Sara Midda: A Retrospective

SARA MIDDA

a Retrospective

Copyright © Chris Beetles Ltd 2025 8 & 10 Ryder Street St James’s London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com ISBN 978-1-914906-17-6 Cataloguing in publication data is available from the British Library

Front cover: In and Out of the Garden Envelope (detail) [184] Front endpaper: Baby Book (detail) [257]

A Chris Beetles Gallery Publication

This page: Sara’s paint palette

Edited by Alexander Beetles, Phoebe Bowsher, Fiona Nickerson and Pascale Oakley-Birch

Page 1: Sara and Meg at home in West Sussex, May 2025

Design by Pascale Oakley-Birch

Title page: My Paint Box [104]

Photography by Giulio Sheaves Photograph portrait © Sarah Fitzgerald, page 4 Reproduction by www.cast2create.com Colour separation and printing by Geoff Neal Printworks

Back endpaper: Dreams and Consciousness (detail) [45] Back cover: The White Elephant [107]

A RE TROSPEC TIVE

C H RI S B E E T LE S GALLE RY

S A RA M ID DA (born 1951) Sara Midda (née Davis) was born in Brighton, Sussex, on 8 November 1951. Her mother trained as a fashion designer and her parents encouraged her creativity from an early age. She remembers ‘drawing since my earliest recollection and certainly since I was 2 years old’ (Suzanne Slesin, ‘Stylemakers: Sara Midda: Illustrator’, The New York Times, 9 April 1989).

Sara took a two-year foundation course at Eastbourne College of Art before moving to London to study Graphics at Goldsmiths, where her tutors were Tessa Adams, Wendy Coates-Smith and Ron Van de Meer. She then did a postgraduate course in Illustration and Print-making at Saint Martins School of Art. Among her teachers, Silvie Turner and Fritz Wegner were particularly inspiring.

Soon establishing herself as a freelance illustrator, Sara began to design cards, and contribute to such periodicals as Cosmopolitan, the Guardian, Harpers and Queen, The New York Times, Radio Times and The Sunday Times. She illustrated her Arst books in the mid-1970s. By this time, Sara had developed a form of illustration in which lettering played an integral part with the image.

The groundbreaking book, In and Out of the Garden (1981), extended the fusion of word and image into parterres of prose and beds of lettering. It gave her an opportunity to exhibit her skills as a watercolourist in pages that are a combination of precise observation and exuberant fantasy. With In and Out of the Garden, Workman Publishing of New York became Sara’s regular publisher. On her visits to the city, she developed happy working relationships with Peter Workman (founder), Carolan Workman, Sally Kovalchick (editor-in-chief) and Paul Hanson (creative director) – and also with Ted Riley, who, for the few years before his death, was her agent.

Together they gave her creative freedom.

Winning the V&A’s Francis Williams Award in 1982 for the best descriptive illustration, In and Out of the Garden also attracted the attention of Toru Ando, the art director of Mitsukoshi, the Japanese department store company. After a preliminary visit to Japan, she began a 20-year collaboration in which she was very much part of the design team, and designed babywear and linen, crockery and glass, and stationery and product packaging. Sara also collaborated with Workman on various items of stationery, including the In and Out of the Garden day book and companion books.

After spending much time in France, on the suggestion of Peter Workman Sara produced South of France: A Sketchbook, which Workman published in 1990. Combining images, photographs and hand-written texts, it provided a rich scrapbook of a year of experiences, from anthologies of house fronts and shop signs to varied depictions of mouth-watering foods. In the early 1990s she met her husband, Heinz Propper. They bought a house in France in the late 1990s and occasionally came back to London. They moved to West Sussex together in 2006.

Having exhibited at Mel Calman’s Workshop Gallery, Sara began to show work at Chris Beetles Gallery in 1991. In the books produced through the following decade, she applied her unique view of the world to the human condition, from birth through growing up to growing older. First published by Jonathan Cape in 1994, Growing Up and Other Vices was a magical evocation of the mysteries of childhood and also a gentle satire on adulthood. Through her captivating ink and watercolour text and illustrations, Sara Midda conveys the perceptions and inner feelings of children in a way that is both profound and revealing. It had been developed with the editorial encouragement of Tom Maschler, the head of Jonathan Cape, who was introduced to Sara by Alan Manham. The book won the Bologna Ragazzi Award in 1995. Following its success, Baby Book was published in 1999. The book is an illustrated journal and touching keepsake for new parents.

In 2002 Sara’s love of lettering led her to produce A is for Adultery, Angst, and Adults Only, an illustrated alphabet book for adults.

Later, she then revisited an idea from her early work that an alphabet could be created from just 11 components. Paul Hanson of Workman Publishing saw her drawings of little Agures hauling shapes to build letters, and helped to create a kit to help children understand how the alphabet is formed. The result was published as How to Build an A in 2008.

In 2014, she returned to the subject of food in A Bowl of Olives: On Food and Memory, approaching the format in a similar style to South of France. The book was a culmination of her love for cooking, eating and sharing with friends.

More recently, Sara has been working on new ideas including a new book and designs. Sara lives in West Sussex with her labrador retriever, Meg.

2

S A RA M ID DA In conversation at her home in West Sussex Can you tell us how you began painting from such an early age?

Was she encouraging of your creativity growing up?

My brother Simon was allowed to paint Arst. He’s a little bit older.

My mother said when I was about two or three I’d be allowed to paint. So she set up this little table with her paintbrushes, paints and two boxes of Liquorice Allsorts which disappeared rapidly. Still a strong memory.

Yes, both of my parents were. My father loved books. They were supportive of what we wanted to do. Simon went on to be an eminent zoo archaeologist. For the last 35 years he has been living and working in Lisbon with his late wife Cathy, and their lovely daughter Miriam.

How did you begin your art education?

I went to Eastbourne School of Art to do a two year foundation course, followed by Goldsmiths for graphic design, and, Anally Saint Martins to do a postgraduate course in illustration and printmaking.

How did you nd London, after Brighton?

Sara, August 1955 (age 3)

Were you growing up in a house like this in the countryside?

No, our house was very tidy unlike mine! I grew up in Brighton, Hove really. There was a garden where we spent a lot of time. We picked the raspberries, currants, blackberries; weeded and shucked the peas. This love of gardening has stayed with me. We had cats, a disastrous episode with tortoises and later rabbits, who multiplied overnight. Simon, the woodworker, built elaborate hutches and pens for them. We were given a little plot of garden. Simon grew things. His seeds always came up, mine didn’t. I would be picking the earth to see what was happening underground so I wasn’t really successful as a gardener. We spent Saturday mornings scouring the second-hand bookshops in the Lanes of Brighton. Tables of almost disintegrating tomes, and musty book smell. Bliss.

We know your mother was creative. Can you tell us a bit about her?

She was studying fashion design at Saint Martins during the war with Miss Pemberton, whom she often talked about. Finally, my grandfather stopped her travel to London from Oxford because of the doodle bugs. Many years ago, Chris Beetles Gallery had a Muriel Pemberton show. I took my mother, who went up to her and Miss P said, ‘I remember you.’ A delighted mother. She was creative in many ways most of her life. My parents married in 1948 after the war.

3

Exciting, large – though I missed the country – I was not a city dweller, even though I did end up staying for 26 years. After a very brief Arst marriage, I then went to live in Chalk Farm and began work.

How did you nd the courses that you were doing in London?

Saint Martins was great. At that time it was in the middle of Soho and there were wonderful people there. One of them being Fritz Wegner, the illustrator, who was an important Agure in my life.

