ANNUAL EXHIBITION 2026
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
Craig Jefferson Sunflowers
PRESIDENT’S FOREWORD
The New English Art Club (NEAC) marks its 140th anniversary with our Annual Exhibition, bringing together contemporary painters and historic works by former NEAC members Paul and John Nash.
Founded in 1886, the NEAC has long been a society of painters committed to working from direct observation or from sketches so derived. At a time when much contemporary art is mediated through photography or concept, the NEAC’s emphasis remains firmly on painting as a direct encounter with its subject. The exhibition highlights the continued relevance of that approach, not as a nostalgic position, but as a living and evolving practice.
For the second year running, we will feature two prizes for works that confront and comment on the climate emergency. Like John and Paul Nash,
many NEAC members are landscape painters. Following the First World War, both brothers returned to the green and pleasant land of their childhood to celebrate its beauty. Many of us are still able to do likewise, but our commitment to serious engagement with that landscape means that it is becoming harder to ignore the huge threat that climate change poses to it. This is why the NEAC has made the bold step of highlighting this crisis through the creation of these awards.
Since this time last year, we have had to say goodbye to three wonderful painters and long-time members of the NEAC: Charles Hardaker, James Rushton and Michael Cooper. Please read the tributes to them in these pages and make sure to look at some of their paintings which we have been able to borrow back for this exhibition.
As always, we would like to thank our generous sponsors who support our prizes and awards (see page opposite). We are also grateful to Sir David and
Lady Sally Clementi, who have sponsored our scholarship programme for the past two years, as well as the Ken Howard Foundation, the Tantam Family Charitable Foundation and Daler-Rowney who are our sponsors for the coming year.
Cullen PNEAC, April 2026
A SPECIAL THANK YOU TO OUR PATRON HIS MAJESTY KING CHARLES III
We in the New English Art Club would like to extend our profound gratitude to His Majesty King Charles III for his lifetime of support for the arts and the environment. His encouragement of the arts has been longstanding and always with an unfashionable emphasis on traditional drawing skills and observation of nature. The Royal
Drawing School which he founded, is a beacon of light for those of us who believe in the importance of preserving these skills as the bedrock of our art. Hand in hand with this fascination with painting from nature has been a deep and prescient concern for that environment. Long before climate change became a buzz phrase, His
Majesty was voicing his concerns about what we were doing to nature. His has been a brave voice, sometimes mocked, but which has proved wise and full of foresight. Partly inspired by His Majesty’s example we created the NEAC Climate Emergency Prizes. We are extremely grateful to His Majesty for being our Patron.
Patrick
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 Arts Society (Greater London Area) Award
£1,000 to an emerging non-member artist
The Borg Scott Art Award
£1,000
The Ken and Dora Howard Prize
£1,000 for a painting that best captures a sense of light
The Bowyer Drawing Prize
Selected by the Bowyer family, £500
The Michael Harding Award
£500 worth of art materials
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 £220) for a firsttime exhibitor with the NEAC
The Wendy Harman Prize
£200 for the best work in the exhibition as judged by Wendy Harman
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
The Val Harris Prize
One week residency in The Atelier in Hay-on-Wye followed by a one-week exhibition at The Table, the art gallery owned by Val Harris, for a member of the NEAC
EVENTS: TALKS, TOURS AND DEMOS
Join us at Mall Galleries for a series of events led by NEAC member artists.
For full details, visit www.mallgalleries.org.uk
PATRON
HM King Charles III
OFFICERS
President
Patrick Cullen
Hon Treasurer Yusuf Lunat
Secretary
Jenny Wheatley
Education Programme Curator
Richard Sorrell
Membership Secretary
Jason Line
Archivist
Neil Pittaway
EDI Officer
Julie Held
Scholarship Team
Julie Jackson
Victoria Jinivizian
COMMITTEE
Louise Balaam
Tom Benjamin
Benjamin Hope
Jason Line
Toby Ward
Jacqueline Williams
NEAC ANNUAL LECTURE
Tuesday 16 June
6pm: Doors
6.30pm: Lecture start
Tickets: £10, Free to NEAC Friends and Friends of Mall Galleries
Book at www.mallgalleries.org.uk
John Nash: The Landscape of Love and Solace with Andy Friend
The NEAC’s proud tradition of art that emerges from closely observing the world around us had, from the outset, a radical element to it. The early members were challenging not just the stylistic staleness of the Royal Academy’s salon and history paintings, but the subject matter itself, which celebrated the world of the aristocracy, classical mythology, military valour and imperial conquest. Their shift towards interrogating their immediate surroundings marked a change of focus: away from wealth and ceremony and towards the everyday lives of ordinary people. This took a particularly raw extreme when the brothers John and Paul Nash were invited to become war artists during the First World War. Far from glorifying what they saw, as past war artists had done, they responded viscerally to the terrifying and senseless carnage they witnessed.
