Stoneman Collins: Curated at Tiresford

Curated at Tiresford 3 May - 1 June 2025

Exhibition Catalogue

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Visiting the Exhibition It is free to visit the exhibition, however booking is essential. Please select a day and time from the booking link below.

You will receive a confirmation email and we can accept bookings of up to 6 people in any one party.

If you have any further enquiries please email info@stonemancollins.com

Book here

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Contents Welcome Floorplan Sculpure locations About Stoneman Collins

5 6 7 8

Artists A-Z Jeremy Annear Michael Ayrton Sandra Blow RA Sandy Brown Christopher Le Brun PPRA Reg Butler Oisín Byrne Stephen Chambers RA Maurice Cockrill RA Marice Cumber Ian Davenport Henrietta Dubrey Anthony Frost Sir Terry Frost RA Joan Gillespie Nigel Hall RA Rachel Hamel-Cooke Lydia Hardwick Damien Hirst Howard Hodgkin Richard Hudson Kathleen Hyndman Robina Jack

10 11 16 18 22 24 26 28 30 36 38 42 44 46 49 56 58 62 64 66 68 70 71 72

Heather Jansch Andrew Lacey Hamish Mackie Paul Maze John Milne Henry Moore OM, CH John Nash RA Ben Nicholson OM Rachel Nicholson Breon O’Casey John Piper CH Antoine Poncet Jemma Powell Patrick Procktor RA Daniel Reynolds Brian Rice Sam Rudd Conrad Shawcross RA David Shrigley Tom Stogdon Trevor Sutton Carolyn Tripp Rebekah Tuluie Charlotte Verity Emily Young

75 78 84 86 88 90 92 94 96 100 104 106 108 110 114 116 120 122 124 126 128 130 132 134 136

Events at Tiresford House About Tiresford House

141 145

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Welcome This exhibition at Tiresford has been a couple of years in the making and Georgia and I cannot thank Susanna Posnett enough for allowing us to take over her home and garden for a month. The initial idea was to present an exhibition purely of sculpture given the beautiful setting of the gardens here, overlooking not one but two castles – Beeston and Peckforton. And yet, Susanna has been kind enough to allow us also to invade her exquisite interiors, a space that has been lovingly restored and re-imagined by Susanna over the years. Tiresford has become an ode to Susanna’s maximalist and uncompromising eye. Each and every room of the house has its own unique character and is bursting with energy and colour. The bespoke interiors of Tiresford presents the most fabulous canvas for Georgia and I to showcase our skills as art advisors and the opportunity to present invigorating and confident work by some of the most talented artists in Britain today. We are delighted to be able to present at Tiresford some truly exceptional and museum-worth paintings, sculpture and ceramics. It is difficult to select just a few, but among the most notable are works by Ian Davenport, Anthony Frost, Nigel Hall, Damien Hirst, Patrick Procktor and Emily Young.

deeply meaningful to their owners, and help to tell a story. We understand that investing in art or building a collection is often part of a wider financial strategy, and we are able to bring our commercial knowledge of the art world to work strategically when sourcing art. We have in-depth knowledge and understanding of art market forces along with a deep network of contacts cultivated over the years. While we have worked together on several projects, Curated at Tiresford is the official launch of this new venture and we are delighted that you can join us.

The ‘Curated at…’ concept was originally formed a couple of years ago when we held a two-week exhibition at Dorfold Hall through my gallery Zuleika. A few things have changed since then. In the past two years I have help build a collection of over 650 paintings prints and sculpture for the Beaumont, a fivestar hotel in Mayfair. I enjoyed this project so much that I am now delighted to be concentrating fully on managing larger scale projects and advisory work.

I am thrilled to have joined forces with the highly respected Georgia Stoneman to form our art advisory Stoneman Collins. Our combined experience spans over 40 years and together we are committed to building collections that are

We are truly thankful to each and every one of you for supporting the exhibition. Needless to say, if you have a project you would like to discuss, please don’t hesitate to get in touch, we would love to hear from you. Lastly and by no means least, I would like to extend a huge personal thanks to Susanna Posnett for her incredible friendship and unyeilding support over the past two decades or thereabouts (who’s counting!).

Lizzie Collins Co-Founder, Stoneman Collins 5

Floorplan Paintings Objects of Arts Letter

Artist

No. Letter

Artist

Artist

No.

Hallway

Artist

Bottom of stairs

A

Heather Jansch

I1

Hamish Mackie

1

Sam Rudd

31

B

Christopher le Brun

J1

Conrad Shawcross

2

Sam Rudd

32

C

Marice Cumber

K1

Nigel Hall

3

Henrietta Dubrey

Rachel Nicholson 33 Rachel Hamel-Cooke

D

John Milne

L1

Emily Young

4

Breon O'Casey

34

E

Lydia Hardwick

M1

Breon O'Casey

5

Anthony Frost

N1

Conrad Shawcross

6

Anthony Frost

35

Rachel Nicholson

7

Anthony Frost

36

Rachel Nicholson

8

Anthony Frost

37

Rachel Nicholson

9

Maurice Cockrill

38

Rebekah Tuluie

9.1

Anthony Frost

39 Stephen Chambers

F

Daniel Reynolds

G

Marice Cumber

H

Marice Cumber

I

Lydia Hardwick

J

Breon O'Casey

K

Breon O'Casey

L

Hamish Mackie

M

Emily Young

N

Michael Ayrton

O

John Milne

K1

P

Reg Butler

L1 48

Q

Lydia Hardwick

R

Robina Jack

S

Andrew Lacey

T

Marice Cumber

U

Carolyn Tripp

V

Antoine Poncet

W

Heather Jansch

X

Breon O'Casey

Y

Robina Jack

Z

Breon O'Casey

A1

Damien Hirst

B1

Sir Terry Frost

C1

Gavin Houghton

D1

Robina Jack

E1

Richard Hudson

50

41

N1

43

49 42 46

M1

I1

44

29.1

39

35

36

9 Z 31

X V

F1

A1

A

5

32

6 B

2

33 34

B1 C1 D1 E1 U 27

K P

3 1

7

Y

W

8

Q

10

C

20 J

12

11 21

L

26 T N S

Kitchen

Ian Davenport

41

Oisin Byrne

12

Jemma Powell

42

Rachel Nicholson

43

Patrick Procktor

O 25

22

M

19

24

15

Howard Hodgkin Brian Rice

44

17

Sir Terry Frost

45

Charlotte Verity

18

Brian Rice

46

Patrick Procktor

19

H

F

G

Sir Terry Frost Dining Room

20

John Nash

21

John Nash

13

14

22

John Nash

15

16

23

Patrick Procktor

D

17

24

Sam Rudd

25

Sir Henry Moore

E

I

18

Drawing Room 26

Sam Rudd

27

Sir Terry Frost

F1

Heather Jansch

28

Breon O'Casey

G1

Sandy Brown

29

Ben Nicholson

H1

Carolyn Tripp

29.1

Sir Terry Frost

30

Breon O'Casey

6

Bootroom

16

4

23

R

David Shrigley

11

14 Stephen Chambers

9.1

30

28

40

13 Stephen Chambers

37

47

29

38

45 G1

Sandra Blow Kitchen Corridor

Study

40

H1 J1

10 Stephen Chambers

Rachel Nicholson

Garden Room Charlotte Verity

47 Sandra Blow 48 Rachel Hamel-Cooke 49 Kathleen Hyndman 50 Jeremy Annear

Sculpure locations Sculptures

11 10 5 1

2 6

3 4

7

8

9

7

Location

Artist

1

Nigel Hall

2

Heather Jansch

3

Heather Jansch

4

Heather Jansch

5

Tom Stogden

6

Nigel Hall

7

Emily Young

8

Nigel Hall

9

Andrew Lacey

10

Heather Jansch

11

Nigel Hall

About Stoneman Collins Stoneman Collins was founded in April 2025 by art advisors Georgia Stoneman and Lizzie Collins. Our biggest asset as a partnership is bringing together our expertise in building collections that are meaningful to clients and tell a story. We imagine who will be in each room, what the purpose of the room is, and how people want to feel when they are in the space. From there we get a sense of which artists or artwork will respond to the environment and how their stories reflect what the room is trying to achieve.

It’s important that we work in collaboration with other creatives on projects such as architects, interior designers and lighting specialists, to further amplify the vision and we are delighted to be holding some key events during this exhibition on interior design, architecture, lighting and garden design with leading professionals in these areas that we work with.

We understand that investing in a collection is often part of a wider financial strategy for our clients and we bring our commercial knowledge of the art world to work strategically when sourcing the art. Knowing which works from an artist’s oeuvre to buy and where to source is our area of expertise, gained from our long standing and deep network of contacts cultivated over the years and our first-hand knowledge of primary and secondary art markets. www.stonemancollins.com | @stonemancollins Enquiries: info@stonemancollins.com

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Georgia Stoneman

Lizzie Collins

Georgia Stoneman is an established British gallerist and art advisor with a unique relationship to contemporary British art, due to the legacy of her late father, renowned printmaker Hugh Stoneman. She is dedicated to introducing Stoneman’s remarkable body of work to a wider audience and specialises in British prints, paintings, and sculpture. Georgia manages extensive private collections, houses the studio works of Rachel Nicholson, and works closely with the family to place private works by both Barbara Hepworth and Ben Nicholson, titans of the Modern British movement, into collections. Georgia has an extensive network of artists and estates, as well as long-standing and valuable relationships with galleries around the world. Georgia has put together numerous full-scale art projects for designers and private clients alike. These projects have involved starting collections from scratch, as well as acquiring pieces to enhance and complement existing collections — ranging from properties such as the converted chapels of St John’s and St Mark’s, multiple apartments in The Old War Office, The Residences, Whitehall, Centre Point, London, as well as remote cottages in far West Cornwall.

Lizzie Collins is an established British art advisor, curator and gallerist – a History of Art graduate of UCL, and a postgraduate of the Courtauld Institute in London. She has worked in the art world for over thirty years and is a former director at Bonhams, and a specialist at Christie’s in 20th Century British Art. Rising to the role of auctioneer Lizzie has an in-depth market knowledge. Lizzie’s skillset in providing advice on the dual cultural and asset value of art is much sought after. In 2015 she set up Zuleika Gallery based in Woodstock, Oxfordshire and founded Atelier Zuleika to focus on her advisory work. She is the Strategic Art Advisor to the Rhodes Trust – University of Oxford who she has assisted since 2019 with their cultural transformation following a £37m redevelopment of Rhodes House, Oxford.

Between 2022 and 2025 she has built the art collection for The Beaumont, a five-star luxury hotel in Mayfair, acquiring and commissioning over 650 works to populate the bedrooms and new public areas. In February 2025 Lizzie advised on the relaunch of the public art programme at the Saïd Business School, University of Oxford. She is currently also retained by a private collector to oversee a world class international collection.

+44 (0)7779 099245 georgia@stonemancollins.com

+44(0)7939 566085 lizzie@stonemancollins.com 9

Artists

A-Z

On the following pages we have a catalogue of work available. Not all is on view and if you see something you like please ask if it is not on view and we would be delighted to show you.

Please note where ARR is stated, this is the Artist Resale Right that is charged on a sliding scale as follows: 4% up to £50,000 3% between £50,000.01 and £200,000 1% between £200,000.01 and £350,000

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A Jeremy Annear Jeremy Annear is a British Abstract Artist, born in Exeter, UK in 1949.

His family holidays were spent in Cornwall where he met and was influenced by artists and the vibrant and influential modernist arts community of West Penwith in the 1950/60s. From an early age he was determined to be an artist. In the mid sixties he went to Exeter College of Art, during which time he exhibited his first abstract paintings. Whilst raising a young family, he taught art alongside making his own work. In the mid 1980s his work began to flourish and early signs of an assured ‘language’ of painting began to form, he also moved to Cornwall to paint full-time.

Since these early days Jeremy has exhibited widely and regularly in solo and mixed shows in the UK and abroad. During this time, and for a decade or so, Jeremy was fully engaged in the cooperative community life of artists. He was an active committee member of the historic Newlyn and Penwith Society of Artists (1989-93) and sat on the Management Committee of the Newlyn Orion Gallery.

He formed the Cobalt Group (1994) with contemporary artists Ralph Freeman, Roy Walker, Carole McDowel, Russ Hedges and occasionally invited artists to work cooperatively and experimentally. He was also a member of Group10 (1999) which was started by the legendary Bob Devereux of the Salt House Gallery, St Ives.

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“The viewer engaging with Annear's work realises at once that here is an artist who is not merely holding up a mirror to the world, but offering a very individual interpretation of it. Annear’s is a language of signs, signs which refer to things which exist in the world, not least as embodied meanings.

Thus, to put it as its simplest, a straight or meandering painted line suggests a pathway, while a closed oval or circle suggests an egg... This is how the artist maintains our interest in his work; he doesn’t give up all his secrets in one hit, but requires that you return for repeated encounters. This is art you cannot surf or skim, but which gets better on prolonged viewing. Like all art of any real or lasting value, it is not instant.”

- Andrew Lambirth ‘Encounters with Beauty’, February 2013

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Jeremy Annear The Solsist Series, 2023 Oil on canvas 40 x 30 cm (each) 15 ¾ x 11 ¾ in £ 28,000

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Jeremy Annear Echo Series, 2022 Oil on canvas 30 x 20 cm (each) 11 ¾ x 7 ⁷ ₈ in £ 24,000

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Jeremy Annear Harmonic Colour I Oil on canvas 51 x 41 cm 20 ¹ ₈ x 16 ¹ ₈ in £ 6,500

Jeremy Annear Harmonic Colour II Oil on canvas 51 x 41 cm 20 ¹ ₈ x 16 ¹ ₈ in £ 6,500

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Jeremy Annear Random Geometry III, IV & VI Oil on canvas Framed size 48 x 37.5 cm 18 ⁷ ₈ x 14 ¾ in £ 10,500

Jeremy Annear Silent Song (no. 13), 2020 Mixed media on paper 21 x 15 cm 8 ¼ x 5 ⁷ ₈ in £ 1,350

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Michael Ayrton (1921-1975) Michael Ayrton (1921-1975) was an artistic polymath who worked as a painter, sculptor, illustrator, and writer. Born Michael Ayrton Gould in London in 1921, he later adopted his mother’s surname, Ayrton, in recognition of his distinguished maternal lineage - his mother, Barbara Ayrton-Gould, was a politician, and his grandmother, Hertha Ayrton, was a pioneering engineer and mathematician.

Ayrton’s artistic career was distinguished by a deep engagement with classical mythology, especially the figure of Daedalus, the legendary inventor and builder of the Labyrinth. This mythological obsession permeated his work across media and served as a metaphor for artistic creation, human ingenuity, and entrapment.

