Non Members - 164th Annual Open Exhibition
217 artworks
Did Someone Say Treats? by maureen bailey
Did Someone Say Treats? by maureen bailey
1 / 217
By maureen bailey
Soft Pastels and Pastel Pencils
h: 31 w: 23 d: 1 (cms).
This is from a photo my husband took of our little dog Bella Boo. This was one of her favourite poses where she would peer over the top of the sofa. If you called her and she was on the sofa she would peer over the sofa with her two little paws as you see them in the portrait, with one ear up and one ear down. This pose always made everyone laugh!
£1125.00
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Urban spaces, Logrono La Rioja by myra hunter PhD
Urban spaces, Logrono La Rioja by myra hunter PhD
2 / 217
By myra hunter PhD
Oil and cold wax
h: 51 w: 41 d: 3 (cms).
Painted on unframed cradled panel
£400
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English village by myra hunter PhD
English village by myra hunter PhD
3 / 217
By myra hunter PhD
Oil and cold wax
h: 41 w: 31 d: 1 (cms).
Painted on Arches paper, available framed or unframed
£350
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Richmond Green at dusk by myra hunter PhD
Richmond Green at dusk by myra hunter PhD
4 / 217
By myra hunter PhD
Oil and cold wax
h: 41 w: 31 d: 1 (cms).
Painted on Arches paper, available framed or unframed
£350
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Little blue flowers by emma de souza
Little blue flowers by emma de souza
5 / 217
By emma de souza
Oil On Canvas Board
h: 25 w: 30 d: 1 (cms).
Still life
£840
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Duchess by julie cross RI
Duchess by julie cross RI
6 / 217
By julie cross RI
Mixed Media with Oil on Cradled Wood Panel
h: 65 w: 46 d: 3 (cms).
£950
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Spring in Check Jug by vivienne cawson VPRBSA, LSA
Spring in Check Jug by vivienne cawson VPRBSA, LSA
7 / 217
By vivienne cawson VPRBSA, LSA
Watercolour and Gouache
h: 26 w: 27 d: 1 (cms).
Painted from Life
£750
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Stare before the chase by kathryn rennie
Stare before the chase by kathryn rennie
8 / 217
By kathryn rennie
Ink on Paper
h: 30 w: 42 d: 1 (cms).
£280
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Renaissance Reds by julie cross RI
Renaissance Reds by julie cross RI
9 / 217
By julie cross RI
Mixed Media with Oil on Panel
h: 23 w: 30 d: 1 (cms).
£550
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Sleeping Dog by heidi wickham Heidi Wickham
Sleeping Dog by heidi wickham Heidi Wickham
10 / 217
By heidi wickham Heidi Wickham
Charcoal/acrylic
h: 40 w: 40 d: 4 (cms).
£800
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Echoes Held Tight by jane pine
Echoes Held Tight by jane pine
11 / 217
By jane pine
Oil
h: 60 w: 50 d: 2 (cms).
£1250
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Hushed Up by Jennie Sharman-Cox
Hushed Up by Jennie Sharman-Cox
12 / 217
By Jennie Sharman-Cox
Acrylic on board, found objects, wire, cloth, print
h: 36 w: 28 d: 3 (cms).
3D contruction within shallow wooden tray
£750
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First Cut Is The Deepest by Jennie Sharman-Cox
First Cut Is The Deepest by Jennie Sharman-Cox
13 / 217
By Jennie Sharman-Cox
Acrylic on board, found objects, cloth, wire, wood
h: 40 w: 30 d: 3 (cms).
3d construction within shallow wooden tray frame
£750
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Tall Rectangle Form by glenice hoffmann
Tall Rectangle Form by glenice hoffmann
14 / 217
By glenice hoffmann
Stoneware clay
h: 41 w: 15 d: 10 (cms).
Hand-built in stoneware clay, smoke fired and polished.
£570
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Disc Form with Cut-out by glenice hoffmann
Disc Form with Cut-out by glenice hoffmann
15 / 217
By glenice hoffmann
Stoneware clay
h: 17 w: 16 d: 8 (cms).
Hand-built in stoneware clay, smoke-fired and polished.
£590
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Vivienne by jess williams
Vivienne by jess williams
16 / 217
By jess williams
Watercolour
h: 22 w: 13 d: 1 (cms).