Those early war paintings by both Nash brothers look anything but anachronistic over a century later. We have a horrendous war on the European continent, much of it fought using tanks and trenches, with huge loss of life and
John
little territorial gain. The Nash brothers’ profound horror at the senselessness of war feels incredibly relevant. At the same time, those works sit firmly within the NEAC tradition of responding to the visual world around us. They were painted from scribbled sketches made on the front line. Truthful looking was at their core.
Andy Friend, the giver of this year’s lecture, has written a wonderful and very well researched book on the life of John Nash entitled The Landscape of Love and Solace.
Andy Friend is a British author, curator, and art historian specialising in 20th-century British art
John and his brother Paul, both early NEAC members, will be the subject of Andy’s lecture, in which he will rescue John from the unfair tendency to consign him to Paul’s shadow. This is quite wrong. Despite some stylistic similarities and a temporary overlap of concerns during the war, they are very different artists, as Andy will make clear.
Patrick Cullen PNEAC
Nash,The Villa Next Door. Claviers
NEAC EDUCATION PROGRAMME: WORKSHOPS
The NEAC Education Programme is a vital part of the work of the society. The New English is a society of painters whose work is based on observation of nature (as in plein air painting) or, indirectly, derived from a study of the appearance of life. A huge reservoir of knowledge and expertise has been acquired, and it is very important that this knowledge is passed on. The education programme is the NEAC’s way of doing this.
During the past year there have been workshops in life drawing with Mick Kirkbride, Victoria Jinivizian and Richard Sorrell; landscape and interior painting with Tom Benjamin, John Dobbs, Julia Hawkins, Michael Weller, Paul Newland and Felicity House; still life painting with Laura Smith; portraits with James Bland, Julia Hawkins and Andrew James. There have been workshops about painting media – watercolour with Neil Pittaway, oil painting with James Bland and tempera with Ruth Stage. There was a sketch book workshop with Toby Ward and drawing days in museums and galleries with Julie Held, Laura Smith, Paul Newland, Louise Balaam and Neil Pittaway.A wealth of experience.
FORTHCOMING WORKSHOPS:
Neil Pittaway sketching at Battersea Power Station 27th June. Join us for a watercolour sketching day at Battersea Power Station with NEAC artist Neil Pittaway, who will work with you to capture the essence of one of London’s most iconic landmarks. Neil will share his unique approach to watercolour painting and drawing.
Laura Smith drawing from Old Master paintings (morning) and Rococo paintings in the Wallace Collection (afternoon) 4th July.
Spend the morning with Laura Smith focusing on masterpieces by Rembrandt, Rubens,Titian and more from the High Renaissance and Baroque periods, hanging in the Great Gallery in London’s Wallace Collection; or in the afternoon focusing on masterpieces by Watteau, Fragonard, and artists from the Rococo period.
Paul Newland at King’s Cross, drawing 18th July. In this one-day workshop, tutor Paul Newland will help students to make studies which expand their awareness and show what they have seen in this place of contrasts and activity. Whether painting or drawing, the aim is to describe what’s going on in this vibrant area of central London. Bring whichever medium you prefer to work in.
John Dobbs at Richmond Lock, landscape painting on 25th July. Originally built in the 1800s this beautiful lock and footbridge is buzzing with river life. Working from direct observation we will aim to capture this energy in paint.
Do come and join these workshops! To book go to: www.neac.co.uk/events
Tom Benjamin, Photograph by Mauro Arena
NEAC SCHOLARSHIPS
Our three Scholarships continue to be a cornerstone of the NEAC’s Education Programme. Julie Jackson, who leads the Scholarship programme with Victoria Jinivizian, shares her personal reflection on how they came about and what they offer artists.
“It really began while Jason Bowyer, Karn Holly, and Stuart Denyer were teaching at a well-known London art school. Students came especially to study with these three gifted tutors. Many returned year after year, working together with a shared purpose: to define themselves as individual artists while drawing and painting directly from nature. The friendships that developed were mutually instructive.
