ANNUAL EXHIBITION 2025
There’s more to the
than just the Annual Exhibition
Keep up with the latest news all year round on the NEAC website and social media.
You’ll find details of exhibitions, classes and workshops, member artist profiles, interviews and articles along with a selection of original paintings, drawings and prints for sale. You can also sign up for our monthly email newsletter.
WE NEED YOUR HELP!
As a registered charity, we rely on the generosity of our supporters to be able to help aspiring, emerging and established figurative artists through teaching, scholarships and exhibiting.
Visit www.neac.co.uk/support to become a Friend of the NEAC, make a donation, or find out about sponsorship and advertising opportunities. You might also consider leaving a gift or donation to the NEAC in your will.
WHY SUPPORT THE NEAC?
“Because artists should be greatly encouraged and supported, without condition. Without them, the world would descend into an inhuman and terrifying greyness. To draw and paint figurative art is to be utterly present, to notice and to see, and to notice again, and appreciate and then record this light, this figure, this landscape; object; person; feeling; thought; dream as it is now in this moment, and then this one. After all, ‘now’ is the only moment we can be sure of.”
Richard&AlisonChenevix-Trench
www.neac.co.uk
Michael Kirkbride NEAC BambooDrawingClass
Works are available to browse & buy at www.mallgalleries.org.uk
020 7968 0966 artsales@mallgalleries.com
PRESIDENT’S FOREWORD
Welcome to the 2025 NEAC Annual Exhibition. Alongside works by our member artists and open submission entries, we continue our revived tradition of inviting leading artists of our day to join us as guest exhibitors. This year we are joined by Olwyn Bowey RA and Shani Rhys James MBE, two very different but equally wonderful painters. Their work reminds us of the remarkable range of art that can emerge from what we at the NEAC have always nurtured as the bedrock of what we espouse: observing and interrogating the visual world around us.
The opening night awards ceremony will, for the first time, include two prizes for paintings that address the climate emergency. Somebody asked if the NEAC has now gone “woke”, but that misses the mark. “Woke” implies special pleading for disadvantaged groups –hardly a fit for the planet. The science is clear: the only political debate left is how we respond. These prizes take no stance on that, either from the left or the right – they simply invite artists to engage. Participating artists can, of course, be as political as they like –as art has always been. I see no issue and only hope the work provokes lively debate. Thanks are due to the generous sponsors who have chosen to remain anonymous.
I cannot pretend this has been an easy year for the Club financially. Our outgoings have increased greatly over the past decade, but our income (largely dependent on generous gifts
and legacies) has not kept pace. The art world we are a part of has become increasingly complex and competitive over this period with social media, websites, and digitalisation requiring a lot more professional administrative expertise than before. We are incredibly grateful to Barry O’Donovan and Jess Miller who keep everything running smoothly, but there’s no such thing as a free lunch.
With this in mind, we organised a highly successful auction in the run-up to Christmas which has helped balance the books this year. We appreciate all of you who supported us by bidding, and all our members who offered their work so generously. But it does beg the question of how to replicate this year-on-year.
Since our last show, we have said a sad farewell to two long-serving NEAC members: Richard Bawden and Judith Gardner who will be sorely missed. Please read our tributes to them in this catalogue.
To conclude on a more upbeat note, our educational programme continues to be a big star in the FBA firmament. We are immensely proud of our scholarships scheme which every year allows three early career artists to get a leg up and move forward in pursuit of their goals. We extend a huge thank you to our sponsors for these, Sir David and Lady Sally Clementi. And, while I’m about it, I’d like to thank all our sponsors and prizegivers whose generosity consistently enhances our annual shows.
We are immensely proud of our scholarships scheme which every year allows three early career artists to get a leg up and move forward in pursuit of their goals.