Also Silvie Turner, in printmaking, who started the St Martin’s Press. I was lucky they published and printed their Arst book, my Arst book. At Goldsmiths, there was Wendy Coates-Smith, Tessa Adams and Ron Van de Meer. Exchanging ideas with other students was so important.

Sara’s childhood painting (age 4)

Did people start to show interest in your work after your degree show?

Yes. Arnold Schwarzman commissioned my Arst piece – a medical series for the The Sunday Times Magazine. I did the heart with coloured lettering, but I’m not sure it was totally accurate.

David Holmes was putting together a folder of prints and text for publicity for a whisky company in the Spey Valley with drawings of the distillery and surrounding countryside. They gave me a bicycle with no gears to explore and paint the area. I was drawing in a hedge, a croft. I remember it was snowing and I had freezing hands.

The crofter came out. He and his wife took me inside for tea and scones, and gave me bowls of hot water for my Angers. It was very lovely – everywhere smelt of whisky.

I started drawing for Harpers and Queen, the Radio Times, Habitat Calendar, Cosmopolitan, Guardian, The Sunday Times Magazine, alongside working on ideas for myself. Mel Calman had the vibrant Workshop Gallery. They put on fun mixed shows, and I had my Arst solo exhibition there.

Was it interesting to nd yourself doing lots of commercial work, when you originally wanted to be a book illustrator?

I liked the contrast. Then I went to New York with my portfolio.

Being totally naïve, I walked into The New York Times and was given a meeting with Steve Heller on the Book Review and did commissioned work for him. He introduced me to Ruth Ansell on the magazine. I worked with her both there and when I was back home. He also suggested I should have an agent in New York. He named two people. The Arst one was not taking on anyone new and the second one, Ted Riley, also was not taking on anyone. But he said to come on Sunday morning and we’ll have a co/ee, which stretched into lunch. He took me on. Ted was unique, and we had a very exciting few days that time in New York. We worked together for six years before he died.

Shelf in Sara’s studio

Sara on her London balcony garden

How did your relationship with Workman Publishing start?

Ted Riley and I left my portfolio with them the day before I was leaving for London and met with Peter Workman and Sally Kovalchik, who became my editor. The following day, Peter said, ‘What book would you like to do Arst?’ and I replied, ‘The gardening book’.

He suggested we went next door into the Japanese garden and talked it over. Then we had lunch, and I 6ew back to England.

That’s how my happy relationship with Workman and Ted started.

I stopped on the way to the airport, to tell an old friend who also happened to be in New York, my exciting news.

I would regularly return to New York, taking my new work and spending a lot of time with Sally Kovalchik. I miss working with the team at Workman Publishing, and Paul Hanson, the designer.

Had you already been working on ‘In and Out of the Garden’?

Yes, I was already working on ideas for myself but it took four years to complete it. Happily, editorial work continued. With John Gorham and for Stella Richman, I did illustrations for the White Elephant Club. Then a one sheet calendar, 365 jagged squares with colour re6ecting the year and the number of the relevant days, the Christmas tree on the 359th day. It was for a type company.

Where did your love of lettering begin?

I remember at school learning to write which I don’t think happens anymore. You traced o/ the letters with a pencil. And when you 4

were good enough, progressing to a dip pen, a little ceramic inkwell set into your desk, Alled up at the start of each class. At some point I could write, it all came together. The physical making of letters was very exciting.

At Goldsmiths, I made seven Bible images made up of letters, in watercolour and ink, and a bit larger. It then became important to me that lettering was part of the image and not a separate entity.

We also did type-setting and I discovered typography and loved it.

I like to collect early manuscripts and ephemera which are constantly inspiring.

How did you begin working on such a small scale?

For me, it’s a natural size as I prefer to work in the same size. At Eastbourne I made large oil paintings. It was a medium I couldn’t get on with; I was too messy to handle them. There’s no photographic evidence of these paintings, but I do have a large powder paint image of 6owers in a basket that I made at school aged four.

[See page 6] What were some of the initial inspirations for ‘In and Out of the Garden’?

I became interested in gardens – exploring them with an old friend, attending RHS shows at Vincent Square in London, spending time in Sussex and Dorset.

I found a copy of The Old English Gardening Books by Eleanour Sinclair Rohde in an old bookshop in Colchester in 1978, and a facsimile copy of A New Orchard and Garden by William Lawson, Arst published in 1618. These were inspiring.

Sara and her late husband, Heinz Propper

In London, I had a small balcony crammed with pots, two stools, a tiny table. In spring and summer, it became another room.

Mainly 6owers, herbs and wild strawberries from the strawberry farm in Dorset.

Well your garden is beautiful right now …

Thanks to great help from three friends! There’s a piece in the book by William Lawson that says ‘If you build a house, put it in the middle of an Orchard.’ When my husband Heinz and I moved here, there was little in the garden. We planted fruit trees.

We came here 20 years ago; Heinz very sadly died 12 years ago.

Gradually I’ve emerged with the help of very good friends.

You had a long working relationship with the department store Mitsukoshi. How was your experience in Japan?

Their chief designer Toru Ando saw In and Out of The Garden and had the idea of creating a line of products. I was very nervous about it all. Ted said, ‘Go. Fight for quality, have fun and learn Japanese.’ So I went. First there were fairly daunting meetings of about 50 men, just three women. Then it all started. It was wonderful and has been such an important part of my life. I’d wanted to go to Japan, and felt comfortable there. I certainly miss that time. The project was led by, amongst others, Toru Ando, Ken Shigematsu, Rie Sekine, Mrs Ohta, Miss Tanaka, Michaharu Takahashi, Mr Yagi, Mr Kobayashi, Mrs Miyadera, the wonderful design team, product managers and manufacturers.

Wall display in Sara’s studio

5

[Mitsukoshi and Isetan in 2011 merged and became Isetan Mitsukoshi Holding Ltd]

travelling, as far north as Sapporo and south as Taketomi Jima, and in between mainly with Carolan.

In Italy, it was at an old pottery in Umbria, working in the studio painting on un-Ared cups and plates. Nothing came of it, but it was a great experience.

France has also been an important inspiration for you. How did you nd yourself there?

Mitsukoshi products

What was the starting point for the relationship, did they want to start with anything in particular?

When I Arst went, it was soap, fabrics, china, towels, bedding, and then it grew. They were terriAc to work with. They were extremely patient with someone who had never worked in any of these disciplines. Every spring I’d take new designs. We’d look at the designs with all the di/erent manufacturers. They would go away for a few days, returning with suggestions about how the work could be applied. It would be discussed. They had a London o+ce too where dummies were sent, and usually once a week they would come to my 6at to show me things. Every year a group would come for a few days for a meeting in my 6at. The baby collection and the soap became particularly fun to be involved with.

When the baby collection rst came about, had you already done the Baby Book?

Because of a relationship I was spending a lot of time in southern France by the Italian border. Sketchbook came out of the period.

Years later, a very insightful friend introduced me to Heinz Propper.

He ran a printing company and amongst his favourite things were programs for the Royal Opera House and many concert venues.

We were together for 20 years. ‘Best thing that ever happened to Sara,’ said my father. We bought an old house at the foothills of the Cevennes. Isolated, three Cypress trees, olive trees, wild boars and wild 6owers, including orchids. And some years later an abandoned dog.

How was the shift from drawing gardens and France to ‘Growing Up’ and the ‘Baby Book’?

It was a progression. Things change. For a while, I had an agent here who re-introduced me to Tom Maschler. He came to the 6at to talk about the possibilities of us working together. His Arst thought was that I might do something related to the Bible. When he saw a print I had done called Table Manners For Children, that was how Growing Up started. I think once a month we would have long sessions in his o+ce. It was such fun to work on.