Jason Bowyer saw what was emerging and decided to offer a scholarship to expand this programme of creative development. At this time, I had begun exhibiting with the NEAC and was awarded the first Drawing Scholarship, which gave me the opportunity to join these workshops.
We held seminars and discussions at the end of each session, speaking about our own work. The give and take of these conversations, together with our mutual respect, created a group ethos. I kept coming to these classes and workshops,
meeting many talented NEAC Members and relying on their inspiration and deep sensitivity towards painting from nature.
Jason Bowyer was my mentor and we became good friends, painting together in Walberswick and teaching workshops. As I progressed, I started to feel ready to apply to be a Member of the NEAC.
Karn Holly was always a fascinating educator for me. She had analogies about ways of seeing the world, describing perceptual vision and challenging us to look deeper. Here is one that resonated: Two tennis players are hitting the ball back and forth within the rectangle of the court. Sometimes they get it right, and sometimes they are wide of their mark. This was exactly what I had been trying to do all day while drawing with her. I had a large piece of paper and made a succession of relatively decisive marks, sometimes far apart and sometimes close together. Becoming aware of the whole surface of the court made me conscious of my whole picture surface.
When we are in the studio drawing or painting, the focus is not just on the model, but on the model in relation to something else. Jason Bowyer also shared a way of seeing that has consistently stayed with me: if the model is far away, perhaps they should be relatively small on your paper; if they are near, maybe they should take up a lot of it. When you have seen an arrangement you like, look at your paper and decide which way up it should be –
vertical or horizontal; square or rectangle. All you have to do then is draw a line to change the paper’s shape or stick another piece on.
This way of thinking and discovering your own vision can start during the Scholarship and develop when you are in a room of like-minded artists sharing ideas, friendship, mentorship, and creating a group ethos.”
We are grateful to Sir David and Lady Sally Clementi for sponsoring our Scholarships over the past two years, and to our 2026–27 sponsors: the Ken Howard Foundation, the Tantam Family Charitable Foundation and Daler-Rowney.
We will announce the recipients of our new Scholarships at the opening night of our Annual Exhibition, and the page opposite features reflections from our three outgoing Scholars.
To learn about supporting the programme, through donations or sponsorship, visit neac.co.uk/support-us.
For information about applying for a future NEAC Scholarship, visit neac.co.uk/scholarship.
FEEDBACK FROM OUR 2025–26
SCHOLARS FOLLOWS . . .
TheSalmonofKnowledge
CLAIRE VENABLES
My NEAC Scholarship has been immensely rewarding and transformative. Spending time with member artists, both through workshops and studio visits, has exposed me to the incredible diversity of artistic approaches within the NEAC.
I am very grateful for the generosity and openness of the artists who welcomed me into their studios. Our in-depth conversations around artistic practice allowed me to reflect more critically on my own work. This has given me the confidence to pursue my more ambitious ideas in the future, ideas that I realise I have been silently incubating for a long time.
The workshops have been the backbone of my year, connecting me to a range of encouraging tutors and a wider community of artists. Coming from a museum background, I found the sessions where we worked from collections particularly engaging, deepening my interest in our relationship with objects.
The scholarship has given me a great deal to absorb, which I am keen to carry back into the studio. I can’t wait to see how it informs my next body of work. The inquisitiveness fostered during the year will remain central to my practice as I test ideas and push the boundaries of my painting.
AwaitingaLateDinner
SHAWN LEE
Being awarded the New English Scholarship has been a deeply valuable opportunity, allowing me to engage closely with a group of artists whose practices I have long admired. I have been able to learn directly from their approaches and critical perspectives, which has not only broadened my views of contemporary painting but has also challenged and strengthened my own artistic practice. The exchange of ideas and exposure to diverse ways of seeing and working have been instrumental in shaping my development, reinforcing my commitment to observational practice and thoughtful, reflective making.
These conversations and reflections have pushed me to be braver in my approaches and ideas, whilst bringing insights into the shared challenges that all artists go through making the camaraderie even more relatable and precious. It has brought out a fighting spirit in me to be more responsible and responsive to how I convey my work.
I am grateful for the connections formed during the studio visits and workshops, and for the generosity and encouragement of the NEAC members, whose warmth made the experience especially meaningful. Being part of this experience with Ethan and Claire has been wonderful through our shared conversation and formed friendship. All these I cherish deeply.