Next year will be the NEAC’s 140th anniversary. To help safeguard our future, visit www.neac.co.uk/support
Patrick Cullen
President of the New English Art Club
Patrick Cullen, Self Portrait
PRIZES & AWARDS
The NEAC Climate Emergency Prize
An award of £2,000 for an artwork that addresses the climate crisis and a prize of £500 for a runner up
The Doreen McIntosh Prize
For an artist whose work fulfils the New English Art Club’s ideals of rigour, immediate engagement with the visual and a searching attitude. Value £2,000
The Hermione Hammond Drawing Award
£2,000 for a drawing by an emerging artist aged 35 or under
The Ken and Dora Howard Prize
£1,000 for a painting that best captures a sense of light
The Val Harris Prize
Two-week residency in The Atelier in Hay-on-Wye followed by a one-week exhibition at The Chair, the art gallery owned by Val Harris
The Bowyer Drawing Prize
Selected by the Bowyer family, £500
The Michael Harding Award
£500 worth of art materials
The Milner Prize for an Emerging Artist
£500
The Winsor & Newton Award
Art materials to the value of £500
The NEAC Critics’ Prize
£250
Mall Galleries / FBA Award
Ten free submissions to exhibitions by the Federation of British Artists at Mall Galleries (worth up to £200) for a firsttime exhibitor with the NEAC
The Anthony J. Lester Art Critic Award
A certificate and cheque for £100
The Dry Red Press Award
The winning work will be published as a greetings card in the Dry Red Press ‘Prize Winners’ range, with royalties from the sale of the cards going to the artist
ANNUAL EXHIBITION EVENTS
TALKS, T OURS AND DEMOS
Join us at Mall Galleries for a series of events led by NEAC member artists.
All events are free with admission.
For full details, visit www.mallgalleries.org.uk
PATRON
HM King Charles III
OFFICERS
President
Patrick Cullen
Hon Treasurer
David Elliott
Secretary
Jenny Wheatley
Education Programme Team
Julie Jackson
Victoria Jinivizian
Clare Haward
Membership Secretary
Jason Line
Archivist
Neil Pittaway
COMMITTEE
Tom Benjamin
Benjamin Hope
Andrew James
Jason Line
Toby Ward
Grant Watson
Michael Weller
Jacqueline Williams
INVITED ARTISTS
OLWYN BOWEY RA
I’ve always loved Olwyn Bowey’s paintings, from when I first saw them as a teenager in the RA summer show in the 70s. They stood out for me; I love the baskets and bricks and wonderful depiction of plants and flowers usually placed in greenhouses, the use of pattern and strong compositions and wonderful honesty of touch.
I was so honoured to meet her when we both took part in an exhibition ’Gardens’ at the offices of A.T. Kearney in 1998. We got on immediately, I love her sense of humour, she is ridiculously modest about her work but at the same time very committed to whatever she is working on at the time.
She believes she is an artist by chance because from the age of seven she really wanted to be a naturalist. But living in West Hartlepool there was no opportunity at school to study biology. So she went to the local art school, and from there her talent was recognised and she went on to the Royal College of Art.
She writes of her time there in her typically self-deprecating style: “I have to thank the RCA, and for once, being in the right place at the right time, when my generation encouraged by the RCA staff, joined a changing RA. No matter how hard I try, I cannot produce much art, so I doubt I would have any career at all had I not been around then. Much as I like being part of a world I feel I have no right in, I have been grateful to fellow ‘proper’ artists, as without some of my fellow RCA students, I don’t think I could’ve stayed the course there.”
For many years now Olwyn has lived in West Sussex, pursuing the tradition of artist / gardener. Her work continues to bring much joy and admiration at the RA summer show and I for one am thrilled that she is letting us have a work for the NEAC annual exhibition.
Melissa Scott-Miller
100 x 97 cm
£2,500
DecoyDuck Oil
SHANI RHYS JAMES MBE
I first knew Shani Rhys James back in our days at art school. We both moved into a squat in Brixton in the early 1970s. I had just completed my foundation year at St Martin’s and she was about to begin her fine arts degree at the same establishment. She struck me, as many others have observed, like a force of nature, small in stature but packing a punch that totally belies this. Her paintings even then seemed to erupt with energy and colour and she never shied away from the big canvas. When we invited her to show a couple of her works with the NEAC I suggested a size range between medium and moderately big. I’m so glad that Shani, true to form, offered us instead one properly large 6 ft x 6 ft canvas.
‘Blue Colander, Gaudy Jug and Welsh Kettle’ is an iconic Rhys James piece, combining an intensely felt self portrait with a bold design of flowers and domestic objects against a black background. The vulnerability beautifully suggested in the treatment of her face, contrasting with the bravura with which she attacks the big foregrounded motifs and explosion of wild flowers, is pure Rhys James.
Shani has achieved great success as an artist, receiving the MBE in recognition of her exceptional talent. She is perhaps best known for her expressive self portraits, often executed looking into a small mirror held in one hand while her other transfers what she sees there to a canvas – often one much taller than herself – with rapid swipes and smears from a loaded brush or palette knife. The alchemy achieved, from what looks at first like an unequal contest, is something both unique and thrilling.