He studied art in London and Paris, training under André Lhote and working briefly with George Groszf. By the 1940s, Ayrton had become an influential illustrator and stage designer, contributing to productions at the Old Vic and illustrating books with dramatic, often surreal imagery.

In the 1950s and ’60s, he turned increasingly toward sculpture, where his mythological interests found physical form. His bronzes of the Minotaur and Daedalus are among his most celebrated works - introspective, muscular figures that reflect both torment and transcendence. Ayrton saw in the Minotaur a mirror of human duality: monstrous yet sympathetic, confined yet yearning for meaning.

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Ayrton was also a gifted writer and critic. In 1967 he published his novel The Maze Maker (1967) a fictional autobiography of Daedalus, blending myth and psychological insight. He also published essays and reflections on art, mythology, and modernism, and contributed entries to the Dictionary of National Biography.

Ayrton exhibited extensively in his lifetime, including at the Royal Academy and the Tate. His legacy is one of passionate inquiry - into myth, identity, and the labyrinthine process of creation.

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Michael Ayrton Mother and Child Bathing, 1956 Bronze 82 x 23.5 x 20 cm 32 ¼ x 9 ¼ x 7 ⁷ ₈ in £ 20,000+ARR 17

B Sandra Blow RA (1925-2006) Sandra Blow RA (1925-2006) was a pioneering British abstract artist who played a significant role in the post-war art movement. Born in London in 1925, she studied at Saint Martin's School of Art and the Royal Academy Schools, later honing her skills at the Accademia di Belle Arti in Rome. During her time in Italy, she met artist Alberto Burri, whose innovative use of materials like sacking and ash had a huge influence on her own work.

In 1957, Blow moved to Cornwall, immersing herself in the St Ives art community, a hub for pioneering artists. There, she connected with leading artists such as Barbara Hepworth, Ben Nicholson, and Peter Lanyon. She began to produce large-scale abstract collages and incorporate unconventional materials such as sawdust, hessian, and torn paper. These works were inspired by the landscape of Cornwall.

Blow exhibited internationally in her lifetime and represented Britain at the 1958 Venice Biennale. In 1960 she won the International Guggenheim Award and in 1978, she was elected a Royal Academician.

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Sandra Blow RA, 1925-2006 Four Square, 2005 Silkscreen 94 x 91 cm 37 x 35 ⁷ ₈ in Edition of 120 £ 2,500

Sandra Blow RA, 1925-2006 Red Alert, 2000 Screenprint 80 x 79 cm 31 ½ x 31 ¹ ₈ in From the Edition of 75 £ 3,750 18

Sandra Blow RA, 1925-2006 Brilliant Corner III, 2003 Silkscreen print with collage elements 91 x 87.5 cm 35 ⁷ ₈ x 34 ½ in From the Edition of 125 £ 3,750

Sandra Blow RA, 1925-2006 Blue Square Collage, 2003 Silkscreen with collage Framed size: 105.5 x 103 cm 93.5 x 93.5 cm 36 ¾ x 36 ¾ in Edition of 125 £ 3,950

Sandra Blow RA, 1925-2006 Colour Within, 2005 Screenprint with collage on wove 92 x 94 cm 36 ¼ x 37 in From the edition of 125 £ 2,300 19

Sandra Blow RA, 1925-2006 Green 1987, undated oil and collage on canvas 136 x 122 cm 53 ½ x 48 in £ 34,000

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Sandra Blow RA, 1925-2006 Interweave, 2005 Acrylic and collage on canvas 122 x 122 cm 48 x 48 in £ 32,500

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Sandy Brown Sandy Brown’s ceramics are vivid and distinctive, shaped by decades of committed making and a grounding in traditional techniques. She trained in Japan at the Daisei Pottery in Mashiko in the late 1960s, learning not through formal instruction but by observing experienced potters at work.

“I didn’t learn by being told what to do,” she has said. “I just watched. You learn with your body, not just your head.”

At Mashiko, she absorbed a deep respect for process - hand-kneading clay, working with soft bodies, and throwing on slow, foot-powered wheels. The forms were quiet and functional, the glazes muted. But after returning to the UK in the early 1970s, her practice began to shift. A move to North Devon and the practical demands of a large kiln led her to experiment with earthenware and slip decoration. It was during this time that colour became central to her work.

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Instead of the subdued tones typical of studio pottery, Brown began using hightemperature industrial glazes to introduce a broader palette: deep blues, soft pinks, yellows and burnt oranges. Her vessels - bowls, platters, trays - are thrown from smooth clay and coated in white slip, creating a surface for loose, gestural decoration.

Dashes, trails, and brushstrokes are applied with an immediacy that recalls painting, while always responding to the form beneath.

Her approach is shaped as much by her early training as by her ongoing interest in the relationship between function and expression. These are pots made to be used, but they also hold their own as visual objects - considered, generous, and carefully resolved.

Brown is one of few contemporary British potters to be widely collected by major institutions. Her work is held in the Victoria and Albert Museum, the Ashmolean Museum, the Fitzwilliam Museum, and the World Ceramic Exposition Foundation in Korea. In 2021, she made history as the first female artist to install a permanent ceramic sculpture - the ten-metre-high Temple - at the Eden Project in Cornwall.

Through a sustained engagement with material and form, Brown has established a practice that bridges tradition and invention. Her ceramics speak clearly of the possibilities within pottery - not as a fixed language, but one open to exploration and change.

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Sandy Brown Untitled Plate, 2022 Stoneware 26 x 26 x 3 cm 10 ¼ x 10 ¼ x 1 ¹ ₈ in £ 550

Sandy Brown Untitled Plate, 2022 Stoneware 28 x 27 x 3 cm 11 x 10 ⁵ ₈ x 1 ¹ ₈ in £ 550

Sandy Brown Untitled Plate, 2022 Stoneware 28 x 27 x 3.5 cm 11 x 10 ⁵ ₈ x 1 ³ ₈ in £ 550

Sandy Brown Untitled Plate, 2022 Stoneware 26 x 26 x 2.5 cm 10 ¼ x 10 ¼ x 1 in £ 550

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Sandy Brown Untitled Plate, 2022 Stoneware 27.5 x 28 x 3 cm 10 ⁷ ₈ x 11 x 1 ¹ ₈ in £ 550

Christopher Le Brun PPRA Christopher Le Brun is one of the leading British painters of his generation, celebrated internationally since the 1980s, making both figurative and abstract work in painting, sculpture and print. He was an instrumental public figure in his role as President of the Royal Academy of Arts in London from 2011 to 2019. He was awarded a Knighthood (Knight Bachelor) for services to the Arts in the 2021 New Year Honours. Since 2023, Tate London, the Museum of Contemporary Art & Urban Planning (MoCAUP) Shenzhen and the Wadsworth Atheneum, Hartford CT have all acquired major works.

Le Brun employs a mastery of touch and colour alongside a profound understanding of art history and a wide range of visual, musical and literary sources. He has remained consistent in adhering to what he feels to be the essential poetry and pleasure of painting for its own sake, led by intuition and visual imagination and resistant to external justification.

portrait by Maureen E. Evans

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His interest in the formal possibilities of painting has led recently to the development of modular compositions from single pieces through to large and highly complex canvases, triptychs and monumental multipart paintings, extending the limits of abstract pictorial composition. A heightened awareness of the physicality of the painting process with its dramatic tension between revealing and covering, has been a central feature of his work that unites all its phases whether abstract or figurative.

His work can be found in museum collections including the Museum of Modern Art and The Metropolitan Museum of Art, New York; Yale Center for British Art, New Haven; The Museum of Fine Arts, Houston; Tate, the V&A and the British Museum, London; Art Gallery of New South Wales, Sydney.

He is represented by Lisson Gallery, London and Albertz Benda, New York.

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Christopher Le Brun PPRA Wing with Disc, 1996 patinated bronze 22 x 15.5 x 7 cm 8 ²¹ ₃₂ x 6 ³ ₃₂ x 2 ¾ in Edition of 6 £ 14,400

Christopher Le Brun PPRA Yellow Tower, 1998 woodcut 65.2 x 61.1 cm 25 ²¹ ₃₂ x 24 ¹ ₁₆ in Edition of 25 plus 3 artist’s proofs £ 3,000 25

Reg Butler (1913-1981) Born in Hertfordshire to parents who ran the Buntingford Union Workhouse, Reg Butler (1913-1981) studied and taught at the Architectural Association School in London during the 1930s. A conscientious objector during World War II, he set up a small blacksmith business so that he would be exempt from military service. Butler worked repairing and making farm tools and agricultural machinery, and his iron-forging skills are visible in his early sculptures.

In 1948, Butler worked as an assistant to his neighbour at the time, Henry Moore, and began to develop his own distinctive style as a sculptor. He abandoned his architectural training and worked as an artist, first exhibiting at The Hanover Gallery, London, in 1949, and then at the South Bank Exhibition as part of the Festival of Britain in 1951. Butler’s sculptures were included in the British Pavilion at the Venice Biennale in 1952, alongside works by Robert Adams, Geoffrey Clarke, Lynn Chadwick and Bernard Meadows; as part of the new movement in British sculpture – termed by the critic Herbert Read as the ‘Geometry of Fear’ – Butler’s work had a contorted and brutalised quality, reflective of the mood of post-war Britain.

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Throughout his career, Butler’s prime focus was the human form. His early figurative work used metal frameworks to suspend a contrastingly naturalistic and modelled figure in space. From the 1950s, Butler’s bronze works show more tangible volume and texture, though his continued preoccupation with line is visible in the tense and contorted poses of his nude figures. His female nudes are often headless or with incomplete limbs which taper off to a point; their poses explore the stress and strain undergone by the female form: tying of hair, dressing and undressing, bending forward and twisting sideways. Solely preoccupied with the female nude in his later career, Butler’s figures became more realistic, though he also produced numerous African-inspired nudes akin to fetish figures, which he considered as descendants of the Venus of Willendorf and Lespugue.

Butler was one of the most revered British sculptures of his generation, and taught at the Slade School of Art for three decades. His work is found in major public collections worldwide; with several of his works held by the Tate Gallery in London, who held an extensive retrospective exhibition following his death, and the Museum of Modern Art in New York.

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Reg Butler Girl Tying Her Hair, No. 4, 1959 Bronze 34.5 x 21 x 11.5 cm 13 ⁵ ₈ x 8 ¼ x 4 ½ in £ 22,000+ARR 27

Oisín Byrne Oisín Byrne (b. 1983, Dublin) is an Irish artist, writer, and filmmaker whose practice spans painting, film, performance, and text. Educated at the National College of Art and Design in Dublin and Goldsmiths, University of London, Byrne’s work often explores themes of identity, language, and the performative aspects of self.

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His exhibitions have been featured at institutions such as the Irish Museum of Modern Art, Kunstinstituut Melly in Rotterdam, and Princeton University.

Byrne’s work is held in the Irish State Collection, among other public and private collections. Notably, his largescale portraits were included in an Irish State Collection tour of European embassies, and his collaboration with Professor JR Gott, UNIVERSE CUBED, is permanently installed in the Princeton University Library.

Byrne is married to British designer Jasper Conran. In addition to his visual art practice, Byrne has contributed writings to various publications and has collaborated with other artists and filmmakers, further demonstrating his commitment to interdisciplinary exploration.

The Royal Academy used these works as their banners for the Summer Show. They are very joyous works, they look great as a set of three.

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Oisín Byrne Red Orange Cut Flowers, 2023 Screenprint 102 x 102 cm 40 ¹ ₈ x 40 ¹ ₈ in Edition of 60 £ 4,500

Oisín Byrne Pink Brown Cut Flowers, 2023 Screenprint 102 x 102 cm 40 ¹ ₈ x 40 ¹ ₈ in Edition of 60 £ 4,500

Oisín Byrne Blue Cut Flowers, 2023 Screenprint 102 x 102 cm 40 ¹ ₈ x 40 ¹ ₈ in Edition of 60 £ 4,500 29

C Stephen Chambers RA Stephen Chambers RA is a British painter and printmaker who lives and work between London and Berlin. He studied at Winchester School of Art from 1978 to 1979 and then at St Martin's School of Art from 1979 to 1982. He graduated with a Masters from Chelsea School of Art in 1983. Chambers has won many scholarships and awards, including a Rome Scholarship, a Fellowship at Winchester School of Art, and a Mark Rothko Memorial Trust Travelling Award. Besides his painting and printmaking, Chambers has also collaborated on three dance projects with the Royal Ballet: Sleeping with Audrey (1996), Room of Cooks (1997, 1999) and This House Will Burn (2001).

Chambers has said that his work “speaks of states of mind, behaviours and sensibilities”.

Chambers’ most recent major project is The Court of Redonda, a large portrait series shown first in Venice during the 2017 Biennale, and subsequently at The Heong Gallery at Downing College, Cambridge. Chambers has a long association with Downing College, having been Artist in Residence at Kettle's Yard in 1998. He also received an Honorary Fellowship from Downing College in 2016.

His work is held in many major national and international collections. He is a Trustee of both The Koestler Trust and The Bryan Robertson Trust as well as being chair of the Exhibitions Committee of the Royal Academy.

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Stephen Chambers Birds of Extinction 2, 2022 Oil on board 57 x 47 cm 22 ½ x 18 ½ in £ 19,200

Stephen Chambers Birds of Extinction 3, 2022 Oil on board 57 x 47 cm 22 ½ x 18 ½ in £ 19,200 31

Stephen Chambers RA I Bite & Sting, 2020 Colour Etching, Set of 12 Paper size: 27 x 29 cm (each) 10 ⁵ ₈ x 11 ³ ₈ in Edition of 25 £ 14,500 framed

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Stephen Chambers RA Snail Love (Catalani 10) - Ochre, 2020 Oil on panel 32 x 26 cm 12 ⁵ ₈ x 10 ¼ in £ 8,400

Stephen Chambers RA Snail Love (Catalani 3) 2020 Oil on panel 32 x 26 cm 12 ⁵ ₈ x 10 ¼ in £ 8,400

Stephen Chambers RA Snail Love (Catalani 11) - Pale Pink, 2020 Oil on panel 32 x 26 cm 12 ⁵ ₈ x 10 ¼ in £ 8,400

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Stephen Chambers RA Stealing Shadows Series, 2018 Lithograph 45 x 60 cm (each) 17 ¾ x 23 ⁵ ₈ in Edition of 40 £14,500 framed

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Stephen Chambers RA Berlin Flowers (Yorck’s Vase Red), 2020 Oil on Linen, Stephen Chambers Studio 70 x 80 cm 27 ½ x 31 ½ in £ 26,500

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Maurice Cockrill RA (1936-2013) Born in Hartlepool, County Durham, Maurice Cockrill RA (1936-2013) studied at Wrexham School of Art in North East Wales, followed by Denbigh Technical College and the University of Reading, graduating in 1964. He went on to live in Liverpool for nearly two decades, where he became a central figure in the city’s artistic life. During this time, he taught at Liverpool College of Art, Liverpool Polytechnic, and Nottingham University, where he worked closely with artist David Taborn, who played a significant role in shaping Cockrill’s practice. Throughout the 1960s and ’70s, Cockrill regularly exhibited at the Walker Art Gallery in Liverpool. His early work reflected the Pop and Photo-Realist influences of the time, but by the 1980s, following his move to London, he developed a more expressive and romantic visual language - culminating in a major retrospective at the Walker Art Gallery in 1995.