ETHAN FOX
The NEAC scholarship has been fantastic, and a solid foundation on which to develop my artistic practice.
Highlights have included painting in the Scottish mountains, a Surrey vineyard, and the South Downs; I’ve attended life drawing classes, seen my favourite Degas painting, and met several of my heroes – all of whom welcomed me warmly. I’ve met and made real friends with some brilliant people – members, non-members and those from other societies. I’ve been offered guidance and feedback from some of the best painters working today and have found real community among people who know what it is to live an artist’s life. It’s been invaluable to learn from their methods and ideas, and especially to be accepted and appreciated as I am.
Throughout the year drawing in all its forms has been central to my enquiry; serving as a space in which to discover my weaknesses, augment my paint handling and to more fully own my voice. It has been through this dialogue, and experimentation with materials, surface, and scale that I’ve lost and found my way seemingly endless times; each time developing my awareness and skill, finding fleeting certainty and coming upon new questions. I couldn’t have accessed this kind of rigour without both the challenge and support I’ve received.
I wish to thank the members of the NEAC, again for their belief in me, and now additionally for their support, encouragement, and generosity. Being awarded the NEAC scholarship has been nothing short of transformational, and an absolute privilege. Though it’s coming to an end, it feels like just the beginning!
REMEMBERING CHARLES HARDAKER (1934–2025)
Elected to the NEAC in 1969, Charles Hardaker aimed “to show something of the wonder and mystery of the so-called ordinary world – the ordinary is extraordinary.” Fellow NEAC member Jason Line shares his memories…
I first met Charles when I attended evening art classes at St Oswald’s Studios in Fulham when I was sixteen. Although I was never taught by Charles, he had a studio there, and if we ever passed each other in the corridor, we would often exchange a hello and sometimes he’d give me an encouraging word or advice about a drawing that I had done. He was always very kind and very generous.
With his own work, the range of subject matter was broad, but he was most known for his still life and interior paintings. These were composed from his large collection of pots, pans, vases, small sculptures, and geometric models, which he used in a myriad of ways to express different ideas – from simple, well-balanced arrangements to complex, geometrical constructions of objects placed within cardboard boxes.
The interior paintings are reminiscent of seventeenth-century Dutch interiors with open doors and empty chairs that evoke a quiet atmosphere, made more mysterious sometimes by the addition of a figure glimpsed through the doorway. With all his work, there lies a powerful presence and an air of profundity, as
Charles’s life and work were shaped strongly by his practice of meditation and the study of philosophy.
His love and knowledge of art –particularly that of painting – was huge, and he had an insatiable curiosity about the world around him. When visiting his studio, you not only saw the usual artist’s paraphernalia but also a piano, a floorto-ceiling wall of books, bundles of letters and writings, diagrams, Post-it notes with quotes from artists, philosophers, and poets – all written in his own fine, calligraphic hand.
Every conversation I had with him felt precious, whether it was about a particular colour paint or an exhibition he’d seen. In one of my last meetings, we discussed at length the challenge of painting a still life that consisted of one object: to not just paint the surface of the object, but also to capture its essence. This undoubtedly fired his imagination, and his eyes lit up with such excitement at the thought that I half expected him to rush off, there and then, back to the studio and get painting.
Jason Line
SingingBowl
REMEMBERING JAMES RUSHTON (1928–2025)
Elected to the NEAC in 1995, James Rushton was a painter of finely observed watercolours and oils, admired for the sensitivity, subtlety and poetic imagination that defined his work. Below is ‘a small memorial to a very gifted artist’ by Maurice Sheppard.
Looking back across the years that James Rushton exhibited with the New English Art Club, the Royal Watercolour Society, and the Royal Academy, you see a flawless series of discreet images. Knowing his personal history would immediately lead us to mould our language when we are considering his work.
His long training at the Burslem School of Art and the Royal College of Art led him to training as a potter – or is that ceramicist? – in the Porcelain Studios of Bullers Ltd., Wilton. From 1976, he worked at his painting. He was 60 years of age when elected an Associate of the Royal Watercolour Society. However, along with the New English Art Club, both groups were to benefit from 37 years of his mature creativity.
Unassuming and modest in manner, he looked as if he might have been a civil servant, nearly always wearing a suit and having polished manners. Perhaps I read too much of the manner of his paintings into the man. He always spoke quietly and clearly – ever the professional.