I was delighted to learn from her just this week that Olwyn Bowey RA, our other invited guest artist, was a fondly remembered tutor of Shani’s at St Martin’s and that Shani has always loved her work. Serendipity!
Patrick Cullen
£24,000
BlueColander,GaudyJugandWelshKettle
Oil on linen
183 x 183 cm
NEAC ANNUAL LECTURE
Thursday 12 June
6pm: Doors
6.30pm: Lecture start
Tickets: £10
Book at www.mallgalleries.org.uk
Drawing the Unspeakable with Liza Dimbleby
Earlier this year I was lucky enough to catch a remarkable exhibition at the Towner Gallery in Eastbourne curated by the artist Liza Dimbleby, along with her father, the journalist and television presenter and now President of the Towner, David Dimbleby. The exhibition was entitled “Drawing the Unspeakable” and it brought together 300 drawings by many well known 20th and 21st century artists including, to mention just a few, David Bomberg, Louise Bourgeois, Edward Burra, Barbara Hepworth, Ken Kiff, L.S. Lowry, and Paula Rego. The theme, as the title implies, was that of drawing subjects that are painful and traumatic including death, torture, sexual abuse, incarceration and all manner of suffering. The drawings came mostly from memory and imagination.
We at the NEAC often emphasise the value we place on the practice of drawing, but arguably we tend to always stress the kind of drawing that is done whilst directly observing a motif, rather than that which comes entirely from a subjective and emotional state. The latter type of drawing could be based on a memory or come from the recesses of the unconscious mind including from dreams and nightmares. The results may be raw and less technically
John Davies, Houses on Fire
accomplished, but equally they may convey a form of passionate expression vital to the artist’s creativity and beyond the reach of words.
For those of you who missed the exhibition, this is a unique opportunity to take a virtual tour of it with its co-curator as your guide. For those who saw it, here’s a wonderful chance to revisit it and to learn more about the ideas and choices that went into its creation with Liza Dimbleby herself.
Patrick Cullen PNEAC
Liza Dimbleby
EDUCATION PROGRAMME
The NEAC brings together some of the most talented figurative, expressionist and abstract artists working in the UK today.
Our education programme offers exciting workshops where you can meet and learn from our members. They share their expertise, experience and unique vision of the world and they inspire anyone who joins them for a workshop. Our ethos is rooted in the observation of the world around us, and developing methods to help you convey your own vision and emotion, and the expression of it in your artwork.
Here is a glimpse of what our artists have been doing and we look forward to you taking a workshop or gifting one soon.
A huge range of workshops took place over the past year, both in the studio and outdoors en plein air, in London, Dorset, Wiltshire and Sussex, as well as online –we are always trying to extend our reach.
Learning from art history is constantly relevant, and Laura Smith, Neil Pittaway, Jason Line, Felicity House and Julie Held led classes at the National Gallery, the Courtauld, the Estorick Collection, Natural History Museum and the V&A –fine sources indeed. Louise Balaam will be drawing from the V&A’s Medieval and Renaissance Sculpture collection on 12 July.
Life drawing classes, which seem to be enjoying a resurgence, were taught by Mick Kirkbride in London, and Victoria Jinivizian in Wiltshire. Robert E Wells also put the figure at the centre of his plein air
course in Eastbourne to suggest narrative, making lots of work in sketchbooks. And Toby Ward explored the importance of sketchbooks in his workshop at the South Bank.
Other plein air workshops were enjoyed with Michael Weller in Weymouth, John Dobbs at Regent’s Park and Richmond, where there were some challenging interactions with the tide!
Online workshops provide a great opportunity to learn too, and James Bland taught ‘Transcriptions in Oils’ recently while Clare Haward will teach ‘Colour and Shape in Nature’ on 5 July. This varied programme highlights the chance to work with some of our members and benefit from their distinguished teaching and perceptions on drawing and painting.
HOW TO BUY
• See more of the exhibition online where you can browse & buy the works at www.mallgalleries.org.uk
• To purchase a work, please contact Mall Galleries at artsales@mallgalleries.com or on 020 7968 0966
• Every sale helps support not just the artist, but also Mall Galleries / Federation of British Artists (Registered Charity No. 200048).