In addition to his work as a painter, Cockrill was also an accomplished poet, with poems published in Ambit and Poetry Review. He later held the prestigious position of Keeper of the Royal Academy, overseeing the RA Schools and serving on both the Board and Executive Committee. Cockrill’s contribution to British art was recognised with numerous honours, including the John Moores Liverpool Exhibition and awards from the Arts Council of Great Britain, Royal Festival Hall, and the British Council, among others.

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Maurice Cockrill RA, 1936-2013 Jade Sky and Dark Column, 2009 signed, titled and dated on reverse oil on canvas 51 x 40 cm 20 ¹⁄₈ x 15 ¾ in £ 2,300+ARR 37

Marice Cumber Cumber returned to making ceramics when she was 57 after a gap of nearly 30 years and after suffering a severe negative mental health crisis. During that time she had become a mother, worked to support a family and was denied the time, space and freedom (financially and mentally) to pursue any type of meaningful creative practice.

The ceramic work that she started to produce, after not making work for 30 years, and which she is continuing to develop currently, is a visual navigation of her life and of her life’s experiences. Cumber’s ceramics describe and communicate how she is resolving and rationalising her emotions and inner conflicts and how she deals, reacts and responds to her lived existence. The work, like huge oversized domestic vessels, expresses bold personal and intimate statements, like confessional advertisements, that she proudly shouts out loud and shares with an audience of viewers and observers. At its core, her work reverses the hierarchy of shame and hiding from others the complexities, emotional difficulties, pain and challenges of life to become a platform for acknowledging, accepting and celebrating these emotions as part of the richness and depth of life.

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When she describes my work she thinks about honesty, as she knows she doesn’t need to hide anymore or make an impression on anyone or feel shame or embarrassment about her emotions and reflections on her life and what she feels. She can just tell it how it is, and that honesty has appeal and truth to it and so she has given herself permission at long last to accept and to communicate who she really is to others. In doing this Cumber’s work calls to all of us and in response we thank her for her honesty and find comfort in her words which so many of us feel but cannot say out loud.

All Cumber’s work is hand built from stoneware clay which is then painted with slips, underglazes and oxides before being fired and glazed.

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Marice Cumber, 1961 The Small Bucket of Looking After Myself, 2025 signed and titled underneath handbuilt, stoneware, decorated with slips and underglaze 28 x 22 cm 11 x 8 ⁵ ₈ in £ 1,800 39

Marice Cumber. 1961 The Beaker of Good Times, 2024 signed, titled and dated underneath 13 x 12 x 12 cm 5 ¹⁄₈ x 4 ¾ x 4 ¾ in £ 420

Marice Cumber. 1961 The Beaker of Survival, 2024 signed, titled and dated underneath 12 x 10 x 10 cm 4 ¾ x 4 x 4 in £ 420

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Marice Cumber, 1961 The Beaker of Acceptance, 2024 signed, titled and dated underneath handbuilt, stoneware, decorated with slips and underglaze 12 x 11 x 11 cm 4 ¾ x 4 ³⁄₈ x 4 ³⁄₈ in £ 420

Marice Cumber, 1961 The Bucket of Silence signed and titled underneath handbuilt, stoneware, decorated with slips and underglaze 28 x 22 cm 11 x 8 ⁵ ₈ in £ 1,800

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D Ian Davenport Ian Davenport was born in Kent, England, in 1966. He graduated from Goldsmiths College of Art, London, in 1988 and as one of the generation of Young British Artists; he participated in the seminal 1988 exhibition Freeze. In 1991 he was shortlisted for the Turner Prize, for which he remains the youngest ever nominee, and in 1999 was a prize winner in the John Moores Exhibition, Liverpool. Two years after graduating Davenport had his first solo show at Waddington Galleries, London, in 1990.Ian Davenport is well known for his abstract paintings, which explore process and materiality.

In recent years his work has consisted of carefully poured lines of acrylic paint down a surface, which puddle and pool at the bottom. This technique allows him to explore complex arrangements of line and colour. Over the past ten years he has turned his attention to screenprinting and etching, building up an impressive body of graphic work.Davenport has exhibited extensively across the world, including major institutional shows at Dundee Contemporary Arts 1999 Ikon Gallery, Birmingham 2004); Tate Liverpool 2000 and Dallas Contemporary, Texas 2018. He has completed major commissions including Poured Lines Southwark Street, London 2006, a 48 metre wide painting on a bridge which is one of the largest permanent public artworks in the UK.

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At the 2017 Venice Biennale he presented an installation of over 1,000 stripes, a commission by Swatch, together with a Swatch Art special watch. In 2016 he hand-painted a series of porcelain plates in collaboration with Meissen, commissioned by South London Gallery, designed a special edition bag for Christian Diors Lady Art project. In 2010 he completed a residency programme at The Josef and Annie Albers Foundation in Connecticut, USA.His work is held in important museum collections including, Arts Council of Great Britain Tate, London Centre Pompidou, Paris National Museum Wales, Cardiff Von der Heydt Museum, Wuppertal Museum of Modern Art, La Spezia Borusan Art Gallery, Istanbul Museum of Modern Art, New York and Dallas Museum of Art, Texas. The first monograph of his work was published by Thames Hudson in 2014.Cristea Roberts Gallery is the exclusive worldwide representative for Ian Davenports original prints.

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Ian Davenport Mirrored Cadmium Yellow, 2017 Acrylic on aluminium panel 101.6 x 101.6 cm 40 x 40 in £ 75,000+ARR Provenance: with Kasmin Gallery, New York Private collection, UK

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Henrietta Dubrey Artist Henrietta Dubrey lives and works in West Cornwall near the westernmost tip of England.

Born in 1966 in Sussex she grew up at the foot of the South Downs. Following childhood holidays in Cornwall she was later drawn to St Ives by its rich artistic heritage and in particular the middlegeneration St Ives artists such as Roger Hilton and Terry Frost. She studied at Wimbledon School of Art and the Royal Academy Schools in London, finishing her studies in 1992 after which she moved to Normandy in northern France for five years, painting and starting a family.

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2012 saw Henrietta’s work appear on the set of the 20th Anniversary series of the BBC series Absolutely Fabulous and in design store Skandium whose windows were filled with her paintings on both Brompton Road and Marylebone High Street stores.

Working in both the figurative and abstract genre she thrives on the diversity that such discipline provides.

She exhibits in the UK, the US and internationally.

‘My work is generally described as abstract, although I would describe my paintings as autobiographical deconstructions and reconstructions of life. These ideas appear on the canvas surface often as an abstract gestural web, occasionally tangled, occasionally bold and resolved. An iconic form is liberated from a void into being.’

Henrietta Dubrey Early Afternoon, 2017 Oil on canvas 130 x 105 cm 51 ¹ ₈ x 41 ³ ₈ in £ 4,250 44

Henrietta Dubrey Green Park, 2023 Oil on canvas 48 x 38 cm 18 ⁷ ₈ x 15 in £ 1,495

Henrietta Dubrey Perfect Spot, 2018 Oil on canvas 130 x 105 cm 51 ¹ ₈ x 41 ³ ₈ in £ 4,350 45

F Anthony Frost Anthony Frost was born in St Ives, Cornwall, son of Sir Terry Frost one of the leading post-war English abstract artists. He studied at Cardiff College of Art from 1970-1973 (BA Hons, Fine Art) and returned to Cornwall to set up his studio, quickly establishing himself as a painter with a distinct visual language in which strong, primary colours, abstract shapes, gestural mark-making and irregular surface textures are combined.

Unlike his father’s paintings, they do not reference visual experience of light, space, movement and colour in the natural world but rely on the combination of improvised forms and seemingly random juxtapositions of colour on supports which often incorporate a wide range of found materials such as sacking, plastic netting, sailcloth, bed sheet and scrim. His aim is to create what he called ‘totally abstract’ work, he has quoted the minimalist artist Donald Judd who said that “representation is a kind of noise that gets in the way…”

Since his first solo show at the Newlyn Art Gallery in 1979, he has been featured in regular one-man exhibitions with an almost annual frequency, as well as numerous group exhibitions. His work is represented in more than twenty public gallery and corporate collections.

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Anthony Frost’s works are held in numerous public and private collections, and he has exhibited widely across the UK and abroad. He continues the Frost legacy of abstraction, while confidently asserting his own voice within it. Together, these works form a vivid and dynamic conversation across generations - each artist exploring the power of colour, shape, and rhythm in distinctly individual ways.

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Anthony Frost I’ve got a beat Acrylic on bed sheet, sailcloth and string 122 x 153 cm 48 x 60 ¼ in £ 14,000

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Anthony Frost ZIG ZAG WANDERER 111 Acrylic on hessian, sailcloth and ripstop ties 153 x 122 cm 60 x 48 in £ 17,000

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Sir Terry Frost RA (1915-2003) Painter, printmaker and teacher Sir Terry Frost RA (1915-2003), was a key figure in the development of British twentieth-century abstract art, renowned for his bold use of colour and shape, who worked in Newlyn, Cornwall.

Frosts draw to painting was initially spurred by the art-related conversations he had with fellow English painter Adrian Heath, whilst detained as a prisoner of war in a Nazi camp during World War II. This experience encouraged Frost to attend the Camberwell School of Art upon his return to England in 1945, where he would go on to study under the renowned painters Victor Pasmore, Ben Nicholson and William Coldstream.

Frost was given the opportunity to attend the St Ives School of Painting, before returning to Camberwell to complete his studies. In this time and the subsequent years he exhibited with the St Ives Society of Artists, and after settling in Cornwall was elected a member of the Penwith Society and worked as an assistant to Barbara Hepworth, hence he became associated with the St Ives group.

His teaching career led him to Bath Academy of Art, the University of Leeds, Cyprus College of Art and the University of Reading. He was awarded the John Moores Painting Prize in 1965, became a Royal Academician in 1992 and received a knighthood in 1998. A retrospective of his work was held at The Royal Academy in 2000.

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Prints were an essential element of Frost’s oeuvre. He believed that painting and printmaking were inseparable and that each medium informed each other.

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The fabulous book ‘A Catalogue Raisonne’ by Dominic Kemp (or ‘The Frost Bible’ as we call it) showcases his complete lifetime catalogue of print work. Terry Frost and Hugh Stoneman enjoyed three decades of print making together, starting with the beautiful Lorca Suite in 1989 through to the vast Madron Woodcuts in 2001.

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His work has been exhibited widely on national and international levels, with exhibitions at the Hermitage Museum, St Petersburg; the Royal Academy, London; Tate, St Ives and Brooklyn Museum, New York.

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The artist’s works are in public and private collections including Tate, London; Metropolitan Museum of Art, NY and National Galleries of Scotland, Edinburgh.

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Sir Terry Frost RA Timberaine C, 2000-01 3-part woodcut 105 x 150 cm 41 ³ ₈ x 59 in Edition of 16 £ 5,950 50

Sir Terry Frost RA Dawn Blue, Newlyn Quay, 2002 signed, inscribed and dated (on the reverse) Acrylic on canvas 106.7 x 106.7 cm 42 x 42 in £ 30,000 Provenance: Beaux Art, London, 28 June 2002 Private collection, UK

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Sir Terry Frost RA Brown and Black, 1955-60 Watercolour on paper 17.5 x 13.5 cm 6 ⁷ ₈ x 5 ¼ in £ 7,250

Sir Terry Frost RA SS Set (set of 8 etchings), 2003 Etching 46 x 43 cm (each) 18 ¹ ₈ x 16 ⁷ ₈ in Edition of 30 £ 12,750 unframed

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Sir Terry Frost RA Three Graces, 1978 Ink on paper 48.5 x 22 cm 19 ¹ ₈ x 8 ⁵ ₈ in £ 11,250

Sir Terry Frost RA Life is Just a Bowl of Cherries II, 2003 Screenprint 60 x 44.5 cm 23 ⁵ ₈ x 17 ½ in From the edition of 60 £ 3,950

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Sir Terry Frost RA Long Bow, 1998 signed and dated Terry Frost 98 screenprint and collage 48.5 x 106 cm 19 x 41 ¾ in £ 6,750

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Sir Terry Frost RA Red and Black Motif Plate glazed ceramic height 34 cm height 13 ³ ₈ in £ 995

Sir Terry Frost RA Blue Life’s Bowl of Cherries glazed ceramic height 34 cm height 13 ³ ₈ in £ 995

Sir Terry Frost RA Red and Black Divided Circle Plate glazed ceramic height 34 cm height 13 ³ ₈ in £ 995

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Sir Terry Frost RA Blue Spiral Plate glazed ceramic height 42 cm height 16 ½ in £ 1,200

G Joan Gillespie Born in 1954, Joan Gillespie studied at Dundee College of Art from 1972 - 1975 under Alberto Morrocco, and then at Edinburgh College of Art from 1975 - 1976 under Sir Robert Philipson. She worked as a graphics and Exhibition Designer with the Royal Museums of Scotland and became a fulltime artist in 1986. She now lives and works in Broughty Ferry.

Joan explain, “since I was very young I have always loved looking at colourful things. I remember clearly the colours and patterns on my mum’s dresses and also brightly coloured interiors filled with fabrics.

I suppose I am, at heart, a traditionalist. I like to paint whatever subject matter takes my fancy, be it still life, figures or landscapes. Like the Fauves and Expressionists of the early 20th Century, I am interested in emphasising areas of colour, simplifying the shapes. For me, it is important to have dynamism in my work not only using complimentary colours but emphasising their intensity using bold outlines and tonal extremes”.

Matthew Jarron, Curator of the University of Dundee Musem Collections states that her, “simple, subtle and serene figurative studies are a visual delight...bold, thick lines give clarity to body shape, limbs, and flowing hair with a vivid sense of movement and life. Gillespie is a most refreshingly imaginative artist who has clearly folllowed her own private, painterly journey, enriched by Fauvism philosophy”.