You needed to look for his work in large mixed exhibitions. When you found them, they had a restrained, even
Lochbuie
secretive magic about them. His figures and portrait faces were suffused with a ‘brushed’ quality which muted both tone and gradations of colour. There could be bold notes of colour too, particularly in his landscapes, but a lifetime of scrupulous design governed all.
Exceptional is his 2015 oil painting Bus Stop. The composition is bisected by the fall of the light. The streetlight silver of the foreground is set against a blue and charcoal background. The bus shelter,
a telling figure, a lamppost, and fence posts articulate the landscape space like a ‘stage set’ for a modern opera. Rushton has truly made a piece of visual magic –at once an ‘abstracted’ ideal, at once a ‘dream’, at once ‘a scary place!’
We will all miss his quiet ways, the distinction and quality of his drawing, his fine choice of modulated colour, and his special ability of pure design.
Maurice Sheppard
REMEMBERING MICHAEL COOPER (1943–2025)
Michael Cooper’s subtle semiabstract landscapes and paredback portraits have graced the walls of our annual exhibitions since his election in 2004. In this tribute, fellow NEAC member Paul Newland shares his stories and touching memories of his friend, Mike.
TheBookofTobitis an unusual influence for a 20th-century artist. At five or six, Mike was taken to the doctor, ill from some eating disorder. He saw a print on the wall and was told that it was TobiasandtheAngel, a scene from the book. This angel is the Archangel Raphael, whose primary duty is healing. On the way out of the surgery, he picked up a badge fallen from an airman’s uniform – shiny, perhaps stitched – a pair of wings and an oak wreath. He recovered, and the image assumed intense personal meaning. Its association with healing was inescapable.
Mike’s artistic training was unusual by NEAC standards. At 15, he was out of school and into work. It was Birmingham, with thriving jewellery and metalworking trades, and he was apprenticed for some years to an uncle, a silversmith.
Moving south, Mike found work with Bertie Boast – picture restorer, cartoonist (and hell-raiser) of Brighton. This was a sound way into the historical crafts of painting and restoring – make your own mahogany palette, your own mahl stick, study techniques.
Throughout this time, he nurtured a feeling
Self Portrait
and a need for painting, sustained by his own vision of the natural world and supported by reference to historical figures, especially William Blake and Samuel Palmer, and to certain landmark exhibitions.
I first visited Mike’s studio in perhaps 2010. From the street, you’d never know the secluded house and studio were there.
They could only be entered through another property’s garden. Very ‘Lewes’.
Much consideration was given to the works Mike would submit for the NEAC annual show, and I watched with fascination their progress: the imaginative craftsmanship in the overlaying of colours, the
rearrangements of forms, the augmenting of an image’s emotional depth.
Nicolas de Staël was an artist for whom he felt great admiration, a man who sought constantly to do justice to our perceptions of space and light. One day, we studied the magnificent array of his works in the museum at Antibes. A quotation from one of de Staël’s letters comes to mind now, remembering our friend and colleague Michael Cooper:
“True painting always attempts to include all aspects … the impossible addition of the present, past and future.”