• Many of the artists are available to commission. For details, please contact: commissions@mallgalleries.com
• The works in the NEAC Annual Exhibition are available to buy through the Own Art scheme whose interest free loans make it easy and affordable to buy original, high quality contemporary art. Representative 0% APR. Subject to status. Terms and conditions apply.
NEAC SCHOLARSHIP 2024–25
The £5000 scholarship gained momentum in its second year, with another fantastic trio of artists: Charlotte Houlihan, awarded £5000, and Rizza Zahid and Theo Dunford, each receiving £250, selected from an impressive shortlist.
There were over 250 applicants, demonstrating the need and enthusiasm for this award. Each scholar has espoused the ideals of the scholarship, joining all the workshops and visiting a wide array of NEAC members at their studios for conversation and mentorship. They have struck up real camaraderie as a unit and created supportive relationships set to last. Charlotte, Rizza and Theo are to be praised for their commitment and hard work from start to finish.
The scholarship embodies the educational component of the NEAC which is fundamental to our charitable status and our aim to support those who face financial barriers in pursuing their artistic vocation. We are delighted to have secured funding to double the two runnerup scholarship awards to £500 each for 2025-2026.
Our huge gratitude to Sir David and Lady Sally Clementi for their generous ongoing sponsorship.
The Education Team, curated by Julie Jackson and assisted by Clare Haward and Victoria Jinivizian, and until latterly, Patricia Paolozzi Cain, has supported the scholars through the year, sharing work during online meetings, and enjoying absorbing conversation about it. Their work in the exhibition demonstrates their interrogation of the subject, and spirit of play and experimentation afforded by the scholarship year, with drawing at its centre.
Julie Jackson, Clare Haward and Victoria Jinivizian
NEAC SCHOLARSHIP 2025–26 AND BEYOND . . .
Our 2025–26 scholars will be announced at the opening of our 2025 Annual Exhibition. We are grateful to Sir David and Lady Sally Clementi for generously sponsoring the awards.
For more information about the NEAC Artist Scholarships, please visit www.neac.co.uk/scholarship
FEEDBACK FROM OUR 2024–25
SCHOLARS FOLLOWS . . .
CHARLOTTE HOULIHAN
The confidence boost at being awarded the Scholarship and the opportunity to learn from a group of artists that I hold in such high regard has been an unparalleled experience. I have felt a wonderful mixture of challenge and support, and loved venturing beyond my usual realm of comfort, without conditions or expectations. This has been mirrored in the time I have spent with NEAC members, who have generously welcomed me to their studios, homes and workshops; giving me so much of themselves, while encouraging exploration from me.
Those precious connections, experiments and indulgent conversations about painting, that feel so rare in other parts of my life, have each shaped my work in ways that I could never have anticipated, or replicated. While the financial support has enabled me to dedicate time to it that would not otherwise have been possible.
Sharing the experience with Rizza and Theo has been a joy, and the friendships formed with them, and NEAC members, I hope will continue and grow. I feel full to bursting with inspiration, which will easily take me another year to fully digest! Thank you NEAC for this incredible adventure. It has been wonderful.
THEO DUNFORD
The New English Art Club Scholarship has been a valuable opportunity for learning and connection. I feel it has pushed me to question and develop my practice.
The scholarship makes the NEAC workshops accessible for free, allowing access to a diverse range of events that the NEAC offers. I believe this has been a healthy way to learn and experiment.
Visiting NEAC artists has been wonderful, providing the chance to exchange ideas and experience with some of NEAC’s artist members has been fascinating. Visiting the working environment of these artists has been insightful, providing me with a deeper understanding of their work. Many thanks to the artists for being so generous with their time.
Sometimes, being a painter can seem like an impossibility, and this opportunity has been extremely encouraging. I have nothing but positive things to say about the scholarship and will treasure this last year
RIZZA ZAHID
As a self-taught artist in the early years of my professional career, being awarded the NEAC Scholarship was both validating and transformative. It offered not only time and space to explore my practice more deeply, but also a real sense of encouragement and belonging. The experience allowed me to experiment and push beyond my comfort zone, while continuing to develop my own visual language and style.
The workshops throughout the year were a real highlight — a chance to learn directly from experienced artists and gain new perspectives on process and approach. Through these, I was introduced to techniques like drawing from observation, which allowed me to explore aspects of my practice in ways I hadn’t considered before.