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Joan Gillespie, b. 1954 Pont Neuf, Paris, c.2015 signed lower left Oil on board 36.5 x 51.5 cm 14 ³ ₈ x 20 ¼ in £ 5,500 57

H Nigel Hall RA Since Nigel’s first solo show at Galerie Givaudan Paris in 1967, he has had over 100 solo and over 300 group exhibitions around the world. Solo shows include the Kunsthalle Mannheim 2004, a major retrospective at Yorkshire Sculpture Park 2008 and The Royal Academy, London 2011. In 2020 he exhibited in South Korea at Mo J Gallery and in 2021 he had a solo show at Annely Juda Fine Art Gallery in London.

Born and educated in Bristol he grew up in the Gloucestershire countryside, studied at West of England College of Art 1960-64 and went on to the Royal College of Art 1964-67. A Harkness Fellowship in 1967 took him to United States for two years, choosing California as his base to experience both the city of Los Angeles and the Mojave Desert.

From 1971 to 1981 Nigel was a lecturer and external examiner of the Royal College of Art, London, and ran the MA sculpture course at Chelsea College of Art and Design. In 1995 he won the Pollock-Krasner Award and in 2001 he had a residency at Chretzeturm, Stein Am Rhein, Switzerland. In 2002 Nigel was awarded the Jack Goldhill Sculpture Prize and a year later he was elected a Royal Academician. In 2017 he was given an Honorary Doctorate from University of the Arts, London. portrait by Anthony Lycett

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Hall’s work is represented in prestigious public and corporate collections worldwide. Institutions holding his work include the Tate Gallery and British Museum in London, the Museum of Modern Art in New York, the Art Institute of Chicago, the Musée National d’Art Moderne in Paris, the Tokyo Metropolitan Museum of Art, and the National Gallery of Australia in Canberra. His sculptures can also be found in corporate collections such as Unilever, Deutsche Bank, Goldman Sachs, and Mercedes-Benz. Additionally, Hall has been commissioned for significant public artworks, including installations at the University of Oxford and the Olympic Park in Seoul. Nigel lives and works in London. His studio, a 60 feet by 60 feet converted church hall in Balham has been his artistic base since 1991.

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Nigel Hall RA Spirit, 2017 Corten steel 190 x 294 x 43.2 cm 74 ¾ x 115 ¾ x 17 ¹ ₈ in £ 155,000+VAT 59

Nigel Hall RA Dark Pool, 1989 Bronze 188.5 x 120.2 x 116.9 cm 74 ¼ x 47 ³ ₈ x 46 in £ 65,000+VAT

Nigel Hall RA Turkish Leaf medium, 1988 Bronze 103 x 66.5 x 50 cm 40 ½ x 26 ¹ ₈ x 19 ¾ in £ 40,000+VAT

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Nigel Hall RA Southern Shade IV (60cm), 2018 Bronze 60 x 55 x 10.7 cm 23 ⁵ ₈ x 21 ⁵ ₈ x 4 ¼ in £ 20,000+VAT

Nigel Hall RA Ghost, 2020 Corten steel 200 x 174 x 35.3 cm 78 ¾ x 68 ½ x 13 ⁷ ₈ in Edition 1 of 2 £ 90,000+VAT 61

Rachel Hamel-Cooke Rachel Hamel-Cooke is a British collage artist working from her studio in Woodstock, on the edge of the Cotswolds. With a background in interior design, her visual language is rooted in an exquisite sensitivity to balance, texture, and tone. Each of her meticulously crafted collages is the result of an intensive, patient and rigoriourous process - one that belies the serene, almost meditative stillness of the finished work.

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Hamel-Cooke constructs compositions that feel at once timeless and delicately contemporary.

Her practice is characterised by an exceptional eye for detail and an unwavering commitment to aesthetic precision.

Though deeply informed by her previous design career, Hamel-Cooke’s collage work marks a distinct artistic evolution - one in which restraint, clarity, and material poise are paramount. The works are quietly powerful, offering viewers a space for contemplation and calm.

Rachel Hamel Cooke Landscape with sea, amethyst flowers, viridian leaves complex collage 109 x 106.5 cm 42 ⁷ ₈ x 41 ⁷ ₈ in £ 12,750

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Rachel Hamel Cooke Green bottle landscape with red flowers collage 76 x 56 cm 29 ⁷ ₈ x 22 in £ 4,500

Rachel Hamel Cooke White Jug with amethyst flowers, turquoise leaves Collage 45.5 x 29.5 cm 17 ⁷ ₈ x 11 ⁵ ₈ in £ 2,600

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Rachel Hamel Cooke Blue Hydrangeas, green tall vase Collage 90 x 110 cm 35 ³ ₈ x 43 ¼ in £ 11,600

Lydia Hardwick Lydia Hardwick is a ceramicist based in Cumbria, UK. Lydia graduated from the Royal College of Art in 2013. Primarily using clay, she works across the fields of art and design.

Lydia is available for commissions and collaborations, with most of her work currently being made-to-order.

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Lydia Hardwick 3 Plates, 2021 Terracotta plates with black and white slip 22 cm (8 ⁵ ₈ in) W each £ 200 each 64

Lydia Hardwick Platter, 2023 Stoneware with black slip and inlaid white slip 40 cm (15 ¾ in) W £ 350

Lydia Hardwick Platter, 2023 Stoneware with black slip and resist 40 cm (15 ¾ in) W £ 350

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Lydia Hardwick Platter, 2023 Stoneware with black slip and inlaid white slip 40 cm (15 ¾ in) W £ 350

Damien Hirst Damien Hirst is the most prominent of the Young British Artists (YBAs) that emerged in the 1990s. This group first gained notoriety when British advertising magnate and collector Charles Saatchi began buying and showing their work in his galleries. Like many of the YBAs, Hirst confronts big themes head on, including life, death, science, and religion. His mixed-media sculptures are created from a frequently controversial assortment of formaldehyde-suspended carcasses, cigarette butts, pharmaceutical packaging, and surgical instruments, often encased in glass vitrines.

The earliest Hirst works to attract critical attention were his so-called “spot paintings,” an example of which is Chlorpropamide (pfs), 1996. The paintings are composed of hundreds of identically sized colored spots aligned into grids and named after controlled substances. In the Warholian tradition of repetitive, serial images, these unashamedly formulaic paintings use simple, cheerful means to suggest anxious questions, such as: Is art a drug? Do drugs heal or harm? Following the spot paintings, Hirst pushed further into this thematic territory by creating a series of medicine cabinets filled with drug bottles and pharmaceutical packaging, both old and new, symbolizing art’s reputed healing power.

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Hirst has continued to meditate on the rituals of nature and death in often monumental, headline-grabbing scale. His most famous series, Natural History, features formaldehyde-preserved animals in large tanks, such as Away from the Flock, 1994, in which a sheep is suspended in fluid. The subject vacillates between its nascent, wooly state and its current lifeless, pickled state, referencing the sacrificial lamb as a representation of Christ.

Hirst looks for an aesthetic beauty in death, often with the realization that beauty itself may depend on cycles of life and the passing away of matter.

Such haunting beauty is found in The Kingdom of the Father, 2007, a colossal triptych made of thousands of butterflies mired in house paint. The deaths of the butterflies add a sobering note to the astonishing grandeur of the paintings, made to mimic the stained glass of a church apse. By turning raw, physical matter into an object of seemingly metaphysical import, Hirst upends our assumptions about how images represent reality and communicate culturally.

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Damien Hirst Purity, The Dream is Dead, 2007 Sterling silver Signed and editioned with Pangolin Editions foundry mark 60 x 13 x 28.5 cm 23 ⁵ ₈ x 5 ¹ ₈ x 11 ¼ in From the edition of 25 £ 125,000+ARR 67

Howard Hodgkin (1932-2017) One of England’s most celebrated contemporary painters, Howard Hodgkin (1932–2017) was deeply attuned to the interplay of gesture, color, and ground. His brushstrokes, set against wooden supports, often continue beyond the picture plane and onto the frame, breaking from traditional confines. Embracing time as a compositional element, his work is testament to his immersion in the intangibility of thoughts, feelings, and fleeting private moments.

Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years.

In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54).

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Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames.

In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1998 Hodgkin joined Gagosian, and the gallery presented his first show in the United States since his critically acclaimed 1995–96 exhibition at the Metropolitan Museum of Art, New York, which had traveled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent.

Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural fronts the British Council’s headquarters in New Delhi. Additionally, Hodgkin designed a stamp for the Royal Mail to mark the millennium; textiles for Designers Guild; and posters and prints for the Olympic Games in Sarajevo, London, Sochi, and Rio de Janeiro.

Hodgkin was knighted in 1992 and made a Companion of Honour in 2003. He was awarded the Shakespeare Prize in Hamburg in 1997, and in 2014 won the first Swarovski Whitechapel Gallery Art Icon award.

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Howard Hodgkin, 1932-2017 Birthday Party, 1977-78 Lithograph with hand colouring 38 x 50 cm, 15 x 19 ¾ in From the Edition of 50 £ 4,850

Howard Hodgkin, 1932-2017 One Down (Heenk 65), 1981-1982 signed with initials, dated and numbered in pencil Lithograph in colours with hand-colouring in gouache 91.5 x 122 cm 36 x 48 in From the edition of 100 £ 12,000

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Richard Hudson

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Richard Hudson (born in 1957 in Yorkshire), a British artist living and working in Madrid, has built up an international reputation as one of the major artists working in sculpture today, being exhibited across Europe, Asia and America. Reminiscent of works by Brancusi (1876-1957), Hudson’s trademark sculptures are all about simplified and reduced forms and highly polished surfaces.

His incredibly tactile bronze or mirrored stainless steel works pare back their figurative subject matter to its roots, creating abstracted and often erotic, raw forms and leaving the viewer to create his or her own narrative. Hudson's works are featured in some of the biggest private collections in the world and have been part of Sotheby’s selling exhibition Beyond Limits, Chatsworth House, UK since 2008. His work has been exhibited at F2 Gallery, Beijing; Hamiltons Gallery, London; Goss Gallery, Dallas; and Centro Cultural Andratx, Mallorca. In 2013, he was one of the judges of London’s Royal College of Art Sculpture Competition.

Richard Hudson Twice Polished Mirrored Steel 80 x 39 x 39 cm 31 ½ x 15 ³ ₈ x 15 ³ ₈ in From the Edition of 5 £ 70,000 + 5% import tax 70

Kathleen Hyndman (1928-2022) Kathleen Hyndman (1928-2022) studied at Kingston-upon-Thames School of Art before choosing teaching over a Slade scholarship, training instead at the Institute of Education in London. After working at County Hall - where she met her husband, Michael - the couple moved to Kingston Bagpuize in 1967, where Kathleen painted and taught part-time.

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Supported by her family, Hyndman developed a distinctive visual language inspired by nature, geometry, and mathematical principles such as the Golden Section, prime numbers, and Fibonacci sequences. Her work sought harmony and unity through these forms, evolving into series that explored the idea of an absolute ‘truth’.

In 1977 she was awarded a South Arts Bursary, with her work touring the South East, including the Museums of Modern Art in Reading and Oxford. She exhibited at the Hayward Annual in 1982, and in 2000 received a Millennial Fellowship for early work on the Isle of Dogs. Major recent exhibitions include Hyndman and Riley: The Rhythm of Life (Zuleika Gallery, 2022) and Kathleen Hyndman: A Mathematical Artist and Her Lifelong Task, curated by Professor Frances Spalding at Clare Hall, Cambridge (2023).

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Kathleen Hyndman, 1928-2022 Radiate/Glow, 1975 signed twice, inscribed and dated ‘HYNDMAN K.HYNDMAN RADIATE/GLOW Fin./Oct 75’ (on the stretcher) acrylic on canvas 122 x 114 cm 48 ¹⁄₈ x 44 ⁷⁄₈ in £ 10,000

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Robina Jack creates both intricately patterned ceramics and paintings on found wood. Her work is informed by a childhood spent mucking around on an Oxfordshire farm and makes frequent nods to a vanished past. Much of it is populated by a menagerie of characterful animals, from wistful horses to purposeful hens.

Often a ship in full sail cuts across the waves somewhere between the viewer and a distant horizon, a nostalgic allusion to her family’s maritime connections and to a great grandfather who captained a transatlantic clipper during the reign of Victoria. No piece is complete without an elaborately decorated border or two, Robina’s motto being, “why have only one border when there’s room for several more?”.

Ceramics and painting have occupied Robina for the past twelve years, and prior to that she made acid etched stained glass panels, having attended a course at the Central School of Art in London during the 1970s. She has exhibited widely since the 1990s, and currently shows work at galleries including: galleries including: David Messum Fine Art in St. James’s, and previously on London’s Cork Street, (alongside her husband Guy Taplin and daughter Nancy Rose Taplin); Yew Tree Gallery, Godfrey and Watt; Gallery Nine; Twenty Twenty Gallery; and Geedon Gallery. She has pieces on permanent display at Ham Yard Hotel, London and Whitby Hotel and Warren Street Hotel, New York, curated by Kit Kemp.

Robina Jack Tiger, 2022 Slip decorated earthenware 30 x 45 cm 11 ¾ x 17 ¾ in £ 850

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Robina Jack Chicken Plate, 2020 Slip decorated earthenware height 36 cm height 14 ¹ ₈ in £ 850

Robina Jack Penguin Platter, 2025 Slip decorated earthenware 36 x 26 cm 14 ¹ ₈ x 10 ¼ in £ 850

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Robina Jack Horse Bowl, 2020 Slip decorated earthenware 33cm diameter x 6 cm depth 13 x 2 ³ ₈ in £ 850

Robina Jack Zebra Plate, 2020 Slip decorated earthenware height 36 cm height 14 ¹ ₈ in £ 850

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Heather Jansch (1948–2021) Heather Jansch was a sculptor who specialised in equine figures in driftwood and bronze. She died in July 2021 at the age of 72. From an early age she was inspired by the drawings of Leonardo da Vinci and her lifelong passion for horses ran parallel; her childhood sketchbooks were crammed with studies of ponies. She studied fine art at Walthamstow Technical College and at Goldsmiths, University of London.

Born Heather Sewell, she married the renowned folk musician, Bert Jansch, in 1968 and they moved to a remote hill farm in Wales where Heather bred Welsh Cobs. During this period, which she described as her apprenticeship, Heather developed a profound understanding of equine behaviour and anatomy. She also became skilled at understanding the minute differences between closely related breeds. Her command and accuracy were fast noted by breeders, with whom her early traditional equine portraits in oils became much in demand.