Paul Newland
Full Summer Bunch
Oil
25 x 22 cm
£6,950
At the Redbrick Cafe
Oil on board
86 x 91 cm
£12,000
DIANA ARMFIELD
JULIAN BAILEY
Constable’s River, Soft Cloud Oil on panel
18 x 24 cm
£795
HighTideatPorthliskyBay Oil on canvas
61 x 91 cm
£3,000
LOUISE BALAAM
TOM BENJAMIN
JAMES BLAND
Calder III
Oil on canvas laid on panel
40 x 25 cm
£550
TyingBacktheDaisies
Watercolour
56 x 38 cm
£1,400
Everlastings
Oil
64 x 56 cm
£1,500
JUNE BERRY
OLWYN BOWEY
Midday,June,86thand20th,Brooklyn
64 x 76 cm
£12,000
PETER BROWN
Oil on canvas
CrabbingatWalberswick Oil
25 x 25 cm
£985
PhyllisbidewithSweetPeas Oil
23 x 18 cm
£680
Todayitrained,Idon’trememberyesterday
Acrylic
33 x 27 cm
£3,250
DAVID CARPANINI
DIANA CALVERT
FRANCIS BOWYER
SurveillanceLandscape
Oil on canvas
60 x 80 cm
£850
IntheLight
Oil on panel
84 x 60 cm
£3,000
DIANA CHARNLEY
PETER CLOSSICK
TESSA COLEMAN
Above Trebarwith Strand Oil on linen
110 x 140 cm
£7,500
JANE CORSELLIS
The Blue Vase Oil
30 x 36 cm
£1,625
SunsetfromtheSummerPalace,Udaipur Oil
27 x 32 cm
£890
StIvesLateEvening,PorthmeorBeach
Acrylic
90 x 90 cm
£2,500
PATRICK CULLEN
PAUL CURTIS
Still Waters
Oil on linen
61 x 76 cm
£8,850
46 x 36 cm
£1,500
SAIED DAI
JOHN DOBBS
Daffodils Oil
BlueChannelofFallenSky Oil on canvas
40 x 40 cm
£10,200
Still Life with Peaches and a Knife Oil on canvas
56 x 71 cm
£2,900
ANTHONY EYTON
ALEX FOWLER
PAUL GILDEA
BlicklingWaterMill
Oil on board
20 x 21 cm
£620
DENNIS GILBERT
Vanessa Oil
61 x 51 cm
£1,300
CHARLOTTE HALLIDAY
SeptemberfromSt.Magnus
Watercolour
30 x 21 cm
£650
The Wall Oil on board
29 x 42 cm
£800
Pensive Model Oil
35 x 25 cm
£800
Still Life with Shell Oil on board
28 x 40 cm
£1,420
SARAH GRANVILLE
CLARE HAWARD
JULIA HAWKINS
JULIE HELD
Fantasies of Selves
182 x 121 cm
£7,500
JONATHAN HOOPER
Conifers: Beckett’s Park Drive, Leeds
Acrylic on canvas
51 x 76 cm
£1,200
Acrylic
EndofBiolley,StMartindeBelleville
Oil on panel
41 x 31 cm
£1,700
TheCutThrough,HeatoftheDay
Oil on board
25 x 30 cm
£2,000
FELICITY HOUSE
Laeila’sDayattheFishShop
Pastel drawing
48 x 48 cm
£1,200
BENJAMIN HOPE
MARY JACKSON
100 x 70 cm
£4,500
182 x 122 cm
£7,950
CRAIG JEFFERSON
BeachComposition Oil
ANDREW JAMES
The Three Trees, Sunset Oil on canvas
Hirohiko’s Flute Oil on gesso panel
26 x 34 cm
£1,250
EarlyAfternoon,LateAprilLakeComo Oil on panel
46 x 61 cm
£6,250
MatchDayBurger Pigment on canvas board
31 x 43 cm
£1,500
VICTORIA JINIVIZIAN
PETER KUHFELD
MICHAEL KIRKBRIDE
JASON LINE
ArrangementatNight
Oil on canvas
91 x 137 cm
£9,500
Fallen Skier, La Clusaz, France
Oil on canvas
51 x 61 cm
£3,000
ANDREW MACARA
BRIDGET MOORE
ARedDog
19 x 29 cm
£940
ARTHUR NEAL
Summer End Oil on canvas
51 x 51 cm
£4,250
OuseValley:LateAutumn Oil on board
31 x 41 cm
£1,100
Gouache
PAUL NEWLAND
EveningGlare
Oil and collage on canvas
86 x 60 cm
£5,000
Fälthelden(Spiritfield)
Coloured pencil, acrylic and collage
120 x 140 cm
£8,000
PATRICIA PAOLOZZI CAIN
DAVID PARFITT
MyStudiointheSnow Oil
38 x 48 cm
£1,850
Short&Tall,UpandDown Oil on linen
69 x 69 cm
£3,500
TheBay,Winter–LightsComingOn Oil on canvas
77 x 101 cm
£5,400
WILLIAM PACKER
MELVYN PETTERSON
RICHARD PIKESLEY
SALLIANN PUTMAN
PinkLandscape