Studio visits with NEAC members were equally valuable — generous conversations about sources of inspiration and the day-to-day realities of being an artist. These moments gave me insight not only into technique, but also into the rhythms and structures that shape a sustainable artistic life.
Being part of the NEAC community has shifted how I view myself as an artist. It’s helped build confidence and provided a strong foundation for what comes next. If you’re thinking of applying, I’d absolutely recommend it!
REMEMBERING JUDITH GARDNER (1952–2025)
Judith Gardner was elected to the NEAC in 2009 and was also a member of the RBA and the Small Paintings Group. She regularly exhibited her atmospheric landscapes at our Annual Exhibitions and will be deeply missed by her fellow members . . .
Judith was a lovely gentle soul and these qualities ran through all her paintings. They invariably evoked a gorgeous stillness and a tranquil atmosphere, typically as the light faded and the moon rose over a garden undisturbed by human presence. But they always skirted sentimentality and repetition, even though she returned to this and similar subjects many times. Hers was a unique talent and she will be sorely missed at the NEAC.
Patrick Cullen
Judith was such a very kind person. She was always a joy to chat with on the occasions we met at the Annual Exhibition. Judith’s paintings are beautiful. She sensitively played in the light of the gloaming. Whenever I see a winter afternoon’s light fade, I think of her – particularly when there is a covering of snow on the ground. We will all miss her greatly.
Peter Brown
I first met Judith at Art in Action and instantly had a great respect for her work. Those deeply atmospheric pictures with moons that she could magically paint, and the wonderful drawing in her many sketchbooks which made a huge and lasting impression on me. She was a consummate artist with a unique and powerful voice in her handling. I love her paintings.
Daniel Shadbolt
I always enjoyed a chat with Judith at the NEAC shows. She was so modest about her beautiful, colourful, ‘still’ paintings. She had her own combinations of colours. Her paintings were often from her garden or nearby, and the sky was very much a fascination for her.
Mary Jackson
GardeninAutumnLight
I’ve known Judith not only from the NEAC but also the RBA where she served for many years as Hon. Secretary giving unstintingly of her time. She was very approachable, diligent and gentle. Her beautiful paintings reflected a quiet stillness, grounded in observation – pared-down visions of misty Kent landscapes and gardens. She subtly captured that peace, often nocturnal, endof-the-day solitude; or the quiet of snow with often the motif of a misted sun or moon. On a personal note, Judith was so kind to me when I confided in her that I was awaiting a diagnosis of a serious illness and was quite frankly terrified. She took me to one side and managed to calm me down with her steady and gentle advice which helped me so much and for which I am forever grateful.
Bridget Moore
REMEMBERING RICHARD BAWDEN (1936–2024)
Richard Bawden, elected to the NEAC in 2006, was the son of Edward Bawden and a painter, printmaker, designer, and illustrator. His work appeared in books, posters, murals, mosaics, textiles, engraved glass, furniture, and cast-iron seats, for which he cut the patterns himself. Here follows a tribute from his long-time friend and fellow NEAC member, Richard Sorrell.
Richard Bawden was my good friend, and I shall miss his wonderfully humorous presence.
I met Richard at Walthamstow (South West Essex Technical College and School of Art), where he taught printmaking. I soon came to realise that Richard was an excellent lino cutter. He taught me this skill, along with etching, lithography, and how to roll up a “nice juicy ink.” I still remember him unswervingly cutting a bevel mount freehand — “Well, I have big ham-like hands,” he said.
I have benefited greatly throughout my career from this help and instruction; it made me far more practical than I ever expected to be. I don’t think I could have survived as an artist had I not made my own mounts and frames.
There was something aristocratic and courtly about Richard – his tall, good looks, his unquestioning confidence in his abilities, and his lack of self-consciousness.
SeaShellandJugs
After Walthamstow, I didn’t see Richard again for 30 years when he joined the Royal Watercolour Society. I remember his acceptance speech. He had been a member of the sister society, the Painter Printmakers.
“I will have to scrape the printing ink from under my fingernails and concentrate on watercolour,” he said.
Richard’s approach to watercolour was a linear, draughtsman’s approach. He drew with a dip pen and washed colour over the drawing. This gave his pictures an incisive yet light quality.
He loved to draw intimate interiors with cats, cats, cats! His cats came to define a languid, luxuriating domesticity. These creatures would stretch out over a rug,
curl up in a basket, walk stiff-legged across a room, or sit in a window. At his Suffolk home, I saw the interiors from his pictures. Every corner reflected art and craftsmanship — from printing presses to Staffordshire pottery and an iron bench he designed.