After ten years in Wales (having separated from Bert in 1974), Heather settled in South Devon in 1981 and a new style emerged in her painting, with vibrant colours and increasingly impressionistic canvases. She felt a restless drive to push her art in a new direction. Experimenting and expanding her subject matter, she began working in three dimensions, firstly in copper wire and plaster. But she often felt frustrated that her early sculptures lacked power, vitality, and the life force she could see in her equine subjects. The breakthrough came when she began working in driftwood, abundant on the beaches of Devon. Driftwood was the key that unlocked her creativity and marked the beginning of a huge artistic output.

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Heather was chosen to be represented in the Salisbury-based ‘The Shape of the Century’ exhibition in 1999, and the show transferred to London Docklands as part of the Millennium celebrations in 2000. As a consequence, Tim Smit, founder of the Eden Project, invited her to become its artistin-residence. Her first pieces created within the Biomes there included cork pigs and storks. Then she created the life-size driftwood horse that became known as the Eden Horse. Its new scale and ambition took her work to another level and brought recognition from a wider international audience.

The limited durability of driftwood when kept outside (the natural environment for life-size sculpture), was becoming an issue. Heather collaborated over several years with skilled mould-makers at a fine art foundry, at last finding a seminal new method of casting highly complex forms in bronze.

The resulting casts brought a new permanence and gravitas to the work.

In later years Heather also sculpted powerful horse heads and a series of dancers and ‘warrior women’ assembled from wood, copper and objets trouvés. A move to a converted coach house near Exeter with 14 acres of woodland and water meadows provided an ideal setting for her work. She regularly opened her gardens as part of Devon Open Studios and the National Garden Scheme, where thousands of people viewed her sculpture over the years.

Heather exhibited frequently in the UK and internationally. Her work is held in private collections throughout the world.

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Heather Jansch Beethoven, 1998 Bronze 59 x 64 x 25 cm 23 ¼ x 25 ¼ x 9 ⁷ ₈ in Edition of 9 £ 35,000 76

Heather Jansch Neptune, 2014 Bronze 41 x 18 x 10 cm 16 ¹ ₈ x 7 ¹ ₈ x 4 in Edition of 25 £ 6,560

Heather Jansch Sentinel, 2016 Bronze 48 x 41 x 14 cm 18 ⁷ ₈ x 16 ¹ ₈ x 5 ½ in Edition of 12 £ 19,765 77

Heather Jansch Cherry Pie, 2012 Bronze 152 x 163 x 56 cm 59 ⁷ ₈ x 64 ¹ ₈ x 22 in Edition of 5 £ 110,000 78

Heather Jansch Forget me Not Bronze 172 x 211 x 56 cm 67 ¾ x 83 ¹ ₈ x 22 in Edition of 5 £ 194,000

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Heather Jansch Madrugada, 2014 Bronze 178 x 152 x 61 cm 70 ¹ ₈ x 59 ⁷ ₈ x 24 in Edition of 5 £ 137,500

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Heather Jansch The Young Arabian Bronze 172 x 239 x 56 cm 67 ¾ x 94 ¹ ₈ x 22 in Edition of 5 £ 225,000

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L Andrew Lacey Andrew Lacey is an artist, archaeometallurgist and independent scholar who single-handedly creates captivating, timeless bronze sculptures and analytical artworks from his private studio-foundry in rural Devon. His visionary approach and technical veracity ensure his status as one of the most exciting sculptors working in the UK today.

Andrew’s unique approach to making involves a rigorous and constantly evolving investigation of the intrinsic nature of bronze, which has been influenced by ongoing academic, scientific, historic and archaeological study.His fascination with materials, combined with the capacity to cast everything by hand – and therefore to intercept the creative process at any stage– affords him an artistic manner which is spontaneous, experimental and highly focused.

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Many years spent intensively researching, analysing and recreating the techniques of the Old Masters has given Andrew a deep, richly-layered expertise which flows throughout his practice. Bold, hand-hewn sculptures in plaster and expertly cast bronzes are synonymous with his output, and each compelling form not only celebrates the natural world which surrounds us but also reveals an ethereal world, created by poetic imagination – dynamically connecting the viewer to both.

Classical mythology, ancient philosophy, verse and folklore also inform the work, and Andrew's sculptures act as tributes to these resonant moments:Equine profiles, mythical creatures, human torsos and outstretched wings are important, recurring motifs in the studio.

However, within each familiar form large areas are often left ‘incomplete’; a daring and distinctly contemporary tactic which allows space for the eye – and, of course, the imagination – to develop the rest.

With a host of publications, unique exhibitions, TV documentaries, lecturing events and creative collaborations,Andrew Lacey is firmly at the centre of a vibrant resurgence of interest in bronze – demonstrating its raw liquid power to spellbound audiences worldwide, and proving it to be an artistic medium like no other.

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Andrew Lacey Peace bronze with unique patina 45 x 33 x 11 cm 17 ¾ x 13 x 4 ³⁄₈ in Edition of 9 (# 3/9) £ 7,000

Andrew Lacey Peace II (study), 2024 Bronze with unique patina 45 x 33 x 11 cm 17 ¾ x 13 x 4 ³∕₈ in Edition of 9 £ 4,000

Andrew Lacey Peace II (large), 2025 Bronze with blue patina 175 x 98 x 30 cm 68 ⁷∕₈ x 38 ⁵∕₈ x 11 ¾ in Edition of 9 (#1/9) £ 35,000 83

M Hamish Mackie British wildlife sculptor Hamish Mackie has had the privilege of observing wildlife in many corners of the world at first hand. “Observing animals in their own environment, in their natural habitat, is essential to understanding the subject’s physical and instinctive traits. For example, the disposition of a captive predator is very different from that of a predator in the wild,” he says. This close observation, often involving intense research trips and sculpting from life in the field, informs Hamish’s whole approach to his work, which resonates with his passion for the natural world.

His bronze sculptures capture instinctive moments of animal behaviour but are his own interpretation, not merely photographic representations.

Hamish manages to convey the inner core, strength and grace of his subject. Largely self-taught, his style is unique – he frequently works in spontaneous, often unrepeatable, fluid gestures with a confidence born from many years of mastering his craft. This assertive handling of his materials, coupled with an acute understanding of anatomy, results in strong, dynamic, ‘living’ sculptures.

Born in 1973, Hamish Mackie grew up on a livestock farm in Cornwall, England. In the kitchen of the family farm, there still hangs his first bronze sculpture – a calf’s head he made at the age of 12 as a Christmas present for his father. He attended Radley College and Falmouth School of Art, before going on to study design at Kingston University. He began sculpting full time in 1996.

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Hamish has works in public and private collections around the world. His sculptures are cast in bronze, stainless steel, silver or occasionally gold as limited editions, each signed, dated and numbered. Each sculpture takes on average four months to be sculpted, moulded and then cast into bronze using the lost wax method. It is a highly-skilled, labour-intensive process.

In 2007, Hamish built a sculpture studio in Oxfordshire, where he now lives and works with his wife Laura and their three daughters. He has travelled to Antarctica, the Falkland Islands, South Georgia, Africa, United Arab Emirates, Australia and India, as well as all over Europe, to study wildlife. You can read about his travels in the News section.

In 2014, Hamish Mackie won a major public art commission – Goodman’s Fields Horses for the Berkeley Homes Goodman’s Fields development in the City of London – six life and quarter size horses running loose through the pedestrianised plaza. During this year-long project, he collaborated with Lockbund Foundry to create a new bronze foundry big enough for the job that required over a kilometre of steel for the armatures, six tonnes of clay, one tonne of silicone rubber and four tonnes of bronze. The sculptures were unveiled in 2015 to critical acclaim and the following year, won the Public Monuments and Sculptures Association’s Marsh Award for Excellence in Public Fountains.

In 2016, Hamish also presented his sixth Solo Show, Life in Bronze, at Mall Galleries, London to great critical acclaim.

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Hamish Mackie, b. 1973 Hare Running, 2023 Bronze, Signed Hamish Mackie Numbered Edition of 12 51 x 82 x 19 cm 20 ¹ ₈ x 32 ¼ x 7 ½ in £ 13,000

Hamish Mackie, b. 1973 Arabian Horse, 2022 Bronze 43 x 15 x 46 cm 16 ⁷∕₈ x 5 ⁷∕₈ x 18 ¹∕₈ in Edition of 12 £ 9,500 85

Paul Maze (1887-1979) Paul Lucien Maze DCM MM (1887-1979) was born in Le Havre and learnt the rudiments of painting from family friends including, Georges Braque, Raoul Dufy, Claude Monet and Camille Pissarro. Aged fourteen, Maze was sent to school at Haendel College in Southampton and it was during his time there that he began a life-long affair with all things English.

When war broke out in 1914 Maze joined the Royal Scots Greys initially as an interpreter and was later transferred to the British 5th Army Headquarters’ staff where he was a liaison officer and artist. He was awarded the Distinguished Conduct Medal and Military Medal with bar as well as the French Croix de Guerre and later on the Legion d’honneur. In 1934 Heinemann published Maze’s recollections of the First World War – A Frenchman in Khaki with a preface by Winston Churchill. In 1920 he was naturalised as a British subject when he married Margaret Nelson. He divorced in 1950 and married Jessie Lawrie and moved to Mill Cottage, Treyford in West Sussex.

Maze exhibited in London, Paris and New York and his work is held in major British and US private collections and public institutions including, Tate, The Fitzwilliam Museum, Glasgow Art Gallery and Museum, Henley River & Rowing Museum and The Government Art Collection..

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Paul Lucien Maze (1887-1979) Mill Cottage, Treyford, 1962 signed and dated ‘Paul Maze/1962’ (lower right) Oil on board 49 x 69 cm 19 ¼ x 27 ¹ ₈ in £ 9,500

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John Milne (1931-1978) John Milne (1931-1978) is regarded as one of the most interesting and sophisticated of the sculptors associated with St. Ives. He was a modernist abstract sculptor who was influenced by the Cornish landscape, and later also the architecture of Greece, Persia and North Africa. Milne’s early work was directly carved in stone, but from 1966 he started experimenting with metals and learned cold casting methods for bronze and aluminium.

Milne was a pupil under Barbara Hepworth, and then worked as her assistant. In 1957 he purchased Trewyn House, a large property in St Ives next door to Hepworth’s studio.

Sadly John Milne died at the early age of 47 in 1978, which was seen as a huge blow for the St. Ives artist community.

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John Milne (1931-1978) Horus, 1969 patinated bronze edition of 9 43 x 11 cm 16 ⁷ ₈ x 4 ³ ₈ in £ 10,750

John Milne (1931-1978) Persepolis, 1971 patinated bronze 15 x 20 x 16 cm 5 ⁷ ₈ x 7 ⁷ ₈ x 6 ¼ in £ 9,500 89

Henry Moore OM, CH (1898-1986) Henry Moore OM, CH (1898-1986) was an English sculptor known for his large-scale, abstract works. He was born on July 30, 1898, in Castleford, West Yorkshire, England.

Moore studied at the Leeds School of Art and later at the Royal College of Art in London. He began his career as a teacher, but eventually turned to sculpture full-time.

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Moore’s early works were inspired by nature and primitive art, and he often used organic forms in his sculptures. His later works became more abstract and geometric, and he began to explore the use of negative space in his compositions.

Moore’s sculptures were often monumental in size, and many were installed in public spaces around the world. He was a respected member of the art world, and his work influenced a generation of sculptors who came after him.

Moore died on August 31, 1986, in Much Hadham, Hertfordshire, England, at the age of 88. His work can be found in major museums and collections around the world, and he is widely regarded as one of the most important sculptors of the 20th century.

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Henry Moore O.M., C.H. (1898-1986) Colour Lithography, 1971 lithography 22 x 20 cm 8 ⁵ ₈ x 7 ⁷ ₈ in £ 2,250

Henry Moore O.M., C.H. (1898-1986) Family Group, 1944 Studio stamp “Moore” (plate) lower left Signed in pencil lower right (sheet) “Moore 50”, Numbered in pencil lower left (sheet) Lithograph printed in four colours 24 x 30 cm 9 ½ x 11 ¾ in From the Edition of 50 £ 6,500+ARR 91

N John Nash RA (1893-1977) John Northcote Nash RA (1893-1977), was the younger brother of the war artist Paul Nash (1889-1946). Born in London's Kensington in 1893, Nash and his family moved to Buckinghamshire in 1901. It was here that the garden of Wood Lane House at Iver Heath and the countryside of the Chiltern Hills greatly influenced him. After being educated at Wellington College, John started work as a trainee journalist but his life changed when his brother, who had enrolled at the Slade, brought home two fellow students, Claughton Pellew and Dora Carrington, who inspired him to become an artist. It was Dora who introduced him to his future wife Christine Kuhlensthal (1895-1976), another talented artist who also studied at the Slade with Paul Nash in the years immediately preceding World War One. John and Christine married in 1918.

Unlike his elder brother, John Nash did not receive any formal training, however held his first exhibition in 1913 and went on to exhibit with the Camden Town Group (1913-14) and soon after in 1915 with the London Group at the Goupil Gallery.

During the First World War, in 1916, Nash joined the ‘Artists Rifles’ before becoming an Official War Artist in 1918. From 1919 he then lived at Whiteleaf in Buckinghamshire where he became part of the renaissance of English book illustration. The drawings and engravings of this period especially reveal Nash’s knowledge of literature and botany as can be seen in his illustration of Poisonous Plants published in1927. During that period Nash also produced comic drawings inspired by Edward Lear, whose work he had seen in the home of his aunt Gussie, one of Lear’s girlfriends.

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During the 1920s Nash taught at the Ruskin School of Art in Oxford and remained a teacher until the end of his life. During most of the interwar years John Nash and his wife lived at Meadle in Buckinghamshire. From there both went on holidays all over England during which they filled numerous sketch books with pen, pencil and wash studies which developed into oil and watercolour compositions in their studio.

Nash had a great passion for plants and he excelled as a plant illustrator and, like his friend Cedric Morris, called himself an ‘artist plantsman’.

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House In 1940 Nash was commissioned as an Official War Artist in the Royal Marines, a role he did not especially enjoy, preferring to paint the English landscape, which he did after the war. From 1922 Nash had made many visits to Essex and rented a summer cottage at Wormingford, near Colchester and in 1945 he and his wife bought Bottengoms Farm where they lived until they died. When in Essex Nash taught at Colchester Art School and conducted yearly plant illustration courses at Flatford Mill.

Nash was one of the founders of Colchester Art Society and later the Society’s President, serving from 1946 to 1977.