Sara’s studio desk

No, the baby collection started in a small way when I was working on the French book. I was sort of working parallel with Mitsukoshi and Workman. Ann Kostick, then Annie Brody, then Carolan Workman came as agents. In Japan, Tachi Nagasawa and Miko Yamanouchi were the Japanese agents who translated and were a great support.

Let’s talk about travel – around Japan, and we know that you brie y worked in a ceramic factory, in Italy?

I travelled in Japan, with Mitsukoshi who are spread throughout the country, visiting stores or manufacturers. Long weekends to go 6

We know that your artwork doesn’t have any underdrawings – can you talk us through your process?

The sort of looser watercolours have no underdrawing. In fact, most of the pen and ink work doesn’t either. I lose the freedom of line. If it’s a complicated layout I will have minimal pencil guidance.

It’s hopeless if you try to draw lettering in pencil and then ink over.

They just don’t match in length and size. It does mean that there are many drawings before a Anal one. I work with watercolour and sometimes pen and ink. Growing Up is all pen and ink with tiny watercolour details.

And you like to use pans of watercolour, and sometimes … potatoes?

I have dried up tubes, but I’m so messy. It’s rather hopeless so I use pans. They all become very grubby. For the garden book, I used triple 0 sable brushes.

I used to take a potato and half it, dry the surfaces, cover with lots of white paint and squash it down on paper. Lovely e/ect. It certainly loosened my mind. I made 6ip books using potato prints and printed black line, screwed together by me – a limited edition of four titles.

How much time do you spend drawing per day?

I now work or try to work in the mornings, usually for about three or four hours concentratedly. Doing the garden book I would be up at 6am reading and then working through with lunch and dinner breaks with a friend. Often late into the night. I found that time very undisturbed.

Sara’s collection of olive tins

7

As we talk to you now, we are joined by your lovely Labrador Retriever Meg. How have animals shaped your life and work?

A lot actually. My Arst dog attended two art schools with me.

The next travelled extensively between France and England.

Then there was my Arst Canine Partner, Sally. Meg is my second.

Canine Partners is a wonderful charity for people with disabilities.

The dogs are extraordinary and they match them to humans.

Friends of mine found out that I was eligible to apply.

Sally was retired but remained with me, and I was introduced to Meg. It was a lovely period having the two of them. Such di/erent characters, and what a change they have made to my life.

Where does your world come from, and the little gures that feature in it?

I don’t really know, they’re just sort of generic humans. They exist amongst all the chaos and horror that’s going on in the world.

C ATA LOG UE OF WOR K S

MAGA 7INES AND PUBLICATIONS Harper’s & Queen

Nos 1-8 are all executed in ink and illustrated in Harper’s & Queen Magazine, circa 1975

1

2

3

4 1 LIFE DRAWING PLACE SETTING

Signed 3 ½ x 6 ¼ inches

2 A PATRIOTIC CAKE

Signed 3 ¼ x 3 inches

3 AUTUMN MENU

Signed 5 ½ x 3 ¾ inches

4 COCKTAIL DAY DINNER PARTY DAY LUNCHEON PARTY DAY STAY AT HOME DAY

Signed 6 x 3 ¼ inches

9

5

5

BOUQUET HEAD DRESSES

7

Signed 4 x 2 ¾ inches

6 8

6 HOW TO LIE IN A GAME PIE

Signed 4 x 3 inches

7 SHOPPING

5 ¼ x 3 ½ inches

8 A GLAMOROUS DRESS

4 ¼ x 3 ¾ inches

10

Guardian Valentines

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Nos 9-21 are all signed, executed in ink and illustrated in Guardian, 1977, ‘Guardian Valentines’

9 MY LOVE IS LIKE A RED, RED, ROSE

7 ¾ x 3 ¾ inches

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10 GUARDIAN VALENTINES

12

3 x 4 inches

11 SHE LOVES ME SHE LOVES ME NOT

2 x 2 inches

12 OUR LOVE ENTWINED FAIR BLEW MY MIND

9

11

1 ¾ x 2 inches

13 CARRYING YOUR LOVE

1 ½ x 2 inches 14 A LITTLE DART TO HIT YOUR HEART

1 ½ x 2 inches 15 BICYCLE OF LOVE

1 ½ x 2 inches

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14

16 WITH THE FIRST BLUSH OF SPRING WITH THOUGHTS OF FLOWERS WE’LL SHARE OUR LOVE IN HIDDEN BOWERS

1 ¾ x 2 inches 17 I DREAMT OF CUPID AND A MESSAGE SENT IT WAS SO STUPID FOR THE ARROW BENT

1 ¾ x 2 inches 18 AND WE THREE WILL ALWAYS BE FOR HOW CAN I CHOSE WHICH ONE TO LOSE?

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16

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20

21

2 x 2 inches 19 THE OWL AND THE PUSSY-CAT FELL IN LOVE

1 ½ x 2 inches 20 FLYING HIGH ON LOVE

1 ½ x 2 inches 21 O TO BE LOVED IS ALL I NEED, AND – WHEN I LOVE I LOVE INDEED

1 ¼ x 2 inches 19

12

Cosmopolitan

22

23

AQUARIUS

PISCES

3 x 4 inches

Signed 3 ¼ x 4 ¼ inches

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25

ARIES

TAURUS

3 ¼ x 4 inches

13

3 ½ x 4 ¼ inches

Nos 22-44 are all executed in ink and were illustrated in Cosmopolitan; Nos 22-32 were all illustrated in Cosmopolitan, circa 1980s

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GEMINI

CANCER

3 x 4 inches

3 x 4 inches

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LEO

VIRGO

2 ¾ x 4 ½ inches

3 ½ x 4 ¾ inches

14

15

30

31

SCORPIO

SAGITTARIUS

Signed 3 ¼ x 4 ¼ inches

Signed 3 ¼ x 4 ¼ inches

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33

CAPRICORN

VALENTINES

Signed 3 ¼ x 4 inches

Signed 2 ½ x 3 ¾ inches

34 A NOSE FOR SUCCESS

Signed and inscribed with title 3 x 2 ½ inches

35 IN THE COOL COOL OF THE WATER

Signed 2 ¾ x 2 inches

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36 3 COURSES IN ONE

Signed 2 ¼ x 2 ¼ inches

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37 FALLEN INTO A POT

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Signed with initials 1 x 1 ½ inches

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38 MALE BIRTH PILL

Signed 2 ½ x 2 ¼ inches

39 DANCING WITH A THREAD

Signed 3 x 2 ¼ inches

38 16

42 40

41 40 A DANCE IN THE GARDEN

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44

Signed 3 ¾ x 2 ½ inches 41 WALKING THE DOG AND TELEPHONE

Signed 2 ½ x 2 ½ inches 42 OVERSI7ED JEANS

Signed 3 x 2 inches 43 MYSELF

Signed 4 ¾ x 3 ¼ inches 44 OBESITY IT’S NICE TO BE FAT – I KEEP ON TELLING MYSELF

Signed 4 x 3 ½ inches

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The Sunday Times

45 DREAMS AND CONSCIOUSNESS

Watercolour with bodycolour 5 ¼ x 8 ½ inches Illustrated: The Sunday Times

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46 HANGOVER

2 ¼ x 2 inches 47 PRESENT HELP

2 x 2 ¼ inches 48 OFFICE PARTIES

Inscribed with title below mount 2 x 2 inches 46

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49 WINE DOG

1 ¼ x 2 ½ inches

Nos 46-52 are all executed in ink and illustrated in The Sunday Times Magazine, 14 December 1980

