that his palette changed from naturalistic browns and greens to more vivid colours such as bright yellows and purples. Contrary to what often happens when an artist remains constant in one style over several decades, Hitchens's work did not become stereotyped or banal. In addition to landscapes, Hitchens painted flowers and figure subjects (usually nudes) and he did several large murals, for example at Nuffield College, Oxford (1959), and the University of Sussex (1963). His work is represented in the Tate Gallery, London, and many public collections. His son John Hitchens (1940- ) is also a painter, mainly of landscapes and flower pieces." A Dictionary of Twentieth-Century Art, 1999 Other members of the Seven and Five Society included Henry Moore, Barbara Hepworth, John Piper, Cedric Morris, Ben and Winifred Nicholson, Christopher Wood and David Jones. They were the a driving force in the 1930s London...

Untitled (November), Oil on Paper Painting by John Hubbard 1931-2017, 1965 Additional information: Medium: Oil on paper 16 x 21.5 cm 6 1/4 x 8 1/2 in Signed with initials and dated;...

Geometric Breaking Waves, Acrylic Painting by Thomas Nathaniel Davies, 1970 Additional information: Medium: Acrylic 50.8 x 50.8 cm 20 x 20 in Signed and dated Nathaniel Davies was born in Dowlais, Merthyr Tydfil, and studied at the Cardiff School of Art, where he was taught by Ceri Richards. In 1942 his studies were put on hold as he was called up for war service. After demobilisation, Davies completed his studies at Cardiff and, with a letter of recommendation from Ceri Richards, was awarded a teaching post at Newton Abbot Art School. He married in 1958, bought a house with a studio, had four children and made paintings, sculptures, constructions and prints. His studio work and teaching kept him busy in Devon, though a number of artists visited Davies including Terry Frost, Patrick Heron...

Near Poynings Painting by Stephen Palmer B. 1959, 2023 Additional information: Medium: Oil on panel Dimensions: 32 x 32 cm 12 5/8 x 12 5/8 in Signed, d...

House I Painting by Daisy Cook B. 1965, 2024 Additional information: Medium: Oil on panel Dimensions: 18 x 13 cm 7 1/8 x 5 1/8 in Daisy Cook is a British ...

Green Vase Painting by Nicholas Turner B. 1972, 2022 Additional information: Medium: Oil on board Dimensions: 20.3 x 25.4 cm 8 x 10 in Signed, dated and titled verso. Nicholas Turn...

Green Slate Shore I Painting by Pamela Burns B. 1938, 2015 Additional information: Medium: Oil and sand on canvas with slates and pebbles Dimensions: 22 x 60 cm 8 5/8 x 23 5/8 in Si...

Slate Shore II Painting by Pamela Burns, 2015 B. 1938 Additional information: Medium: Oil and marble dust on canvas Dimensions: 25 x 30 cm 9 7/8 x 11 3/4 in Signed, dated, titled an...

Canopy Vase with Abstracts Painting by Daisy Cook B. 1965 Additional information: Medium: Mixed media Dimensions: 30 x 32 cm 11 3/4 x 12 5/8 in Daisy Cook...

Abstract Book Cover with Ochre Painting by Daisy Cook B. 1965, 2023 Additional information: Medium: Oil and pencil on found book cover Dimensions: 24.5...

Sunflower Painting by Daisy Cook B. 1965, 2023 Additional information: Medium: Oil and pencil on found book cover Dimensions: 24 x 18 cm 9 1/2 x 7 1/8 in ...

Ochre Shore Painting by Pamela Burns B. 1938, 2015 Additional information: Medium: Oil and sand on board Dimensions: 25.5 x 30.5 cm 10 x 12 in Signed, dated, and titled on the overl...

Green Slate Shore III Painting by Pamela Burns B. 1938, 2015 Additional information: Medium: Oil and sand on canvas with slates Dimensions: 31 x 53 cm 12 1/4 x 20 7/8 in Signed, dat...

Sunflower Painting by Daisy Cook B. 1965, 2023 Additional information: Medium: Oil on board Dimensions: 24 x 18 cm 9 1/2 x 7 1/8 in Signed, titled and date...

Abstract House (Pink) Painting by Daisy Cook B. 1965, 2024 Additional information: Medium: Oil on panel Dimensions: 18 x 24 cm 7 1/8 x 9 1/2 in Daisy Cook is a British painter of l...

Steps to Water Painting by Keith Purser B. 1944, 2007 Additional information: Medium: Woodcut with hand-colouring Dimensions: 41 x 59 cm 16 1/8 x 23 1/4 in Signed, titled and dated....

Blue House Painting by Daisy Cook B. 1965, 2023 Additional information: Medium: Oil on board Dimensions: 18 x 24 cm 7 1/8 x 9 1/2 in Signed, titled and dat...

Black Bean Pot Painting by David Pearce B. 1963, 2023 Additional information: Medium: Acrylic on panel Dimensions: 40 x 50 cm 15 3/4 x 19 3/4 in Signed with initials and dated. Dav...

Fishermen, Sail and Creel Painting by Nicholas Turner B. 1972, 2020-23 Additional information: Medium: Oil on board Dimensions: 25.7 x 30.5 cm 10 1/8 x 12 in Signed, dated and title...

Landscape with Trees Painting by Martin Yeoman B. 1953, 2023 Additional information: Medium: Oil on board Dimensions: 13.5 x 21.5 cm 5 1/4 x 8 1/2 in Martin Yeoman was born in 1953...