He became ARA in 1940 and RA in 1951. Nash was also appointed a CBE in 1964 and in 1967 was distinguished by being given the first ever retrospective exhibition of a living painter by the Royal Academy. Nash’s work can be found in many private and public collections such as the Tate Gallery, the Courtauld Institute of Art and the Fine Art Museums of San Francisco.

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John Nash, (1893-1977) Talisker, Isle of Skye with John Nash studio stamp (on the reverse) Oil on board 59.1 x 76.2 cm 23 ¼ x 30 in £ 48,000+ARR

John Nash, (1893-1977) The Rock Pool, c.1953 stamped with studio stamp on reverse (upper left) Oil on canvas 83.8 x 66 cm 33 x 26 in £ 32,000+ARR

Provenance with Phipps and Company Ltd., 1986, where purchased by John Constable Esq

Provenance The Artist’s Studio Sale Estate of the Late John Constable 93

Ben Nicholson OM (1894-1982) Nicholson was born in Denham, Buckinghamshire, and was the son of the artists William Nicholson and Mabel Pryde. He studied at the Slade School of Art, 1910-11. He spent 1912 to 1914 in France and Italy, and was in the United States in 1917-18. He married the artist Winifred Roberts in 1920. Over the next three years they spent winters in Lugano, Switzerland, then divided their time between London and Cumberland. In 1931, Nicholson's relationship with the sculptor Barbara Hepworth resulted in the breakdown of his marriage to Winifred. He and Hepworth married in 1938 and divorced in 1951. Nicholson lived in London from 1932 to 1939, making several trips to Paris in 1932-3, visiting the studios of Picasso, Braque, Arp, Brancusi and Mondrian. From 1939 to 1958 he lived and worked in Cornwall, before moving to Switzerland. He returned to London in 1974.

Nicholson's earliest paintings were still lifes influenced by those of his father. In the 1920s he began painting figurative and abstract works inspired

by Post Impressionism and Cubism. He produced his first geometric and abstract reliefs in 1933. He first exhibited in 1919, at the Grosvenor Gallery and Grafton Galleries. His first one-man show was held at the Twenty-one Gallery, London in 1924. From 1924 to 1935 he was a member of the Seven and Five Society, and in 1933 he joined Unit One, founded by Paul Nash. In 1937 Nicholson, Naum Gabo and the architect Leslie Martin edited Circle: International Survey of Constructive Art. Circle identified Nicholson with a group of like-minded artists and architects who wanted to apply ‘constructivist’ principles to public and private art, advocating mathematical precision, clean lines and an absence of ornament.

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In 1952 Nicholson won first prize at the Carnegie International, Pittsburgh. He was awarded the first Guggenheim International painting prize in 1956, and the international prize for painting at the Sao Paulo Bienal in 1957. He received the Order of Merit in 1968. Numerous retrospective exhibitions of his work have been held, including shows at the Venice Biennale and Tate Gallery in 1954-5, Kunsthalle, Berne in 1961, Museum of Fine Arts, Dallas in 1964, Albright-Knox Art Gallery, Buffalo in 1978, and Tate Gallery in 1993-4. Helped by wide international exposure in British Council tours during the 1940s and 1950s and by the championing of the writer Herbert Read, Nicholson's work came to be seen, with Henry Moore's, as the quintessence of British modernism.

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Ben Nicholson Jug and Glass Interwoven, 1979 Mixed media - collage, watercolour and black ink 41 x 45 cm 16 ¹ ₈ x 17 ¾ in £ 16,500 95

Rachel Nicholson The artist daughter of two of the Titans of Modern British Art. At her first London exhibition in June 1980, Rachel’s father Ben Nicholson, commented on one picture, Still Life on Navy Blue, 1979: ‘I never realised she could paint so well. I would have been happy to have painted that one myself’.

With the daunting heritage on her father’s side of two generations of Nicholson artists, and as the daughter of Barbara Hepworth, a sculptor described as the most important female artist in history, Rachel soon grew to create a distinctive style of her own and has seen her artistic reputation become increasingly her own.

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Despite growing up in a creative environment, it wasn’t until relatively later in life, when her youngest child started school, that Nicholson began to paint at the age of 41. At first she painted still life compositions, developing over the years into a range of landscape images ranging from Cumbria, Derbyshire and Cornwall.

Her first solo exhibition was held in 1979 at the Field Gallery, Nottingham. This was followed in 1980, by her first solo London exhibition, at the Montpelier Studio, where she continued to exhibit for the next 20 years.

Rachel Nicholson View Over Harbour, 1997 lithograph 54.5 x 69 cm unframed 21 ½ x 27 ¹ ₈ in £ 1,275

She has exhibited at numerous prestigious public and private galleries, including Beaux Arts Bath, Crane Kalman (The Nicholsons) and Tate St Ives.

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Rachel Nicholson Derbyshire in Summer, 1996 acrylic on paper 25 x 35.5 cm 10 x 14 in £ 5,250

Rachel Nicholson Wolstonbury Hill, 2005 acrylic on paper 22.86 x 30.48 cm 9 x 12 in £ 5,250

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Rachel Nicholson Four Objects with Blue & White Jug, 1999/2005/08 Oil on board 36.5 x 49 cm 14 ½ x 19 ½ in £ 6,250

Rachel Nicholson Six Still life Objects, RH - N Feb 2007 / 11 Oil and acrylic on board 50 x 60 cm 19 ¾ x 23 ⁵ ₈ in £ 7,500

Rachel Nicholson Red Mug, Flower Mug, 1988 Acrylic on canvas 31 x 40 cm 12 x 16 in £ 5,750

Rachel Nicholson Green Teapot with Julia’s Jug, 2005/6 Oil and acrylic on board 50.8 x 60.96 cm 20 x 24 in £ 7,500

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Rachel Nicholson Untitled (Jug & Spoon), circa 1983 Oil on board 21.5 x 14 cm 8 ½ x 5 ½ in £ 3,950

Rachel Nicholson Green & Grey, Spring 1980 Gouache 25 x 28 cm 9 ⁷ ₈ x 11 in £ 5,250

Rachel Nicholson Untitled (Black and Grey Jug), 1983 Gouache 19.5 x 18.5 cm 7 ⁵ ₈ x 7 ¼ in £ 3,950

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O Breon O’Casey (1928-2011) Breon O’Casey (1928-2011) was the son of the Irish playright, Sean O’Casey, and a significant member of the St Ives school, whose leading figures included Barbara Hepworth, Ben Nicholson and Bernard Leach. He began his working career as an assistant, initially to Denis Mitchell and later to Dame Barbara Hepworth in St. Ives, whilst establishing himself up as a painter, jeweller, weaver, and later, as a sculptor.

Drawing on multiple influences from antiquity to Modernism, primitive and non-western art, O’Casey is celebrated for his creative exploration of two and three dimensional mediums and the development of a rich personal style with its unique visual language that oscillated between the figurative and the abstract. When asked about objects that captivated him, O’Casey said it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’.

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Drawing on multiple influences from antiquity to Modernism, primitive and non-western art, O’Casey is celebrated for his creative exploration of two and three dimensional mediums and the development of a rich personal style with its unique visual language that oscillated between the figurative and the abstract. When asked about objects that captivated him, O’Casey said it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. His work is founded on a series of repetitive, often geometric motifs (often arranged in rows of three, a number he found intriguing and magical – a shorthand for infinity) which he would return to throughout his career; from simple, bold images of birds and hills reminiscent of Georges Braque and Henri Matisse, to his use of colourful triangles, spirals and polka dots in constructing landscapes rich in poetry and emotion. It was the 1945 exhibition of Paintings of Picasso and Matisse held at the V & A Museum, London organised by L’Association Française d’Action Artistique and The British Council which O’Casey described as ‘one of the epiphanies of his life’.. ‘God blimey’, I thought..this really is it. This is the cat’s whiskers alright. And that left an enormous impression on me that show.”

His work is founded on a series of repetitive, often geometric motifs (often arranged in rows of three, a number he found intriguing and magical – a shorthand for infinity) which he would return to throughout his career; from simple, bold images of birds and hills reminiscent of Georges Braque and Henri Matisse, to his use of colourful triangles, spirals and polka dots in constructing landscapes rich in poetry and emotion.

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Breon O’Casey, 1928-2011 Rooster, 2005 Acrylic on paper 57 x 75 cm 22 ½ x 29 ½ in £ 14,000

Breon O’Casey, 1928-2011 Profile, 1989-91 Acrylic on board 63 x 45 cm 23 ¾ x 17 ¾ in £ 18,000

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Breon O’Casey, 1928-2011 Blue Corner, 2008 Acrylic on board relief 66 x 69.6 cm 26 x 27 ³ ₈ in (framed dimensions) £ 18,000

Breon O’Casey, 1928-2011 Long Necked Bird, 2009 Bronze 109 x 65 x 27 cm 42 ⁷ ₈ x 25 ⁵ ₈ x 10 ⁵ ₈ in AC I from an edition of 5 £ 55,000 inc VAT

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Breon O’Casey, 1928-2011 Medium Boat, 2010 Bronze 37 x 32 x 19 cm 14 ⁵ ₈ x 12 ⁵ ₈ x 7 ½in Edition of 9, 3/9 £ 15,000

Breon O’Casey, 1928-2011 Turquoise Bird, 2002 Bronze on a slate base 26 x 23 x 10 cm 10 ¼ x 9 x 4 in Artist’s proof of an edition of 3 £ 14,000

Breon O’Casey, 1928-2011 Level Bird, 2004 Bronze 61 x 70 x 19 cm 24 x 27 ½ x 7 ½ in AC I from an edition of 5 £ 32,000

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P John Piper CH (1903-1992) John Piper CH (1903-1992) is noted for his drawings, paintings of landscape and architecture as well as abstract compositions, still life etc. In a period of around 15 years in the 1940s and 50s, Piper lived and worked intermittently in North Wales, and during his time there, he recorded the mountains of wales in a group of works that are among his greatest artistic achievements. Piper’s earliest learnings were towards abstraction, but his fascination with landscapes and architecture later dubbed him to be a neo-romantic. Piper’s involvement with abstraction and experimentation with collage, construction and assemblage of the early 1930s had a lasting influence on him. It remains a strong underlying factor in almost all of his work, and can mostly be seen as a structural basis for more graphic imagery. Like that of the other great neo-romantics, Graham Sutherland; Piper found that his work was greatly enriched by time spent in Pembrokeshire because of the areas special light and unique heritage.

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He made many explorations of rural Britain throughout his life. Piper “Flirted” with abstraction and combined it with his observations. Like artists before and since, he was drawn to the visual drama of the welsh mountains, but he was also fascinated by their geology as his artists eye explored the bones and structure in many of his paintings and drawings, Piper has taken immense care to capture the rock structations, the exact placement of the boulders and the jointing of the rock faces. “Colour is the Language of the Artist” – this is particularly the case for John Piper who would make a mountain dazzle with the hues of pink, blue or gold.

Piper knew that the colour of the Landscape would be affected in thousands of ways by such factors as light, time of day, year and environmental conditions like the weather.

John Piper had many inspirations. Obviously, the landscape itself but also influential people. At the Royal College of Art, he met Charles Mahoney, Morris Kestleman and Tom Monnington, all of whom effected a lasting influence on Piper as a young artist.

He was also inspired by other artists work: Just as I am being inspired by his. To name a few, he was being influenced by JMW Turner, Samuel Palmer and Richard Wilson. During the period that John Piper spent in North Wales, he often referred to the guide books and early geological texts of the 18th and 19th centuries as he travelled the area recording the mountains. Not only did he admire their engraved illustrations, but they also provided a link to the artists of the period most admired by Piper like Wilson and Turner.

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John Piper CH, 1903-1992 Foliate Heads, 1970 signed lower right Ink, gouache and wax resist 41.9 x 52.1 cm 16 ½ x 20 ½ in £ 19,000+ARR Provenance: Portland Gallery, where purchased by the present owner Private Collection

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Antoine Poncet (1928–2022) Antoine Poncet (1928–2022) was a Swiss sculptor born into a lineage of renowned artists—son of stained-glass painter Marcel Poncet and grandson of Nabis painter Maurice Denis. Drawn to sculpture in his youth, he studied under Germaine Richier and Casimir Reymond before a pivotal encounter with Jean Arp in 1951, which led him to embrace abstraction and develop a distinctive, lyrical sculptural language rooted in form and movement.

Throughout the 1950s and 1960s, Poncet emerged as a leading figure in post-war abstraction, exhibiting at the Salon de la Jeune Sculpture, Salon des Réalités Nouvelles, and the Venice Biennale. He collaborated with major artists and critics, and by the late 1960s, his work evolved toward monumental marble sculptures, thanks in part to patron Nathan Cummings. His expressive, sensuous forms gained international acclaim, with major exhibitions across Europe, North America, and Japan.

In later decades, Poncet focused on pure materials—Carrara white, Portuguese pink, Belgian black marbles—and refined forms that explored balance, rhythm, and light. His notable public works include La Flamboyante in Geneva and Les Ailes de l’Aurore in Paris. Elected to the Académie des BeauxArts in 1993, he served as its president in 2009. Until the 2020s, he continued to explore drawing and sculpture with unwavering inventiveness.

Antoine Poncet passed away in 2022 in Meudon-la-Forêt, leaving behind a legacy of elegant abstraction and poetic form.

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Antoine Poncet, 1928-2022 Copeau de Lumière (Shard of Light), 1958 signed with a monogram (P) and numbered 4/6 73 x 18 x 14 cm 28 ¾ x 7 ¹ ₈ x 5 ½ in Edition of 6 (#4/6) £ 22,000 107

Jemma Powell Jemma Powell (b. 1980, Sussex) is a British artist based in Oxfordshire and is known for her painterly, observational landscapes drawn from a close contemplation of nature and her travels.

Often painting ‘en plein air’, Powell’s work is cross-pollinated with the sensory essence of the day whether that be reflected in lashings of torrid intense heat, wind rushing through lush greenery or a moistness in the air. Once the first colour is laid on a canvas, the first shape is marked out in Powell’s definitive, energetically charged brushstrokes with subsequent strokes following in conversation with one another.

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Powell is also an accomplished actress with a career spanning almost 20 years and has featured in Tim Burton’s Alice in Wonderland, Foyle’s War, The Stranger, The Secret Garden and a new Sky series, Devils.