50 RESPECTABILITY

Signed 2 ¾ x 2 inches 51 BO1ES & BRIBES

2 ¼ x 2 inches 52 48

49

50

3 x 2 ¼ inches 52

51

19

SPREADING YOURSELF

The New Yorker 53 MOBILE ESPADRILLE

Signed Ink 1 x 3 ½ inches Illustrated: The New Yorker, 1993

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54 CHAMPAGNE TRICKS

Signed Ink 3 x 1 ¼ inches Illustrated: The New Yorker, 1993

55 LOCKDOWN FACEMASKS

Signed Watercolour with coloured pencil 11 x 8 ¼ inches Drawn for but not illustrated in The New Yorker, cover, 2021

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55

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LET TERING & OTHER EARLY WORKS

Nos 56-81 are all signed and executed in ink and watercolour

56 A

2 ¼ x 2 ½ inches

57 B

2 ¼ x 2 ½ inches

58 C

56

57

58

2 ½ x 2 ¼ inches

59 D

2 ¼ x 2 ¼ inches

60 E

2 ¼ x 2 ¼ inches

61 F

59

60

61

62

63

64

2 ½ x 2 ½ inches

62 G

2 ¼ x 2 ¼ inches

63 H

2 ½ x 2 ¼ inches

64 I

2 ¼ x 2 ¼ inches

21

65 J

2 ¼ x 2 ½ inches

66 K

2 ¼ x 2 ¼ inches

67 L

2 ¼ x 2 ¼ inches

66

67

68

69

70

71

72

73

65

68 M

2 ¼ x 2 ½ inches

69 N

2 ¼ x 2 ¼ inches

70 O

2 ¼ x 2 ¼ inches

71 P

2 ¼ x 2 ½ inches

72 Q

2 ½ x 2 ¼ inches

73 R

2 ¼ x 2 ¼ inches 22

74 S

2 ¼ x 2 ¼ inches

75 T

2 ¼ x 2 ¼ inches

74

75

76

76 U

2 ¼ x 2 ¼ inches

77 V

2 ¼ x 2 ¼ inches

78 W

2 ½ x 2 ¼ inches

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78

79 79

80

81

1

2 ¼ x 2 ¼ inches

80 Y 2 ½ x 2 ¼ inches

81 7

2 ½ x 2 ¼ inches

23

82 ‘I’ SERIES

Signed on 13 of 16 panels Ink 15 ¾ x 12 inches This work was created in 2025 and reworked on an idea from the 1980’s.

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83 HIGH WIRE CREATURE

Signed Watercolour and ink 4 x 3 ¼ inches 84 HIGH WIRE LION

Watercolour and ink 3 ¼ x 2 ¼ inches 85 HIGH WIRE LIFE

Signed Watercolour and ink 3 ¾ x 2 ¼ inches 86 TRAPE7ES

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84

85

86

Signed Watercolour and ink 3 ¾ x 2 ½ inches 87 HIGH WIRE BICYCLE TRICK

Watercolour and ink 5 ¼ x 3 inches 87

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88 Nos 88-92 are all Christmas Card designs for Workman Publishing, New York, circa 1980s

CHRISTMAS COCKTAIL

Signed with initials Watercolour 6 ¾ x 5 ¼ inches

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90

CHRISTMAS CARD LIST

CHRISTMAS CALENDAR

Signed Watercolour 7 ½ x 6 inches

Signed with initials Watercolour with pencil 5 x 3 ½ inches

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91 SLEEPING FATHER CHRISTMAS

Signed Watercolour 10 ¼ x 8 inches 27

92 SCALING THE CHRISTMAS MOUNTAIN

Watercolour 9 x 7 inches

28

93 SOMETIMES THINGS GO WRONG

Signed Watercolour 9 ¾ x 8 inches

29

Nos 93-95 were all designs for Workman Publishing, New York, circa 1980s

94 FOR YOU

Signed Watercolour and ink 10 ½ x 8 ½ inches

30

95 HEART LETTER

Signed Watercolour with bodycolour 10 x 9 inches

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96 MESSAGE

Signed Watercolour and ink 7 x 6 ¼ inches

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97 HIDING TIRED EASTER EGGS ...

Signed Ink 3 x 4 inches

98 TRADITIONAL EASTER BONNET

Signed and inscribed with title Ink 2 ¾ x 2 ½ inches

99 AN EASTER HAT

Signed Ink and watercolour 3 x 2 ¼ inches

98

97 100

101

PAINTING EASTER EGGS

GO TO WORK ON AN EGG

Signed Ink and watercolour 5 ¾ x 7 inches

Signed Ink and watercolour 2 ¼ x 2 ½ inches

100

99 101

33

102 INK POT LETTERS

Signed Ink and watercolour 3 x 4 ¼ inches 103 CAPTURING ADULTS

Signed Watercolour 3 ¼ x 6 ½ inches 104 MY PAINT BO1

Signed Ink and watercolour 2 ¼ x 4 ½ inches 105 SOME PEOPLE LOVE CATS ...

102

Signed Ink 4 ½ x 2 inches

103

105

104

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106 WHITE ELEPHANT CLUB MENU SECTIONS

Ink 10 ¾ x 9 ½ inches Illustrated: Menu design for The White Elephant Club, London

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107 THE WHITE ELEPHANT

Signed Watercolour and ink with bodycolour 5 x 4 inches Illustrated: Menu design for The White Elephant Club, London 108 HEAVY

Watercolour 4 x 2 ¼ inches 109 WINE IN TRUTH OUT

Signed Watercolour 3 x 4 ¼ inches 110 VIGOROUS YOUTHFUL, LIVELY WINE OF PROMISE, USUALLY A GOOD QUALITY WINE IN ITS EARLY LIFE

Watercolour 3 x 2 ½ inches 107

108

109

110

36

Nos 111-117 are all executed in watercolour and are designs for ‘Gallery 5’ gift tags

111

112

FOR YOU

I BRING TO YOU A

Signed 1 ¾ x 3 ½ inches

THOUGHT FROM ME

1 ½ x 1 inches

112

111 113

114

COLLECTING FIR TREES

AT CHRISTMAS – PLAY & MAKE GOOD CHEER – FOR CHRISTMAS COMES BUT ONCE A YEAR

Signed 2 x 3 ¾ inches

Signed 1 ¾ x 3 ½ inches

115 I SAW THREE SHIPS GO SAILING BY ON CHRISTMAS DAY IN THE MORNING

Signed 2 x 4 inches

116

117

THE FRUIT OF HEARTS

FRUIT BASKET

Signed 2 x 4 inches

Signed 2 x 4 inches

113

114 (above)

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116 (below)

115 (above)

117 (below)

BO OKS

Walter de la Mare, Come Hither, volume I, Middlesex: Kestrel Books, 1978

118 COME HITHER VOLUME I

Watercolour and ink 9 ¼ x 13 ¾ inches Illustrated: Walter de la Mare, Come Hither, volume I, Middlesex: Kestrel Books, 1978, dust jacket

39

Walter de la Mare, Come Hither, volume II, Middlesex: Kestrel Books, 1978

120 119 COME HITHER VOLUME II

Watercolour and ink 9 ¼ x 13 ¾ inches Illustrated: Walter de la Mare, Come Hither, volume II, Middlesex: Kestrel Books, 1978, dust jacket

REACHING FOR THE MOON

Signed below mount Watercolour with ink and varnish 5 x 3 ¼ inches Preliminary cover design for Walter De La Mare, Come Hither, volume II, Middlesex: Kestrel Books, 1978

40

Sara Midda, In and Out of the Garden, New York: Workman Publishing, 1981

122 POTATO MAN

Watercolour 1 ¼ x 1 ¼ inches

Nos 121-183 are all illustrated in Sara Midda, In and Out of the Garden, New York: Workman Publishing, 1981 [unpaginated]

121 IN AND OUT OF THE GARDEN

Ink and watercolour 9 x 14 ¼ inches Illustrated: cover and dust jacket

41

Sara Midda’s Arst book, published in 1981, is a wonderous and whimsical celebration of gardens and gardening. In and Out of the Garden evokes a nostalgic and romantic view of English country life through Sara’s delicate watercolours, poetic contemplations and personal re6ections.