Blue Tree Farm Painting by David Pearce B. 1963, 2013 Additional information: Medium: Acrylic on panel Dimensions: 30 x 40 cm 11 3/8 x 15 3/4 in Signed with initials and dated. Dav...

Rambling Painting by Tom Harford Thompson B. 1964, 2020 Additional information: Medium: Oil on panel Dimensions: 30 x 40 cm 11 3/4 x 15 3/4 in Signed with stamp, dated and titled ve...

Gouache, Pencil and Sand 'Bay III' Painting by Keith Purser B. 1944, 2002 Additional information: Medium: Gouache, pencil and sand Dimensions: 42 x 50 cm 16 1/2 x 19 3/4 in Signed, ...

Oil and Sand on Canvas 'Traces (II)' Painting by Pamela Burns B. 1938, 1993 Additional information: Medium: Oil and sand on canvas Dimensions: 25.4 x 50.8 cm 10 x 20 in Signed, date...

Masthead Painting by Tom Harford Thompson B. 1964, 2020 Additional information: Medium: Oil on panel Dimensions: 30 x 40 cm 11 3/4 x 15 3/4 in Signed with stamp, dated and titled ve...

La Rochelle (Hôtel, Quai Duperré), Oil on Board Painting by Stephen Palmer B. 1959, 2018 Additional information: Medium: Oil on board Dimensions: 11 3/4 x 7 7/8 in 30 x 20 cm Steph...

Oil on Canvas 'Harbour Lights' Painting by Jenny Lock B. 1949, 2023 Additional information: Medium: Oil on canvas Dimensions: 50 x 81 cm 19 3/4 x 31 7/8 in Signed and titled verso. ...

Globe Wharf (Rotherhithe), Oil on Panel Painting by Stephen Palmer B. 1959, 2021 Additional information: Medium: Oil on panel Dimensions: 21.5 x 20 cm ...

Speak to Me Softly, Oil on Canvas Painting by Jenny Lock B. 1949, 2023 Additional information: Medium: Oil on canvas Dimensions: 76 x 76 cm 29 7/8 x 29 7/8 in Signed, titled and dat...

Spring Flight Painting by Keith Purser B. 1944, 2012 Additional information: Medium: Gouache, chalk pastel, oil and sand Dimensions: 48.5 x 59 cm 19 1/8 x 23 1/4 in Signed, titled a...

Ghost II, Woodcut and Sand Painting by Keith Purser B. 1944 Additional information: Medium: Woodcut, chalk pastel, hand-colouring and sand Dimensions: 25.5 x 35 cm 10 1/8 x 13 3/4 i...

Untitled (Beach), Oil and Gouache Painting by Keith Purser B. 1944, 2007 Additional information: Medium: Oil and gouache Dimensions: 42 x 29.5 cm (uneven) 16 1/2 x 11 5/8 in Signed ...

Confluence, Oil on Canvas Painting by Felicity Mara B. 1958, 2021 Additional information: Medium: Oil on canvas Dimensions: 213.4 x 182.9 cm 84 x 72 in Signed, dated and titled verso Felicity Mara was born in London and studied Fine Art in Camberwell, though her works are intimately connected to the artistic heart of Cornwall, St Ives. Moving to the Duchy in 1994, she is now based at Porthmeor Studios, a space on the edge of the Atlantic which was used by Ben Nicholson and Sir Terry Frost. It is from here that she creates her elegantly spare pictures from abstracted forms in the much the same way that the St Ives school did in the 60s. Subject matter can be found, with vistas through windows, still lifes and waveforms alluded to in the sweeping marks of her brush. Felicity's sparse marks show the restraint of minimalism, so much more impressive in the usually large scale of her canvases. To create these striking lines, Felicity uses a wonderfully fresh palette and by leaving sections of the canvas unpainted her pictures echo the textures of the coastal landscape seen from her studio. "My paintings are not literal depictions of the things around me, but I work with all these things in a sense - the landscape outside my window...

Cloth of Gold (Birch, Beech, Bracken and Bract), Painting by Ffiona Lewis B. 1964, 2019 Additional information: Medium: Oil on board Dimensions: 92 x 102 cm 36 1/4 x 40 1/8 in Ffio...

You Do Something To Me, Oil on Canvas Painting by Jenny Lock B. 1949, 2023 Additional information: Medium: Oil on canvas Dimensions: 76 x 76 cm 29 7/8 x 29 7/8 in Signed, titled and...

While Time Ticks, Mixed Media on Canvas Painting by Sam Lock B. 1973, 2016 Additional information: Medium: Mixed media on canvas Dimensions: 39 3/8 x 39 3/8 ...

Beyond the Obelisk, Ballard Down, Mixed Media Painting by Peter Joyce B. 1964, 2023 Additional information: Medium: Mixed media Dimensions: 77 x 112 cm 30 1/4 x 44 1/8 in Signed and...

Margate Sands, Oil on Board Painting by Keith Purser B. 1944, 2020 Additional information: Medium: Oil and sand on board Dimensions: 46 x 114.5 cm 18 1/8 x 45 1/8 in Signed with ini...

Gold Coast, Oil on Panel Painting by Keith Purser B. 1944, 2020 Additional information: Medium: Oil and sand on panel Dimensions: 54 x 94 cm 21 1/4 x 37 1/8 in Signed, titled and da...