On a trip to India with the RWS, I remember Richard sitting drawing ancient Buddhist caves as visitors flocked around. I also have an amusing memory of him innocently offering his wrung-out bathing trunks to another artist who had suggested a swim in the hotel swimming pool.
Richard had a distinguished career with over 50 solo exhibitions, and his paintings and prints bring delight to many people. Richard Sorrell
30
£5,500
DIANA ARMFIELD
Wild Rose
Watercolour and gouache on paper
x 18 cm
POA
JULIAN BAILEY
Beach Cafe Oasis Oil
61 x 56 cm
ChasingtheStorm,Ashdown
Oil on panel
30 x 30 cm
£1,500
RockinSpring,EveningSunlight
Oil on canvas
76 x 122 cm
£4,500
LOUISE BALAAM
TOM BENJAMIN
TIM BENSON
Stream,HighSummer Oil on board
30 x 41 cm
£1,400
JUNE BERRY
The End of the Garden Oil
64 x 73 cm
£3,000
JAMES BLAND
IceFactory Oil on canvas
41 x 61 cm
£1,400
The Golden Tree Oil on canvas
25 x 25 cm
£1,050
StudioMantelpiece Oil on canvas
76 x 76 cm
£14,500
FRANCIS BOWYER
PETER BROWN
Oil
26 x 20 cm
£650
33 x 28 cm
£3,250
DAVID CARPANINI
AflowerformyMam
Acrylic
DIANA CALVERT
WhiteTulipwithSnowdrops
Patrol
Oil on canvas
72 x 101 cm
£950
Oil on panel
84 x 60 cm
£3,000
DIANA CHARNLEY
PETER CLOSSICK
BelladonnaLily
120 x 95 cm
£5,500
20 x 15 cm
TESSA COLEMAN
Assisi Dream Oil on linen
MICHAEL COOPER
JamesCooper Oil on panel
NFS
JANE CORSELLIS
41 x 43 cm
£2,750
130 x 145 cm
£9,250
PATRICK CULLEN
Tuscan Badlands Pastel
Camellias and Roses Oil
SAIED DAI
First Daffodils, Cornwall
Acrylic and oil
54 x 54 cm
£2,650
Glass and Rose
Oil on linen on panel
38 x 38 cm
£8,500
PAUL CURTIS
StillLifewithBazaarMagazine
Oil on canvas
61 x 81 cm
£3,900
DiggerlandwithOrangeSkip Oil
158 x 121 cm
£6,000
Hammerton’sFerry
Oil on canvas
39 x 49 cm
£1,100
JOHN DOBBS
ALEX FOWLER
DENNIS GILBERT
Yellow Windbreak
Oil on board
21 x 27 cm
£670
Beach Huts
Oil
30 x 40 cm
£1,600
U We Wash
Oil on canvas
30 x 40 cm
£750
SARAH GRANVILLE
CLARE HAWARD
PAUL GILDEA
CHARLOTTE HALLIDAY
Gwyneth’sBouquet
Watercolour and pencil
35 x 28 cm
£750
BoulevarddesCapucines,towardsthePlacedel’Opéra Oil
54 x 65 cm
£4,000
JULIA HAWKINS
JULIE HELD
Romy–TheFlorist
Acrylic on canvas
183 x 122 cm
£7,000
BENJAMIN HOPE
Trees, Les Menuires #5
Oil on panel
31 x 25 cm
£1,800
FELICITY HOUSE
Mariella’sVegetableGarden
Watercolour and pastel
45 x 30 cm
£850
ViewuptotheChurch
Oil on canvas
90 x 59 cm
£3,500
ANDREW JAMES
Tom’s Sketchbooks
Oil on board
30 x 30 cm
£1,250
CapturingOneLastConversationTom
Coates PPNEAC RP PPPS RWS PPRBA
Hon RWA PPSEA OAS APF 1941 – 2023
Pastel pencil on watercolour paper
53 x 38 cm
NFS
Table with Bowls of Fruit Oil
46 x 64 cm
£3,200
CRAIG JEFFERSON
JULIE JACKSON
MARY JACKSON
Primroses,ClementinesandHoneyonaShelf
Oil on board
25 x 28 cm
£1,875
VICTORIA JINIVIZIAN
LaSalleàManger Oil on gesso panel
29 x 43 cm
£1,300
Pigment on linen
127 x 91 cm