123

123 FOR JFW

Ink and watercolour 1 ½ x 1 ¼ inches

124 WATERING CAN AND GARDENING FORK

Watercolour 1 ½ x 1 ¾ inches

124

125 HEREIN, HERBS AND ROOTS AND DIVERS FRUITS

Ink and watercolour 3 ½ x 2 ¼ inches

125 126 126 IN AND OUT OF THE GARDEN TITLE PAGE

Watercolour 3 ¾ x 2 ¾ inches Illustrated: title page

127 WHAT WAS PARADISE? ...

Signed Watercolour 4 x 2 ¾ inches

127

42

128 QUOTES ON THE GARDEN

Two panels, each measuring 5 162 x 4 inches Watercolour 5 ½ x 9 ½ inches

43

129 A CHOICE OF GARDENER

Two panels each measuring 5 x 3 162 inches Ink with pencil 5 x 9 ½ inches

44

130 CABBAGE LADY

Watercolour with pencil 1 x 1 inches

45

131

132

GATHER ALL YOUR SEEDS, DEAD, RIPE AND DRY

THE VEGETABLE GARDEN

Watercolour with seed packets and seeds a(xed 5 ¼ x 3 ½ inches

Watercolour 4 ½ x 2 ¼ inches

133 VEGETABLE GRID

Signed Watercolour with pencil 5 ¼ x 4 inches

46

Both artworks are being sold together as one

134 VEGETABLES

Ink and watercolour 8 x 12 inches

47

48

135 IN EARLY SPRING SOME SEEDS WE SOW, AND WITH WHAT HOPE WE WATCH THEM GROW ...

Watercolour with seed packet and seeds a(xed 8 x 7 inches

49

136 RUNNER BEANS, FRENCH BEANS, BROAD BEANS TO NAME BUT A FEW, SLICED OR SHREDDED, IN PODS OR OUT, I’LL SERVE TO YOU

Watercolour with pencil 5 x 3 ½ inches

50

137 THE CABBAGE

Watercolour and ink with string 8 x 6 inches

51

138 SALADS

Watercolour 8 x 6 inches

52

139 GREEN PEAS WITH CREAM

Watercolour with ink 8 x 6 inches

53

140 PEAS

Watercolour with ink 8 x 6 inches

54

141 SEED PACKETS

Ink and watercolour on seed packets with seeds a(xed 7 ¾ x 5 ½ inches

142 GOOD HUSWIVES IN SUMMER WILL SAVE THEIR OWN SEEDES

Ink 5 ½ x 3 ¼ inches

141

55

142

143 LOVE OF NATURE CREATES A GARDEN

Watercolour and ink 8 x 6 inches

56

144 MARKET

Watercolour 2 ¾ x 2 ¾ inches

145 A CELEBRATION OF ONIONS

Watercolour and ink 3 ¾ x 3 ¼ inches

146 SPROUTS FOR DINNER, SPROUTS FOR TEA, SPROUTS FOR YOU, AND SPROUTS FOR ME

Watercolour and ink 4 ½ x 2 inches 146

144

145

57

149 DOUBTLESS GOD COULD HAVE MADE A BETTER BERRY BUT DOUBTLESS GOD NEVER DID

Watercolour 8 x 6 inches

147 LEEKS

Watercolour and ink 2 x 2 inches 148 THE PLEASURES OF AN ORCHARD

Signed Ink and watercolour 4 x 3 ¼ inches

58

Both artworks are being sold together as one

150 THE COTTAGE GARDEN

Watercolour and ink 8 x 12 ¼ inches

59

60

Both artworks are being sold together as one

151 A CHILDHOOD GARDEN OF ONES VERY OWN

Ink and watercolour 8 x 12 inches

61

62

Both artworks are being sold together as one

152 FRUITS

Ink and watercolour 8 x 12 inches

63

64

65

153

154

LOVE LETTER

OF GATHERING AND KEEPING FRUIT

Ink, watercolour and pressed #owers 6 ¼ x 5 ½ inches

Watercolour and ink 4 ½ x 3 ¼ inches

155 TOPIARY

Ink 5 ¼ x 4 inches

156 WHOOPS AND SHOUTS ALL THROUGH THE DAY, KEEP BIRDS FROM FRUIT FAR AWAY

Watercolour and ink 6 x 5 inches

66

157

158

RECIPES FOR FRUIT

AFTER SAINT VALENTYNE’S DAY – IT IS TIME TO GRAFFE PEARS

Watercolour and ink 8 x 6 inches

67

Watercolour 8 x 7 inches

159 PRESERVED PLUMS AND CARVED PEARS

Watercolour and ink 8 x 6 inches

68

160 KEEP YOUR MOUTH OPEN FOR A RIPE CHERRY

Watercolour and ink 2 ¼ x 2 ¾ inches

161 IT WAS ONE OF THOSE LATER SUMMER DAYS ...

Watercolour and ink 4 x 3 ¼ inches

160

161

69

162 ALL HEDGEROWS SHOULD BE PLANTED WITH FRUIT TREES ...

Signed Watercolour and ink 5 ¼ x 3 ½ inches

162

163

164

DID GOD OR MAN MAKE

I HAVE A HUT IN THE WOOD, NONE

PLUMS FROM SLOES?

KNOWS IT BUT MY LORD

Watercolour and ink 3 ¾ x 3 ½ inches

Watercolour and ink 5 x 3 ¼ inches

70

165 TALK TO YOUR BEES AND THEY WILL NOT HARM YOU, FOR THEY LOVE THEIR FRIENDS

Watercolour and ink 5 ½ x 3 ¼ inches

71

166 A SWEET SCENTED PATH OF THYME, MOST BELOVED OF BEE FLOWERS, MAY LEAD TO THE HIVES SET IN THE MIDST OF A GARDEN OR GRASSY ORCHARD ...

Watercolour and ink 8 x 6 inches

167

168

HOW TO KEEP QUINCES THROUGH THE YEAR

A FêTE CHAMPêTRE

Ink 4 ½ x 2 ½ inches

Ink 5 ½ x 4 ¼ inches

72

Both artworks are being sold together as one

169 SUMMER DAYS

Watercolour and pencil with pressed #owers 7 ¾ x 11 ¾ inches

73

74

170

171

AMONG THE HERBS

A COVERED PATH

Watercolour with ink 1 ¼ x 2 inches

Watercolour 4 ½ x 3 inches

172

173

TEA IN THE GARDEN

ESPALIERS

Watercolour and ink 4 ½ x 2 ¾ inches

Watercolour and ink 4 ¼ x 3 inches

170

171

172

75

173

174 A CHOICE OF HERBS

Watercolour and ink 8 x 12 inches

76

Both artworks are being sold together as one

175 HERBS AND FLOWERS

Ink and watercolour 7 ¼ x 12 inches 77

78

176 A GARDEN IN THE WALL COVERED WITH PLANTS THAT THRIVE WITH THEIR ROOTS SOMEWHERE BETWEEN THE STONES ...

Watercolour and ink 7 ½ x 5 ¾ inches

79

177 NO NEED TO STIR FROM THE QUIET OF THE PAVED GARDEN. A COMPLETE WORLD DWELLS AMONGST THE ENCLOSING WALLS

Watercolour and ink 7 ¾ x 6 inches

80

178 WINTER NEVER KILLED THIS SUMMER

Watercolour with ink 2 ¾ x 2 ½ inches

179

180

BY THE FENCE IN THE WOODS

THE GARDEN OF HERBS

Watercolour 4 x 2 ½ inches

Watercolour and ink 4 x 3 ¼ inches

178 179

81

180

181 PETROSELINUM OR PARSLEY

Watercolour and ink Overall size: 6 ½ x 9 ½ inches First panel: 5 162 x 4 inches Second panel: 6 162 x 4 inches