Powell attended Bristol University and achieved a BA in Drama and a Diploma in Acting from The Oxford School of Drama. She has exhibited widely across the UK and is presenting her first solo exhibition of new work at Cricket Fine Art in October 2022. Powell’s work is held in numerous private collections in Europe, Australia and the US. She lives in Oxfordshire with her husband and musician Jack Savoretti, their three children and four dogs. Her mother, Lucy Powell, is an artist and her father is the renowned Product Designer Dick Powell. Powell is actively involved in a number of charities and is an Ambassador for the Art for Charity Collective.

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Jemma Powell Cheetah Oil on board 76 x 102 cm 29 ⁷ ₈ x 40 ¹ ₈ in £ 4,750

Jemma Powell Hippo in Meru, 2024 Oil on board 76 x 102 cm 29 ⁷ ₈ x 40 ¹ ₈ in £ 4,750

Jemma Powell Moonlit Trees, 2024 Oil on board 76 x 102 cm 29 ⁷ ₈ x 40 ¹ ₈ in £ 4,750 109

Patrick Procktor RA (1936-2003) Patrick Procktor (1936–2003) was a distinctive voice in postwar British art, celebrated for his luminous watercolours and expressive portrayals of the male figure. Born in Dublin and raised in London, he studied at Highgate School under Kyffin Williams and later at the Slade School of Fine Art, where he became President of the Slade Society and formed key friendships with artists including Mario Dubsky and Roger Cook.

Procktor emerged in the 1960s as part of a new wave of British artists, alongside David Hockney and Bridget Riley. With early support from Keith Vaughan and Whitechapel Gallery Director Bryan Robertson, he held a sell-out debut solo show at the Redfern Gallery in 1963. His early abstract nudes were shaped by his experience as an art therapist, exploring the human form with empathy and a bold, gestural style. In 1964, he was included in the influential New Generation exhibition at the Whitechapel, marking him as a leading figure in contemporary British art.

After a period experimenting with symbolic oil paintings influenced by RB Kitaj, Procktor turned to watercolour in 1967, inspired by travels in the U.S. and a desire for greater immediacy and clarity. His portraits - graceful, elongated, and tinged with melancholy - became his signature, drawing comparisons to El Greco and Parmigianino. A portrait of Cecil Beaton from this period was acquired by the Avnet Collection and later shown at MoMA in New York.

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From the 1970s onward, travel became central to Procktor’s work. He painted acclaimed watercolours and aquatints in India, Morocco, Egypt, and China - where in 1980, he became the first modern artist to visit following the Cultural Revolution. These landscapes reinforced his status as one of Britain’s leading watercolourists.

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In 1973, he married Kirsten Benson, with whom he had a son, but her sudden death in 1984 deeply affected him. Though elected to the Royal Academy in the 1990s, his final years were marked by personal decline. A fire in 1999 destroyed his home and much of his work, and he died in 2003 after a period of homelessness and isolation.

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Since his death, Procktor’s work has enjoyed renewed interest, with major exhibitions at the Tate and retrospectives at Huddersfield Art Gallery, the Redfern Gallery, and internationally in Bologna. His legacy as a bold, compassionate, and stylish artist continues to be rediscovered by new audiences.

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Patrick Procktor RA Sacré-Coeur par rue Montalembert, 1975 Oil on canvas 136 x 90.3 cm 53 ½ x 35 ½ in Provenance: Ex Collection of Elton John Sacre-Coeur par rue Montalembert is a celebration of Patrick’s love for Paris. It has all the elements of Procktor‘s idiosyncratic language in painting, developed from the 60’s into to the self-assured style of the 70’s. Quirky distortions in the architectural forms give a majestic sense of space and perspective. The exuberant brush marks emphasise a sense of urgency. We see a rainy day, with Parisians going about their business with the Basilique du Sacré Coeur de Montmartre illuminated in the distance.

Procktor admired fellow Redfern Gallery artist - Christopher Wood, and chose to frame this painting with a ‘Kit Wood’ frame. Although from different generations, Wood and Procktor followed the tradition of the ‘English’ painter striving to capture the beauty of Paris, a subject both artists shared a deep passion for.

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Patrick Procktor RA Regent’s Park, 1973 Signed and dated lower right Watercolour on paper laid on card 55 x 86 cm 21 ⁵ ₈ x 33 ⁷ ₈ in £ 25,000

Patrick Procktor RA Corfu, 1989 Signed and numbered Lithograph 90 x 63 cm 35 ³ ₈ x 24 ¾ in From the edition of 75 impressions £ 1,500

Exhibited: London, The Redfern Gallery, Patrick Procktor - Works on Paper, 2017, cat.illus. p.33

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Patrick Procktor RA The Nile near Edfu, 1985 Oil on canvas 50 x 76 cm 19 ¾ x 29 ⁷ ₈ in £ 30,000

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R Daniel Reynolds Daniel Reynolds is a sculptor and ceramicist known for his elegant abstract mobiles and striking large-scale ceramic vessels. Born and raised in Venezuela, Reynolds grew up immersed in the bold lines and sensibilities of Venezuelan Modernism - an influence that continues to inform his refined, spatially aware practice.

Reynolds’ work is driven by a deep sensitivity to space. His sculptures are not static objects but living forms that exist in dialogue with their environment. Nowhere is this more evident than in his kinetic mobiles, which interact delicately with light and air, subtly rotating in a quiet homage to mid- to late-twentieth-century modernism. These pieces evoke the spirit of Calder while maintaining a distinctly personal aesthetic - an interplay of jewel-like glass, perforated circles, and finely crafted stoneware bands.

His ceramic vessels, often placed prominently in interior settings such as the drawing room at Crosby Street Hotel, bring a tactile, organic quality to otherwise clean and geometric forms. Their textured surfaces and commanding scale make them both art objects and architectural presences.

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Reynolds’ journey into mobiles began with a collaboration sparked by a few experimental forms. These initial explorations evolved into a signature element of his sculptural language, with early pieces now permanently installed in Ham Yard Hotel’s Orangery. Whether suspended in space or grounded in clay, Reynolds’ work continues to captivate through its quiet complexity and enduring beauty.

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Daniel Reynolds January Mobile, 2021 Ceramic and glass suspended from painted steel 125 x 94 cm 49 ¼ x 37 in £ 6,200

Daniel Reynolds Blue Mobiles 125 x 94 cm 49 ¼ x 37 in £ 6,200

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Brian Rice Born in Yeovil, Rice grew up in Tintinhull and Montacute. He attended Yeovil School of Art and became friends with fellow artist Derek Boshier. In the 1960s, Rice was at the heart of the London art scene, producing some of the era’s most groundbreaking paintings and prints.

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In the mid-1970s, Rice left the pressures of London and retreated to his roots in the West Country, more or less giving up painting for a while. He bought a 50-acre sheep farm on the flanks of Eggardon Hill near Bridport and taught part-time at Brighton College of Art (now University of Brighton). Working the land he discovered Bronze Age archaeological remains and an 18th-century Donyatt pottery dish painted with the face of a Green Man, a symbol of rebirth.

His finds inspired a new artistic direction, focused on the landscape and ancient traces of habitation, work that continued at his present home on the Dorset/Devon/Somerset borders.

In more recent years his painting has revisited his early skill with colour and pure abstraction, resulting in works of great vibrancy.

In 1995 he held his first exhibition for 20 years.

The solo show at The Meeting House in Ilminster was followed in 1998 by his ‘Art and Archaeology’ solo exhibition at Somerset County Museum in Taunton, where he displayed his works alongside his numerous finds from the New House restoration, including around 20,000 shards of pottery. Exhibitions in London, St Ives and Dorset ensued, including a highly successful retrospective of his 1960s work at the Redfern Gallery in Cork Street in 2014.

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Brian Rice Tyler, 2015 oil on board 30 x 30 cm 11 ¾ x 11 ¾ in £ 1,500

Brian Rice Kalpana, 2020 acrylic on canvas 30 x 30 cm 11 ¾ x 11 ¾ in £ 1,500

Brian Rice Sheku, 2019 acrylic on board 20 x 24 cm 7 ⁷ ₈ x 9 ½ in £ 950

Brian Rice December Blues, 2010 oil on board 26 x 26 cm 10 ¼ x 10 ¼ in £ 950

Brian Rice Zazzo 2017 oil on board 26 x 24 cm 10 ¼ x 9 ½ in £ 950

Brian Rice Zante, 2020 acrylic on canvas 30 x 24 cm 11 ¾ x 9 ½ in £ 1,500 117

Brian Rice Trangleys, 2016 acrylic on board 43 x 35 cm 16 ⁷ ₈ x 13 ¾ in £ 3,000

Brian Rice Red Horizon, 1962 oil on canvas 40 x 30 cm 15 ¾ x 11 ¾ in £ 3,500

Brian Rice Focus, 1967 acrylic on canvas 91.4 x 91.4cm 36 x 36 in £ 9,500

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Brian Rice The Applecrusher, 1961 oil on board 91 x 123 cm 35 ⁷ ₈ x 48 ³ ₈ in £ 15,000

Brian Rice Number One, 1960 oil on board 91 x 123 cm 35 ⁷ ₈ x 48 ³ ₈ in £ 15,000

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Sam Rudd Sam Rudd draws deep inspiration from the varied and ever-changing scenery of Cheshire, where she captures the surrounding woodland landscape with a blend of representation and abstraction. Her work often reflects the mood and rhythm of the natural world, with each canvas offering a unique interpretation of her environment. When she paints at her home by the sea - where a winding estuary flows through the garden towards sandy beaches and craggy, weather-worn bays - the coastal atmosphere becomes a central motif in her art, rich in texture and tone.

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A passionate observer of nature, Sam frequently makes impromptu sketches outdoors, seizing the essence of a fleeting moment before returning to her studio to explore it further. These on-the-spot studies often form the backbone of her larger works, revealing a spontaneity and directness that give her paintings a quiet energy. Her love of drawing is fundamental to her practice, and even within her muted, subtle palette, delicate lines and carefully considered forms often emerge.

Sam holds a First-Class Honours degree in Fine Art and an MA in Art and Design. Her academic background supports a disciplined yet intuitive approach to her work, balancing technical skill with expressive freedom.

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Sam Rudd Drift, 2025 Mixed media on canvas 50 x 60 cm 19 ¾ x 23 ⁵ ₈ in £ 2,600

Sam Rudd Wild Garden I & Wild Garden II diptych, 2025 Oil on board 22 x 43 cm (each) 8 ⁵ ₈ x 16 ⁷ ₈ in £ 2,400

Sam Rudd Fields on a Hill, 2025 Oil on canvas 80 x 100 cm 31 ½ x 39 ³ ₈ in £ 4,200

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S Conrad Shawcross RA Imbued with an appearance of scientific rationality, Conrad Shawcross’ sculptures explore subjects that lie on the borders of geometry and philosophy, physics and metaphysics. Inspired by different technologies, the artist's structures may retain in appearance the authority of machines - yet, they remain enigmatic, filled with paradox and wonder. Some have an absurdist melancholy feel, while others tend to the sublime, substituting the purely functional for phenomenological experience. In the end, Shawcross’s art questions what we take for granted and encourages us to see beyond the physical.

Throughout his career, Shawcross has experimented with ideal geometries and topologies; these constructions are conceived as systems, sometimes modular, sometimes mechanical, which could be theoretically extended infinitely into space. In these and other sculptures, Shawcross has paid tribute to some of the great pioneers and analysts, and considered specific moments or figures from the past. Paradigm (Ode to the Difference Engine), 2006 references the life of Charles Babbage; Space Trumpet, 2007 is inspired by the history of early acoustic mapping; while Slow Arc Inside a Cube, 2008 takes its inspiration from the scientist Dorothy Hodgkin’s discovery of the structure of pig insulin.

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Shawcross was born in 1977 in London, where he currently lives and works. The artist has undertaken numerous residencies, awards and commissions: in 2016 to mark the inauguration of The Francis Crick Institute in King’s Cross, Shawcross created a permanent public sculpture ‘Paradigm’, located at the entrance of the institute; in 2015 a new series of permanent sculpture was unveiled in Dulwich Park following a commission by Southwark Council advised by the Contemporary Art Society to replace works by Barbara Hepworth that were stolen in 2011, and the monumental site-specific installation The Dappled Light of the Sun was displayed in the Royal Academy’s Annenberg Courtyard as part of the Summer Exhibition 2015. The Ada Project, an ongoing series of musical commissions between Shawcross and leading contemporary composers, was conceived for the Palais de Tokyo, Paris (2013) and has since travelled to venues in Tasmania, London and Hong Kong. Shawcross was one of three contemporary artists invited to create works inspired by Titian’s masterpieces for the project Metamorphosis: Titian 2012, an ambitious collaboration with the National Gallery and Royal Ballet for the Cultural Olympiad. He was Artist in Residence at the Science Museum, London, from 2009 - 2011, and his first public realm commission Space Trumpet, installed in the atrium of the refurbished Unilever Building in London in 2007, won the Art & Work 2008 Award for a Work of Art Commissioned for a Specific Site in a Working Environment. In 2009 he was awarded the Illy prize for best solo presentation at Art Brussels.

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Conrad Shawcross Fracture, 2021 Bronze 140 x 47 x 59 cm 55 ¹ ₈ x 18 ½ x 23 ¼ in £ 84,000

Conrad Shawcross Manifold Study 4:3, 2016 Bronze 140 x 45 x 41 cm 55 ¹ ₈ x 17 ¾ x 16 ¹ ₈ in £ 72,000 123

David Shrigley David Shrigley is a contemporary British artist with an internationally renowned drawing practice. Born in Macclesfield, United Kingdom, in 1968, Shrigley went on to study environmental art at the Glasgow School of Art. Shrigley’s work is humorous, interspersed with his witty observations and written commentary that satirizes everyday life and awkward interactions.

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Today, his works are in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the Hammer Museum in Los Angeles, and the National Galleries of Scotland in Edinburgh, among others. He lives and works in Glasgow, United Kingdom.

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David Shrigley, b.1968 Untitled, 2021 Acrylic on paper 76 x 56 cm 29 ⁷ ₈ x 22 in £ 18,000

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David Shrigley, b.1968 Bird, 2022 Screenprint on Somerset Tub Sized 400gsm paper signed and numbered 76 x 56 cm 29 ⁷ ₈ x 22 in From the edition of 125 £ 6,000

David Shrigley, b.1968 Elephant, 2022 Screenprint on Somerset Tub Sized 400gs paper signed and numbered 76 x 56 cm 29 ⁷ ₈ x 22 in From the edition of 125 £ 7,000 125

Tom Stogdon Tom Stogdon is an artist born in 1964 into a fourth generation of greengrocers in Bloomsbury. He withdrew from the fruit trade in 1998 and has never looked back. ‘I often wonder how life would have been if I had gone on to art school instead of the market but always arrive back at the same conclusion… who really knows. What I do know is that I feel very lucky to be doing what I love every day.’