Watercolour portrait of a young woman in a red headscarf and big statement glasses. Image and title inspired by Vivienne Westwood in style and attitude.
£400
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Out of the Window by JANE KELLY
Out of the Window by JANE KELLY
17 / 217
By JANE KELLY
Graphite and acrylic on paper
h: 23 w: 33 d: 1 (cms).
I like to see how my cat watches from the windows but this is also about anxiety - what is out there?
£400
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Found Shapes Series 9 by evelyn polk
Found Shapes Series 9 by evelyn polk
18 / 217
By evelyn polk
Mono and Lino Print
h: 53 w: 46 d: 1 (cms).
Hello everyone I hope your new year has started well. I have a lot of people contacting me asking about printmaking workshops and when they'll be, so I've complied a list which consists of 3 different venues where I'll be teaching from. You can book with them by using the link or contacting them directly. The Green Wolf Cafe, Woolpit. March 29th (fully booked) and June 21st Botanical Mono Printing Contact the Cafe directly to book. 07845623088 @Greenwolfcafe Mill Tye Gallery, Great Cornard. April 15th - Reduction Lino Printing April 22nd - Beginners Lino Printing May 13th - Beginners Lino Printing May 22nd - Reduction Lino Printing https://www.milltyegallery.co.uk/book-online Stokebridge Workshops, Ipswich. June 7th - Botanical Mono Printing https://www.stokebridgeworkshops.co.uk/workshops-and-events If you'd like to see some of my artwork I have a few pieces at Mill Tye Gallery and at the Green Wolf Cafe. Mono and Lino Print 2 of a limited edition of 2. Inspired by found shapes, objects and historical marks on the land.
£480
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Tea by Consuelo Child-Villiers
Tea by Consuelo Child-Villiers
19 / 217
By Consuelo Child-Villiers
oil on canvas
h: 55 w: 54 d: 2 (cms).
£2950
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Line of Sight by julie cross RI
Line of Sight by julie cross RI
20 / 217
By julie cross RI
Mixed Media with Oil on Wood Panel
h: 60 w: 50 d: 2 (cms).
£950
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The chair by the window by denise doran
The chair by the window by denise doran
21 / 217
By denise doran
Oil
h: 30 w: 25 d: 1 (cms).
£400
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Figs and Honey by denise doran
Figs and Honey by denise doran
22 / 217
By denise doran
Oil
h: 25 w: 25 d: 1 (cms).
£400
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Tea and Toast by denise doran
Tea and Toast by denise doran
23 / 217
By denise doran
Oil
h: 25 w: 25 d: 1 (cms).
£400
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Lost Sense of Humour by laura wyatt BA (Hons) PGCE HE
Lost Sense of Humour by laura wyatt BA (Hons) PGCE HE
24 / 217
By laura wyatt BA (Hons) PGCE HE
Watercolour and gouahe
h: 41 w: 26 d: 1 (cms).
Sense of Loss: Exploring how to depict the profound loss of a sense of humour. Using visual metaphors to share a meaning and evoke feelings of loss.
£945
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Cornish Day by deborah kreczmer
Cornish Day by deborah kreczmer
25 / 217
By deborah kreczmer
ACRYLIC
h: 29 w: 37 d: 1 (cms).
I go to Cornwall each year to paint, and this is a painting which started life in my sketchbook. My seascape may be different from my other entries but I believe this painting is still representational of my work. Strong colour, bold marks and semi abstract. I really enjoyed painting this quickly and not fiddling and loosing the atmosphere of the scene.
£350
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Tulips by Yana Barabash
Tulips by Yana Barabash
26 / 217
By Yana Barabash
Oil , acrylic on canvas
h: 70 w: 50 d: 4 (cms).
This painting was created from life in five sessions. I used an acrylic underpainting and finished it with oil. It is a self-portrait, and the objects around me are all familiar and dear to me because this is where I live.
£1700
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Feast by jacqueline parry
Feast by jacqueline parry
27 / 217
By jacqueline parry
h: 19 w: 19 d: 1 (cms).
£250
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Pink Flowers in a Silver Cup by rosie copeland
Pink Flowers in a Silver Cup by rosie copeland
28 / 217
By rosie copeland
Oil on board
h: 38 w: 38 d: 2 (cms).