82

Both artworks are being sold together as one

182 RUE, LEMON BALM, CHERVIL AND SAGE HYSSOP, BAY LEAF, BASIL AND MINT

Watercolour and ink 8 x 12 inches 83

84

183 AWAKE, OH NORTH WIND; AND COME, THOU SOUTH; BLOW UPON MY GARDEN, THAT THE SPICES THEREOF MAY FLOW OUT

Signed Watercolour and ink 7 x 12 inches

85

184 IN AND OUT OF THE GARDEN ENVELOPE

Ink and watercolour 9 ½ x 7 ¼ inches Design for a gift envelope for Sara Midda, In and Out of the Garden

86

Sara Midda’s South of France: A Sketchbook, New York: Workman Publishing, 1990

South of France is an intimate and tenderly illustrated record of Sara’s year sojourn in the countryside.

Through beautiful watercolours and handwritten notes and discoveries, you are immersed in the South of France’s scenery, feel its warm summer air, taste its delicious produce, and experience its idyllic way of life.

Nos 185-225 & 227 are all illustrated in Sara Midda’s South of France: A Sketchbook, New York: Workman Publishing, 1990 185 SARA MIDDA’S SOUTH OF FRANCE: A SKETCHBOOK

Watercolour and ink 7 ¾ x 13 inches Illustrated: cover

87

186 THE ROOM WITH A VIEW

Inscribed with title below mount Watercolour with ink 3 x 2 ¼ inches Illustrated: page 2

187 PORTABLE VIEW

Watercolour with ink 2 ¼ x 2 ¾ inches Illustrated: title page

188

186

SO BRIGHT ONE CAN BARELY SEE THE COLOURS THAT ARE BEING MI1ED ...

188

Watercolour 4 ¼ x 3 ¾ inches Illustrated: page 13

187

88

189 BUILDINGS OF THE SOUTH OF FRANCE

Watercolour and ink 8 ¼ x 13 ½ inches Illustrated: pages 14 and 15

89

190 PORTES – FENêTRES, GREEN PEELING SHUTTERS ...

Watercolour of a terracotta pot on reverse Watercolour and ink 7 ½ x 9 inches Illustrated: pages 16 and 17

Top left: 2 ¾ x 2 ¾ inches Top right: 2 ½ x 1 inches Bottom left: 2 x 1 ½ inches Bottom right: 2 ¾ x 3 inches

90

191

192 191

FIGS

Watercolour and ink 1 x 1 ¾ inches Illustrated: page 24

Signed [upside down] Watercolour 6 ½ x 5 ¼ inches Illustrated: page 43

193

194

ESPADRILLES

WATERMELON

Watercolour 4 x 2 ¾ inches Illustrated: page 25

Watercolour and ink 4 ¾ x 3 ¾ inches Illustrated: page 63

RACING ESPADRILLE

192

193

91

194

195

196

OLIVES

SUMMER FRUITS

Watercolour and ink 5 x 4 inches Illustrated: page 62

Watercolour 6 x 3 ½ inches Illustrated: page 54

195

196

92

197

198

A FRENCH BIRTHDAY

UNDRESS

Watercolour and ink 2 x 3 inches Illustrated: page 48

200 FAIRE UNE PAUSE

Watercolour and ink 1 ½ x 2 ½ inches Illustrated: page 49

FRENCH BED

Watercolour and ink 1 ½ x 3 inches Illustrated: page 49

Watercolour and ink 1 ¾ x 3 inches Illustrated: page 48

201

202

PRESENTATION EN FRANÇAIS

DANS LES AIRS

Watercolour and ink 2 ¼ x 3 inches Illustrated: page 48

Watercolour and ink 2 ¾ x 3 ¾ inches Illustrated: page 49

198

197

199

201

93

199

200

202

203 SEARCH FOR BLUE-STRIPED T-SHIRT

Watercolour with ink and pencil 11 ¾ x 8 ¼ inches Illustrated: page 60

94

204 GARDEN AT S

Watercolour 6 ¼ x 9 inches Illustrated: pages 28 and 29 95

205 THE GREEN DOOR – SEPTEMBER

Watercolour 5 ¼ x 5 ½ inches Illustrated: pages 66 and 67 96

206 SCENES FROM A FRENCH MARKET

Watercolour with ink 7 x 5 inches Illustrated: page 79

97

207 FIGS, TOMATOES, OLIVES AND MELONS

Watercolour 12 x 9 ½ inches Illustrated: page 77 98

208 CHARENTAIS MELON

Watercolour 5 ½ x 6 inches Illustrated: page 84

209 POND – LILIES – TADPOLES

Watercolour 4 x 5 inches Illustrated: page 85

99

210 SHOP SIGNS

Watercolour 7 x 10 inches Illustrated: pages 86 and 87

100

211 FABRICS AND PATTERNS

Watercolour with ink 6 ¾ x 9 ½ inches Two panels, each measuring: 6 162 x 4 164 inches Illustrated: pages 88 and 89

101

212 PALM TREES

Watercolour 5 ½ x 8 ½ inches Illustrated: pages 92 and 93

102

103

213

214

VARIOUS OLIVES

PLANT POT AND SALAD BOWL

Watercolour with ink 7 x 4 ¾ inches Illustrated: page 95

Watercolour 6 x 4 inches Illustrated: page 76

215 ASSORTED HOUSE NUMBERS

Watercolour and ink 6 ¼ x 9 ½ inches Illustrated: pages 122 and 123 104

216 ESSENTIALS: L’A%OLI TO OLIVES

Ink and watercolour 9 x 4 inches Illustrated: pages 96 and 97

105

217 ESSENTIALS: OLIVE OIL TO SOCCA

Ink and watercolour 9 x 4 inches Illustrated: pages 98 and 99

106

218 SUGAR PACKETS I

Ink and watercolour 9 x 6 ½ inches Illustrated: page 106

107

219 SUGAR PACKETS II

Ink and watercolour 9 x 6 ½ inches Illustrated: page 107

108

220 GNARLED TREE – JANUARY

Watercolour 7 x 9 inches Illustrated: pages 114 and 115

109

221 GAMBUSIA FISH SUN THEMSELVES – MARCH

Signed Watercolour and ink 7 x 11 inches Illustrated: pages 134 and 135

110

222

224 222 THE DAILY BAGUETTE

Inscribed with title Watercolour and ink 1 ½ x 2 ¾ inches Illustrated: page 121

223 PATISSERIES

Watercolour 7 x 5 inches Illustrated: page 109

224 VIKING CROISSANT

223

111

Ink and watercolour 3 ½ x 2 ¼ inches Illustrated: page 118

225

226

225 FRESH EGGS

Signed and inscribed with title Ink and watercolour 5 x 6 ½ inches Illustrated: page 21

226 TWO BOTTLES OF CôTE DE PROVENCE

Signed Ink with watercolour 5 ½ x 4 ½ inches Illustrated: Similar to page 102

227 GIFTS TO TAKE HOME

Ink with watercolour 5 x 5 inches Illustrated: page 144

227

112

Sara Midda, Growing up and Other Vices, London: Jonathan Cape, 1994

Nos 229-252 are all illustrated in Sara Midda, Growing Up and Other Vices, London: Jonathan Cape, 1994 [unpaginated]

Enchanting, touching and sensitive, Growing Up and Other Vices is an exploration of the emotions, charms and di+culties of childhood.