Over the years he has worked with a number of inspiring and talented people some of whom are good friends today. He works in stone, wood, metals and paper and takes his inspiration from many different avenues. The building process either starts by adding something to an object or taking part of it away and is serendipitous, with one piece of work informing the next. Sometimes it is a journey of several years before he returns back to the original kernel of an idea.

Tom was elected as a member to the Royal Sculpture Society in 2012 and is married to Rebecca. They have two fantastic young boys of 6 & 8 who keep them both busy and very entertained, so not so different to everyone else really. His studios are now very rural and just outside Oxford, but London will always be part of him and therefore, to some degree or other, in his work.

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Tom Stogdon Yorkshire Stack Quarried and worked limestone 350 cm high x 40 cm diameter 137 ¾ x 15 ¾ in £ 16,000 127

Trevor Sutton In Sutton’s studio one finds a systemic beauty and careful order in the layout of his working environment. The same aesthetic applies to his art - the restraints of a ritualistic and ordered process embedded within the sensual physicality of oil paint. Of an occasion in his studio Sutton wrote in 2007: “Minimalist music plays in fading light. Drifting white smoke, pink, silver-grey horizon. The sound of air. Times like these are embedded in my paintings: the sound of seeing, the colour of mind, painting as frozen time.”

He makes paintings on board, in contrast with his early colour field paintings on canvas from the 1970’s. Throughout his career he has also always been interested in ‘shaped paintings’ and has regularly worked on a circular format in addition to the more conventional rectangle or square. In the 1980’s he worked on multi-part units of painted shapes, the most notable of which were first shown at the Lisson Gallery in 1981.

From the 1990’s onwards his paintings presented remote and evocative abstract spaces in which to place one’s own imaginings. Their character lay captured between layer upon layer of semi-transparent oil based glazes that built up a visible history of colour and brush marks. This process gave the work a physical and an atmospheric quality but did not provide specific pictorial or geographic detail.

From around 2008 his paintings started to employ hand-painted collaged elements in addition to working directly onto the surface of a work. At the same time, the grid re-emerged as a structural element in his work. In his most recent paintings he is not using collage, preferring to paint directly onto the surface again. His new work is fed by a seemingly irrational take on life, a life that gets re-ordered within the hierarchy of the grid. The paintings have a clear history of gesture and mark but this physicality becomes ordered, restrained by the grid. His colour is intuitive and reactive, encouraging shifting patterns and rhythms that suggest a kind of visual music.

Trevor Sutton was a Senior Lecturer in Painting at Chelsea School of Art & Design from 1973 to 2000 and a Research Fellow there from 2000 to 2003. He is married to fellow artist Carol Robertson.

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Trevor Sutton, b.1948 Screen 6, 2023 oil on paper on corian 10 x 25.5 cm 4 x 10 in £ 1,250

Trevor Sutton, b.1948 SCREEN E, 2010 silkscreen monoprint 86 x 66 cm 33 ⁷ ₈ x 26 in £ 1,800 129

T Carolyn Tripp Carolyn graduated from Camberwell College of Arts with a BA (Hons) Ceramics in 1998. Since then, she has mixed making her own work with various teaching appointments. Carolyn currently teaches at and helps to run a social enterprise in North London working with adults recovering from and living with mental health illness.

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Carolyn’s current body of work takes inspiration from a small Chinese style bottle given to her in childhood. She enjoys the freedom of its maker to mix up pattern, creating vibrant and accidental surfaces and she applies this to her thrown porcelain vessels. Some are quire usable, others a visual treat. Using the traditional process of underglaze decoration, Carolyn hopes to create pieces to look at and to treasure.

Carolyn Tripp Green Bottle III, 2024 porcelain 20 x 12 cm 7 ⁷ ₈ x 4 ¾ in £ 400

Carolyn Tripp Green Vase, 2024 porcelain 16 x 22 cm 6 ¼ x 8 ⁵ ₈ in £ 450

Carolyn Tripp Green Lidded Vessel, 2024 porcelain 30 x 17 cm 11 ¾ x 6 ¾ in £ 900 130

Carolyn Tripp Roses, 2025 porcelain 13 x 9 cm 5 ¹ ₈ x 3 ½ in £ 160

Carolyn Tripp How Long Is, 2025 porcelain 16 x 8 cm 6 ¼ x 3 ¹ ₈ in £ 160

Carolyn Tripp Perhaps, 2025 porcelain 16 x 9 cm 6 ¼ x 3 ½ in £ 160

Carolyn Tripp Red Top III, 2025 porcelain 15 x 17 cm 5 ⁷ ₈ x 6 ¾ in £ 275

Carolyn Tripp Red Top I, 2025 porcelain 36 x 11 cm 14 ¹ ₈ x 4 ³ ₈ in £ 900

Carolyn Tripp Red Top II porcelain 19 x 12 cm 7 ½ x 4 ¾ in £ 450

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Rebekah Tuluie Rebekah Tuluie grew up in Snowdonia, North Wales. She trained as a painter at Bath Academy of Art and Falmouth School of Art. After graduating, she was a scenic painter at the Royal Opera House and worked with photographers Ken Griffiths and Chris Simpson. In 1997, she published Handlines, a book in aid of the anti-personnel landmines campaign, endorsed by the Red Cross and exhibited at the National Portrait Gallery.

She began her film career with a Forum for the Future Sir Cameron Mackintosh Scholarship in 1998, followed, in 2001, by a National Endowment for Science, Technology and the Arts Fellowship. In 2004, with a Sir John Terry Memorial Scholarship, she completed her MA in Film Production at the National Film and Television School, where her work received several awards. This same year, Rebekah was one of Screen International’s Stars of Tomorrow and founded Rainy Day Films. In 2008, Rebekah was honoured with a Women in Film Talkback Thames New Talent Award and featured in Tatler’s New Brit Talent list. In 2009, Rebekah completed Inside Pictures, Europe’s leading film business training and leadership programme. She was a member of the Ffilm Cymru Wales board from 2009 until 2015. In 2016, Rebekah was elected to sit on the Committee of the British Academy of Film and Television Arts in Wales, BAFTA Cymru. In 2019, Rebekah was a founding member and creative coordinator for PhysicsX, a team of scientists and engineers devoted to making the world a better place.

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Rebekah’s first feature film as producer was The Edge of Love, starring Keira Knightley, and Cillian Murphy. The film brought the life story of Rebekah’s grandparents’ relationship with poet Dylan Thomas to the screen. This was followed by Patagonia, directed by Marc Evans, and starring Matthew Rhys and Nahuel Perez Biscayart and with Fox Studios, Another Me, which was directed by Isabel Coixet and starred Sophie Turner and Rhys Ifans.

Since 2022, Rebekah has been represented by Zuleika Gallery. That same year her work was exhibited as part of the Winter Show: Fine Art and Rare Jewels at Cromwell Place London. In January the following year, her work was shown in Curated at Dorfold Hall: British Art Then and Now. In 2024, Rebekah’s work was selected for the Ironstone Art Prize and Exhibition at the Banbury Museum. Her work is in private collections, including a house designed by architect Roger D’Astous in Montreal and the former home and studio of painter Sir Lawrence Alma-Tadema.

Rebekah now lives in Oxfordshire and has come full circle in reigniting her lifelong passion for painting.

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Rebekah Tuluie Edge oil on canvas 39.5 x 39.5 cm 15 ½ x 15 ½ in £ 3,600

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V Charlotte Verity Charlotte Verity is an artist who has honed a lucid and highly specific visual process to attain truth in her work. Fastidious observation is at the heart of her practice. In contrast to the fleeting nature of her subjects, the paintings develop slowly and have a suggestion of deep space and the wider world.

Whilst she has undertaken residencies and projects elsewhere, most notably a year-long residency at the Garden Museum, her garden in south east London and now Somerset has been and remains the focus of her work. For decades, she has immersed herself in it either by painting and drawing out of doors or by bringing elements of it into her studio to observe. With this practical restraint she has cultivated a deep knowledge and intimate respect for the forms that she depicts, and in this way, the paintings track the seasons and the passing of time. They become meditations on broader themes.

Since graduating from the Slade she has exhibited regularly in London since 1980, and in solo and group shows nationally and internationally throughout. portrait by Sophie Davidson

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Charlotte Verity Nettles and Grass, 2023 oil on canvas 35.6 x 30.5 cm 14 x 12 in £ 9,180

Charlotte Verity Near, 2023 oil on canvas 30.5 x 35.6 cm 12 x 14 in £ 9,180 135

Y Emily Young Emily Young is ‘Britain’s greatest living stone sculptor’ - Financial Times, September, 2013 She was born in London to a family which includes writers, artists, politicians, naturalists and explorers. Her grandmother was the sculptor Kathleen Scott, a colleague of Auguste Rodin, and her uncle Peter Scott, started the WWF in 1961.

As a young woman she worked primarily as a painter, studying briefly at Chelsea School of Art and Central Saint Martins in London, and Stony Brook University in New York. She left London in the late 1960s, spending the next years travelling widely, studying art and culture. In the early 1980s she started carving in stone, preferring to use discarded materials from abandoned quarries. The primary objective of her sculpture turned to bringing humankind and the living planet into a consciously closer conjunction.

To experience the natural beauty, geological history and subtle energy of material stone, including its unique capacity to embody human creativity over long periods of time, is a part of the changing story of human consciousness, and the understanding of our place in time and space. We can imagine our history both backwards to the creation of our universe and forwards into the vast unknown.

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Her approach allows the viewer to comprehend a commonality across deep time, geography and cultures. Her preoccupation is our troubled relationship with the planet. Through the combination of traditional carving skills allied with technology where necessary, she produces timeless works which marry the contemporary with the ancient, manifesting a unique, poetic presence. They are, each one, a call to thoughtfulness, looking to the future.

Young has exhibited at many prestigious museums including: The Getty, California; The Imperial War Museum, London; The Whitworth, Manchester; Frederik Meijer Gardens & Sculpture Park, Michagan, and in 2018, the Victoria and Albert Museum, London. Her work forms part of public and private collections throughout the world and in 2024 she exhibited at Venice Biennale, showing work at two venues in the city; Palazzo Mora in Cannaregio and Marinaressa Gardens in Castello, in collaboration with The European Cultural Centre’s exhibition, Personal Structures.

Emily Young currently divides her time between studios in the UK and Italy.

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Emily Young Connemara Head, 2022 Bronze 40 x 60 x 40 cm 15 ¾ x 23 ⁵ ₈ x 15 ¾ in Edition 1 of 9, plus 3 AP £ 28,00+VAT

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Emily Young Torso, 2006 Unique 99 x 34.5 cm 39 x 13 ⁵ ₈ in £ 105,000+ARR

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Emily Young Contemplative Man onyx, 2012 Onyx 62 x 85 x 86 cm 24 ³ ₈ x 33 ½ x 33 ⁷ ₈ in £ 395,000+ARR 139

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Events at Tiresford House

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4 May | 11am | Drawing Room

Lighting your Interiors Interior designer Ed O’Donnell and Lighting designer Stephanie Harris in Conversation Book here

Please join interior designer Ed O’Donnell of Angel O’Donnell in coversation with lighting designer Stephanie Harris of CBG lighting.

Both will discuss their recent experience working on the transformation of the Old War Office and the importance of lighting in your interiors.

This conversation will be taking place in the drawing room at Tiresford.

Please confirm your attendance and if you will be bringing a guest(s) below. While this event is free, spaces are limited so if you cannot attend please cancel your booking to free up space for anyone on the waiting list.

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10 May | 2pm | Garden Room

11 May

Planting with Sculpture

Garden Opening Weekend

with Lottie Delamain

Book here

Join celebrated garden designer Lottie Delamain in conversation with art advisor Lizzie Collins as they explore the poetic interplay between plants and sculpture. Known for her ecologically-led planting and immersive show gardens at RHS Chelsea, Lottie brings a unique perspective to the role of sculpture in garden design - where material, form and flora meet. Together, they’ll consider the garden as a dynamic creative space, where art and planting speak to one another in unexpected and inspiring ways.

Please confirm your attendance and if you will be bringing a guest below. Please note spaces are limited so if you cannot attend please cancel your booking to free up space for anyone on the waiting list.

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22 May | 6pm | Dining Room | £60pp

23 May | 3pm | Garden Room

Wine Masterclass

Transforming Historic Spaces

Classic wines of France with Jeremy Lithgow MW Book here

David Sparks in conversation with Lizzie Collins Book here

Please join us for this very special masterclass with Jeremy Lithgow MW, head of wine for Amathus Drinks.

Join David Sparks, Director of the Manchester studio for EPR Architects, in conversation with art advisor Lizzie Collins of Stoneman Collins about transforming historic spaces.

Taking place in the dining room at Tiresford, this will be an opportunity to explore with Jeremy the classic wines of France.

EPR are a leading practice of architects working across sectors in residential, offices, hotels, retail and leisure, heritage and exclusive homes. EPR were responsible for the meticulous restoration, extension and reimagining of the Old War Office in London, a landmark Grade II* listed former government headquarters - transforming it into a five-star luxury hotel for Raffles as well as creating 85 luxury residences, a plethora of restaurants and bars and a destination Guerlain spa and health club, including pool. Established in 2019, the Manchester studio for EPR has a team of 17. Led by Director David Sparks - who grew up close to the city - the studio is committed to taking an active role in the regeneration of Manchester.

There is a charge of £60 per person for this event. Due to the very limited number of places available for this event, refunds are not possible unless the ticket is resold.

We look forward to welcoming you for this very special event.

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About Tiresford House

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Tiresford a beautiful private house situated in the middle of the rolling Cheshire countryside. Tiresford is home to Susanna Posnett and her family. A former Documentary Producer she has lovingly restored the interiors of Tiresford over recent years, to create a space for guests looking for something more personal.

The house has been in the family for over a century changing hands from Posnett’s to Dean’s and back again, a cherished and much loved residence for four generations. It has fabulous views looking across to Peckforton and Beeston Castles.

Susanna has been a long term client of Zuleika Gallery acquiring pieces for her own collection and couldn’t be more delighted to welcome Stoneman Collins and to see Tiresford inhibited by objects and art with real stories and histories and sharing this with guests and visitors.

The house is now in its soft opening phase as a bed and breakfast. Each room has its own unique character and ensuite. Rates range from £195 to £350 per room per night, including breakfast, and bookings can be made directly with Susanna Posnett on her mobile: +44 7989 306 425.

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www.stonemancollins.com @stonemancollins info@stonemancollins.com

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Design: sarahgarwoodcreative.com 153