Watercolour and gouache
20 x 20 cm
£450
BigBenGothic
Mixed media
100 x 60 cm
£2,995
BrightMorning Oil on board
36 x 26 cm
£850
CHARLES RAKE
NEIL PITTAWAY
JACQUELINE RIZVI
A Gust of Wind
Watercolour and pencil on paper
25 x 32 cm
£975
SUSAN RYDER
Watered Silk Walls Oil
41 x 61 cm
£3,200
MELISSA SCOTT-MILLER
TheCommunityGarden,Lambeth
Oil on canvas
61 x 76 cm
£5,000
Still Life (detail image)
Oil on canvas
51 x 51 cm
£950
DANIEL SHADBOLT
30 x 30 cm
£2,600
36 x 41 cm
£3,200
ANN SHRAGER
GoatHerderandLadyinRed Oil
LAURA SMITH
Laced Oil on linen
CHARLOTTE SORAPURE
Passage Oil on gesso panel
61 x 46 cm
£5,850
82 x 73 cm
£3,200
RICHARD SORRELL
Red House Oil
WhitstableSeascape,EndofDay
Oil on panel
63 x 84 cm
£6,200
Modica
Egg tempera
100 x 122 cm
£5,200
SARAH SPENCER
RUTH STAGE
LORNA VAHEY
ANDREW TORR
13 x 26 cm
£600
122 x 82 cm
£5,500
Oil
15 x 23 cm
£1,800
GRANT WATSON
SadSong Oil on canvas
MICHAEL WELLER
Williams Pears
Oil
ROBERT E WELLS
Cornwall,FatherandDaughter
MICHAEL WHITTLESEA
NightTimeGathering
Acrylic on canvas
61 x 61 cm
£2,800
Summer Oil
30 x 30 cm
£950
SpeckledHorseV2
Oil on linen
25 x 35 cm
£1,100
JENNY WHEATLEY
CHARLES WILLIAMS
OpenLandscape2 Oil
13 x 19 cm
£1,700
JACQUELINE WILLIAMS
SpringinSandfordPark Oil on board
30 x 61 cm
£1,800
Unmade Bed Oil on canvas
30 x 46 cm
£3,800
DUNCAN WOOD
MARTIN YEOMAN
BO
Oil on canvas
76 x 91 cm
£15,500
Landing
Oil on linen
150 x 160 cm
£8,964
NEALE WORLEY
JOHANNA ZHANG
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 MEMBERS
HONORARY LIFE MEMBERS
Diana Armfield
Charlotte Halliday
Richard Pikesley
Jacqueline Rizvi
HONORARY INVITED MEMBERS
Olwyn Bowey
Anthony Eyton
HONORARY RETIRED MEMBERS
Diana Calvert
Michael Fairclough
William Packer
William Selby
Maurice Sheppard
MEMBERS
Julian Bailey
Louise Balaam
Tom Benjamin
Tim Benson
June Berry
James Bland
Jane Bond
Francis Bowyer
Peter Brown
David Carpanini
Diana Charnley
Peter Clossick
Tessa Coleman
Jane Corsellis
Patrick Cullen
Paul Curtis
Saied Dai
Stuart Denyer
John Dobbs
Alex Fowler
Caroline Frood
Dennis Gilbert
Paul Gildea
Sarah Granville
Paul Handley
Clare Haward
Julia Hawkins
Julie Held
Jonathan Hooper
Benjamin Hope
Felicity House
Julie Jackson
Mary Jackson
Andrew James
Craig Jefferson
Victoria Jinivizian
Pamela Kay
Michael Kirkbride
Peter Kuhfeld
Jason Line
Andrew Macara
Bridget Moore
Anthony Morris
Arthur Neal
Paul Newland
Patricia Paolozzi Cain
David Parfitt
Melvyn Petterson
Neil Pittaway
Salliann Putman
Simon Quadrat
Charles Rake
Susan Ryder
Melissa Scott-Miller
Daniel Shadbolt
Ann Shrager
Laura Smith
Charlotte Sorapure
Richard Sorrell
Sarah Spencer
Ruth Stage
Benjamin Sullivan
Nick Tidnam
Andrew Torr
Lorna Vahey
Toby Ward
Grant Watson
Michael Weller
Robert E Wells
Jenny Wheatley
Michael Whittlesea
Antony Williams
Charles Williams
Jacqueline Williams
Duncan Wood
Neale Worley
Martin Yeoman
Johanna Zhang
COMPANIONS
Jon Armitage
Graham Barclay
Richard and Alison Chenevix-Trench
David Corsellis
Kerrie Cunningham
John Deston
Greg Ladd
Jans Ondaatje Rolls
Peyton Skipworth
Marc Winer
Susan Wolff
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
Registered Charity No. 212667
Back cover: Laura Smith Laced