In exquisitely rendered watercolours, Sara journeys through the trials and tribulations of growing up and the imperfections of adulthood, in her beautiful and gently satirical style.

228 GROWING UP AND OTHER VICES ALTERNATIVE COVER DESIGN

Ink and watercolour with pencil 11 ½ x 8 ¾ inches Alternative cover design

113

229 GROWING UP AND OTHER VICES

Watercolour and ink with printed matter 10 ½ x 10 inches Illustrated: cover

114

Both artworks are being sold together as one

230 ON DEPARTURE FROM THE WOMB NO ONE TOLD US ABOUT ...

Watercolour and ink 11 ¼ x 16 ½ inches

115

116

Both artworks are being sold together as one

231 BEHAVIOUR TOWARDS VARIOUS CREATURES

Watercolour and ink 11 ¼ x 16 ½ inches

117

118

232 LITTLE CHILDREN SHOULD BE SEEN AND NOT HEARD

Watercolour and ink 8 ½ x 7 inches

119

233 THINGS YOU ARE SUPPOSED TO GROW OUT OF ...

Watercolour and ink 8 x 7 ½ inches

120

234 SIGNS OF AFFECTION

Watercolour and ink 9 ¾ x 8 ¼ inches

121

235 NIGHTMARES

Watercolour and ink 10 ½ x 7 ¼ inches

122

236 TABLE MANNERS

Watercolour and ink 8 ¼ x 5 ¾ inches

123

237 ON MATTERS CONCERNING THE STOMACH

Watercolour and ink 9 ¼ x 8 inches

124

238 CHILD AS VICTIM

Watercolour and ink 10 ½ x 6 ½ inches

125

239 MYSTERIES OF ADULT LIFE

Watercolour and ink 10 ¼ x 8 ¼ inches

126

240 REMEMBERING

Watercolour and ink 9 ½ x 5 ¾ inches

127

241 NOT BEING ABLE TO ...

Watercolour and ink 8 ½ x 7 ¼ inches

128

242 THE FREEDOM OF THINKING YOU ARE ALONE ...

Watercolour and ink 13 x 7 ¼ inches

129

243 A NOISE BROUGHT ON BY NATURE ...

AND HOW TO DEAL WITH IT

Watercolour and ink 10 ¾ x 7 ½ inches

130

244 SIBLINGS

Watercolour and ink 10 ¼ x 8 ¼ inches

131

245 CHILD INTO ADULT

Watercolour and ink 10 ¾ x 8 ½ inches

132

246 ON MAKING AN ALPHABET

Watercolour and ink 11 ¼ x 8 ¼ inches

133

247 FRIENDS TO AVOID

Watercolour and ink 8 ¼ x 6 inches

134

Both artworks are being sold together as one

248 CONCERNING NATURE AND THE ELEMENTS ...

Watercolour and ink 9 x 16 ½ inches

135

136

Both artworks are being sold together as one

249 17 DEADLY SINS

Watercolour and ink 11 ¼ x 16 inches

137

138

250 (left) BEHAVIOUR TOWARDS ADULTS

Watercolour and ink 9 ¼ x 7 ¼ inches

251 (opposite) FALL OF THE ADULT OCCURS ON REALISATION THAT THE ADULT IS NOT PERFECT

Watercolour and ink 10 ¼ x 8 inches

139

252 CUTTING THE STRINGS

251

Ink with watercolour 6 ½ x 2 ½ inches

140

Sara Midda, Baby Book, New York: Workman Publishing, 1999

Nos 254-269 are all illustrated in Sara Midda, Baby Book, New York: Workman Publishing, 1999 [unpaginated] 255

254 A reimagining of the traditional scrapbook-style baby journal, Baby Book is a charming and sentimental souvenir of a child’s Arst year.

253 NEW BABY ANNOUNCEMENT

Watercolour with ink 4 ¼ x 2 ¾ inches Illustrated: Similar to Sara Midda, Baby Book, New York: Workman Publishing, 1999

253

254 FIRST TOOTH

Ink with watercolour 2 ½ x 2 ½ inches 256

255 STAR CAT

Ink and watercolour 2 ¼ x 1 ¾ inches

256 THE BABY BOOK BABY

Ink and watercolour 3 x 2 ½ inches Illustrated: cover

257 (opposite page) BABY BOOK

Ink and watercolour 9 ½ x 8 ¾ inches Illustrated: cover

141

257 142

258

260

259

258 TANTRUMS

Watercolour and ink 8 x 1 ½ inches

259 RESPONSE TO NATURE

Watercolour with ink 7 ½ x 3 ¼ inches

260 SMILES

Watercolour with ink 8 ½ x 1 ½ inches

143

261 IN

Watercolour and ink 7 ¼ x 1 ¼ inches

262 MUSIC

Watercolour with ink 9 ½ x 2 inches

263 LULLABIES

Watercolour with ink 9 ¼ x 2 ½ inches

261

262

263

144

264

145

264

265

266

FRUSTRATIONS

BATH TIME

FIRST BIRTHDAY

Watercolour with ink 7 x 1 ½ inches

Ink and watercolour 8 ¼ x 2 ½ inches

Ink and watercolour 8 x 2 inches

265

266

267 E1CURSIONS

Ink with watercolour 1 x 1 ¼ inches

268 TRIUMPHS

Signed Ink and watercolour 3 x 3 ¾ inches

269

267

BIRTHDAY BALLOON

Signed Ink and watercolour 5 ½ x 2 ½ inches

269 268

Nos 270-273 are all drawn for but not illustrated in Sara Midda, Baby Book, New York: Workman Publishing, 1999 [unpaginated] 270 BABY I

Ink and watercolour 1 ¼ x 1 inches

271 BABY II

Ink and watercolour 1 ½ x 1 inches

272

270

271

272

273

BABY III

Ink and watercolour 1 ¼ x 1 ¼ inches

273 BABY IV

Inscribed ‘For book’ below mount Ink and watercolour 1 ½ x 1 ½ inches

146

Sara Midda, A is for Adultery, Angst, and Adults Only, New York: Workman Publishing, 2002

Sara Midda’s Alphabet book for adults considers each letter of the alphabet and Alls each page with playful, often naughty vignettes and hidden wordplay.

A is for Adultery is a witty, grown up game and gorgeous keepsake.