£7,000
PAMELA KAY
MICHAEL KIRKBRIDE
Salon
Rome: Summer 2023
Oil on panel
46 x 46 cm
£4,250
45 x 40 cm
£2,400
PETER KUHFELD
JASON LINE
Two Chairs
Oil on canvas
BRIDGET MOORE
AgainsttheGreen
Gouache
18 x 25 cm
£875
TreeShadowsandSkiers,Tignes,France
Oil on Claessens linen canvas
66 x 101 cm
£4,850
StudyforKatie,PinkDress
Oil on canvas
30 x 25 cm
£1,200
ANDREW MACARA
ARTHUR NEAL
Land in Winter Oil on canvas
101 x 122 cm
£6,500
SummerDayinHainton Oil on board
31 x 41 cm
£1,250
Languagesthataremadetodie
Mixed media
122 x 147 cm
£6,500
PATRICIA PAOLOZZI CAIN
PAUL NEWLAND
MELVYN PETTERSON
RICHARD PIKESLEY
Home;QuickBrownFoxandRisingMoon
Oil on canvas
81 x 86 cm
£4,900
SALLIANN PUTMAN
Sonata 3
Watercolour and gouache
17 x 17 cm
£425
Sands of Time
Mixed media
24 x 79 cm
£2,950
NEIL PITTAWAY
SIMON QUADRAT
ManinStripedSuit
Oil on canvas
41 x 51 cm
£3,400
CHARLES RAKE
WaitingforDiners
Oil on panel
36 x 26 cm
£725
JACQUELINE RIZVI
StillLifewithChineseTeapot Oil on canvas
40 x 50 cm
£3,750
Evening Oil
64 x 51 cm
£3,800
SUSAN RYDER
MELISSA SCOTT-MILLER
60 x 60 cm
£3,500
60 x 60 cm
£3,600
Broad Court, Covent Garden Oil on canvas
ANN SHRAGER Festival Oil
DANIEL SHADBOLT
Plums and Camellia Oil on linen
41 x 51 cm
£870
CHARLOTTE SORAPURE
Enchanted Garden Oil on linen
76 x 61 cm
DescendedFromtheSky Oil on linen
80 x 80 cm
£4,500
£14,000
LAURA SMITH
Highland Egg tempera on handmade gesso board
39 x 47 cm
£1,200
Winter Oil
62 x 46 cm
£3,850
Dungeness10
Acrylic
13 x 13 cm
£500
RICHARD SORRELL
RUTH STAGE
NICK TIDNAM
SARAH SPENCER
WhitstableEveningSeascape Oil
33 x 41 cm
£1,950
HastingsDrowned Oil
75 x 60 cm
£1,200
LORNA VAHEY
76 x 31 cm
£2,600
TravelPreparation
52 x 33 cm
£1,800
TOBY WARD
Oil on board
GRANT WATSON
Held
Oil on canvas
BlueMugsandPinkBowlwithPearsandaTangerine Oil
25 x 35 cm
£750
Woodland Oil on panel
59 x 92 cm
£5,200
PreparingfortheCarnival
Acrylic on canvas
100 x 100 cm
£5,800
MICHAEL WELLER
ROBERT E WELLS
JENNY WHEATLEY
CHARLES WILLIAMS
Vin Oil
30 x 30 cm
£950
FallingManwithBearandHorseV3
Oil on linen
100 x 75 cm
£4,000
MICHAEL WHITTLESEA
LandscapewithCornfield Oil
15 x 27 cm
£1,800
Spring Oil on primed card
20 x 36 cm
£1,200
JACQUELINE WILLIAMS
DUNCAN WOOD
Bo Oil on canvas
35 x 30 cm
£3,850
Departure Oil on linen
150 x 160 cm
£8,964
NEALE WORLEY
JOHANNA ZHANG
176
179
Bristol Channel, Night with bitumen felt
and
PPRBA Hon RWA PPSEA OAS APF 1941 – 2023
NEAC MEMBERS
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Artists’ General Benevolent Institution
For over 200 years the AGBI has provided assistance to professional artists and their dependants in times of need. Funds are urgently needed for the continuation of this work.
Office of the Institution: 15 Churton Street, Pimlico, London
SW1V 2LY
www.agbi.org.uk Telephone 020 3161 9183
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