Nos 275-289 are all illustrated in Sara Midda, A is for Adultery, Angst, and Adults Only, New York: Workman Publishing, 2002 [unpaginated]

274

274 H IS FOR HEAVEN AND HELL

275

276

Signed Ink 1 ¾ x 1 ¾ inches Similar to Sara Midda, A is for Adultery, Angst, and Adults Only, New York: Workman Publishing, 2002 [unpaginated]

275 H IS FOR HEEL

Pencil and watercolour 1 ½ x 1 ¼ inches

276 H IS FOR HOWDAH

Ink with watercolour 1 x 1 ½ inches

277 A IS FOR APPLE

277 147

Watercolour with ink 3 x 4 inches

278 H IS FOR HAMMOCK

Ink with watercolour 2 ¼ x 2 inches

279 H IS FOR HANGOVER

Ink with watercolour 2 x 1 ¾ inches 278

279

280 H IS FOR HEART II

Watercolour with pencil 1 ½ x 1 ½ inches

280

281

281 H IS FOR HORNY

Pencil with watercolour 1 ¾ x 2 ¾ inches

282 H IS FOR HEART I

Signed Watercolour and ink 2 ½ x 5 ½ inches

282

148

283 J IS FOR JUGGLING

Watercolour with pencil 4 ½ x 4 inches

284 K IS FOR KAPELLMEISTER

Watercolour 2 ¾ x 3 inches

285 M IS FOR MAN

Watercolour and ink 2 ¾ x 3 inches 283 284

149

285

286 P IS FOR PARENTING

Ink and watercolour 1 ½ x 1 inches

287 N IS FOR NOUGHTS AND CROSSES

Signed Ink 1 ½ x 3 ½ inches

286

287

288 7 IS FOR 7EBRA

Ink and watercolour 2 ½ x 3 inches 289 289 M IS FOR MONEY

Watercolour and ink 4 x 4 inches

288

150

Sara Midda, How to build an A, New York: Artisan, 2008

Nos 290-294 are all illustrated in Sara Midda, How to build an A, New York: Artisan, 2008 [unpaginated]

151

290

291

A IS FOR APPLE

H IS FOR HEART

Watercolour with ink and pencil 4 ¼ x 4 inches

Watercolour with ink and pencil 6 ¾ x 6 ¾ inches

A wonderful example of Sara’s lifelong fascination with the art of lettering, How to Build an A teaches children how to build each letter of the alphabet using just 11 shapes, and accompanying each letter with Sara’s beautiful watercolours.

292 I IS FOR ICE CREAM

Watercolour with ink and pencil 5 ½ x 3 ½ inches

293

294

7 IS FOR 7EBRA

O IS FOR ORANGE

Pencil with watercolour 3 x 3 ¼ inches

Watercolour with ink 6 x 6 inches

152

Sara Midda, A Bowl of Olives: On Food and Memory, New York: Workman Publishing, 2014

Drawn from Sara’s wealth of experiences and memories, A Bowl of Olives is a book designed for all who love food and cooking. It is a captivating celebration of fruits, vegetables and simple ingredients, and the joy of sharing food with friends and family.

295 Nos 295-298 & 300-307 are all illustrated in Sara Midda, A Bowl of Olives: On Food and Memory, New York: Workman Publishing, 2014

295

BOWLS OF OLIVES I

Watercolour 5 ¾ x 5 ¼ inches Illustrated: cover design

296 BOWLS OF OLIVES II

Watercolour 3 ½ x 2 ½ inches Illustrated: cover design

153

296

297 IN EVERY EGG THERE IS A COQ AU VIN WHICH SLEEPS

Ink and watercolour 2 ¼ x 3 inches Illustrated: page 28 298 BREAKFAST

Four panels, each measuring 2 162 x 2 164 inches Watercolour 6 x 5 ½ inches Illustrated: pages 67 and 68

297

298

154

299 FROM THE BOULANGERIE

Eight panels, each measuring 2 162 x 2 164 inches Watercolour 10 ½ x 5 inches Drawn for but not illustrated in Sara Midda: A Bowl of Olives, On Food and Memory, New York: Workman Publishing, 2014 [Lemon Tart panel illustrated page 51]

300 EARLY MORNING – FIRST STRONG COFFEE ...

Watercolour 7 ¼ x 4 inches Illustrated: page 66

299

155

300

301 SNOWY, FLOWY, BLOWY, SHOWERY, FLOWERY, BOWERY, HOPPY, CROPPY, DROPPY, – BREE7Y, SNEE7Y, FREE7Y

Signed with initials Watercolour 1 ¾ x 1 ¾ inches Illustrated: page 53 303 A CONTINUOUS CHANGING CARPET

Watercolour 7 x 6 inches Four panels, each measuring 2 164 x 1 364 inches Illustrated: pages 54 and 55

301

303

302 APPLES

Watercolour 5 ¼ x 5 ½ inches Four panels: First Panel: 2 164 x 2 162 inches Second Panel: 1 164 x 1 inches Third Panel: 1 164 x 1 inches Fourth Panel: 2 x 1 162 inches Illustrated: page 99

302

156

305 BLACKCURRANTS AND REDCURRANTS

304 ONION

Watercolour 5 ½ x 4 inches Illustrated: page 113

157

Signed with initials on rst panel Watercolour 7 x 3 ¼ inches Three panels: First Panel: 2 164 x 1 162 inches Second Panel: 1 164 x 1 364 inches Third Panel: 1 164 x 3 162 inches Illustrated: page 100

306 TU B’SHRAT – BIRTHDAY OF THE TREES TO CELEBRATE RENEWAL OF FLOWING OF LIFE

Inscribed with title on second panel Watercolour and pencil 3 x 7 ¾ inches Two panels: First Panel: 1 162 x 2 inches Second Panel: 3 x 3 364 inches Illustrated: pages 108 and 109

307 POTATO AND CHEESE PIE

Signed Watercolour 5 x 6 inches Illustrated: page 112

158

RECENT WORKS

308 WHAT COLOUR IS BIRDSONG?

Inscribed with title and dated 2023 Watercolour 4 x 6 ½ inches

309 CONVOLVULUS BINDWEED

Inscribed with title and dated ‘March 16 2021’ Watercolour 8 ¼ x 4 inches

159

310 HAPPY EVERYTHING

Signed with initials Watercolour with ink and bodycolour 11 x 8 inches Design for a book cover

160

311 UNDER THE MISTLETOE

Ink with watercolour 2 x 2 ¾ inches 311

312 BRINGING THE REMOTE

Ink with watercolour 1 ¼ x 1 ½ inches

313 SIT!

Watercolour 1 ¼ x 1 ¾ inches 312

313

314 SALLY AND THE MOLE HILL

314

161

Inscribed with title Ink and watercolour 2 ¼ x 4 ¼ inches

315 HELPING WITH THE SOCKS

Ink 1 ½ x 1 ½ inches

316 HELPING WITH THE COAT

Ink with watercolour 1 ¼ x 2 inches 315

316

317 CURLED UP IN BED

Ink with watercolour ¾ x 1 ½ inches

318 BRINGING THE STICK

Ink with watercolour 1 ¼ x 2 inches

317

318

319

320

319 CHECKING IN

Ink with watercolour 1 x 1 ½ inches

320 ALLOWED ON THE BED

Ink with watercolour 1 x 1 ½ inches

321 CURLED UP TOGETHER

Ink and watercolour 1 ½ x 3 ½ inches

321

162

322 I WANTED TO WRITE YOU THE LONGEST LETTER ABOUT DREAMS SHARED THOUGHTS MEMORIES I COULDN’T FOR SO LONG YOU’D UNDERSTAND WITHOUT WORDS

Signed Watercolour 9 ¼ x 2 inches

323

323 WALKIES

Signed with initials Watercolour 2 ¼ x 1 ¾ inches

324 325

324 SALLY

Ink 1 ¼ x 1 ¾ inches

325 EGOIST

322 163

Signed Ink with pencil 3 ¼ x 2 inches

MITSUKOSHI PRODUC TS

MITSUKOSHI PRODUCTS Sara Midda’s 20-year collaboration with Mitsukoshi, Japan’s Arst department store resulted in a variety of products. The collection was sold exclusively in Japan and showcases Sara’s illustration across a range of materials.

Art Director Toru Ando Arst approached Sara after discovering her debut, In and Out of the Garden: ‘I adored the energy and skill in her work. She uses watercolours with great delicacy and produces work of exquisite detail.’ This translated beautifully onto ceramics, fabrics, bath products and babywear, and earned Sara her international reputation in the early 1990s.

The products featured are samples from Sara’s personal collection, and are not for sale.

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CHRIS BEETLES GALLERY 8 & 10 Ryder Street, St James’s, London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com