Oil painting of pink flowers from life
£995
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Wintering Trees by victoria reynolds
Wintering Trees by victoria reynolds
29 / 217
By victoria reynolds
Acrylic on board
h: 30 w: 40 d: 1 (cms).
Victoria's work expresses her fascination with wild locations, her pieces evoking a symbolic resonance. in this painting, created from the same vantage point over several days, acrylic is layered on board and very little totally obliterated during the process. The ghosts of branches and spiraling leaves echo the quiet changes of winter and imply the slow passage of time.
£600
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Iris Cocktail by lisa parkyn
Iris Cocktail by lisa parkyn
30 / 217
By lisa parkyn
Acrylic, ink, charcoal, collage and pastel on canvas
h: 100 w: 100 d: 4 (cms).
£3500
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Symphony of Blooms by lisa parkyn
Symphony of Blooms by lisa parkyn
31 / 217
By lisa parkyn
Acrylic, ink, charcoal and collage on canvas
h: 100 w: 100 d: 4 (cms).
£3500
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One, Two, Three by Sara Edison BA(Hons)
One, Two, Three by Sara Edison BA(Hons)
32 / 217
By Sara Edison BA(Hons)
Oil on Canvas
h: 120 w: 90 d: 10 (cms).
Thin layers of oil paint over acrylic base.
£2000
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Birds of a Feather by Sara Edison BA(Hons)
Birds of a Feather by Sara Edison BA(Hons)
33 / 217
By Sara Edison BA(Hons)
Oil
h: 120 w: 90 d: 10 (cms).
Thin layers of oil paint on an acrylic base
£2000
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More Than Anything Else by tara o reilly
More Than Anything Else by tara o reilly
34 / 217
By tara o reilly
Oil on panel
h: 30 w: 20 d: 1 (cms).
£400
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Big sky Lytham by claire wiltsher
Big sky Lytham by claire wiltsher
35 / 217
By claire wiltsher
Acrylic and mixed media
h: 76 w: 76 d: 6 (cms).
£1350
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Migration by claire wiltsher
Migration by claire wiltsher
36 / 217
By claire wiltsher
Oil and mixed media
h: 60 w: 60 d: 6 (cms).
£1050
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Shadows on Light by anastasiia protsenko
Shadows on Light by anastasiia protsenko
37 / 217
By anastasiia protsenko
steel castin, brass and aluminum powder, acrylic
h: 81 w: 50 d: 10 (cms).
Darkness arrives imperceptibly, swallowing the space, and just as quietly recedes. Yet its imprint remains forever. This sculpture is made from steel waste – a material that was destined to be forgotten but has found new life in art. Steel is resilient, enduring the blows of time, even when it seems its story is over. The black sections carve into the form, reminding us that experience transforms us, yet at the same time, becomes part of new possibilities.
£2300
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Efim by Elizaveta Larina
Efim by Elizaveta Larina
38 / 217
By Elizaveta Larina
Ink pen, watercolour, acrylic
h: 42 w: 30 d: 1 (cms).
Pen, watercolour and acrylic on paper
£400
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Layers of Being by gwenda jones BA(Hons)
Layers of Being by gwenda jones BA(Hons)
39 / 217
By gwenda jones BA(Hons)
Ceramic Stoneware
h: 22 w: 26 d: 20 (cms).
Poem by the artist describing her sculpture. LAYERS OF BEING - DO YOU THINK YOU KNOW ME? Closed eyes guard a shifting truth, a surface alive with fissures and colour. Time presses into me, each layer a memory, each mark a question asked or unanswered. Look up, and you'll see defiance- a jaw thrust forward, shoulders braced, power etched into the lines of my being. Look down, and the weight emerges - a body sinking, withdrawing, the burden of what is held within. Do you think you know me? Each angle lies, and each angle reveals, a story shaped as much by your gaze as by the hands that sculpted me. Perception builds me, cracks me, remakes me. Texture meets form, strength meets retreat, layers revealed, layers concealed. Am I what you think? Am I what I seem? Move closer. Step back. Feel the surfaces, the depths. The essence and layers of being.
£495
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Strength of Barbara Walker by Gail E Hurst
Strength of Barbara Walker by Gail E Hurst
40 / 217
By Gail E Hurst
Paper - mixed media
h: 64 w: 45 d: 30 (cms).
£750.00
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Rosa by Victoria Sills
Rosa by Victoria Sills
41 / 217
By Victoria Sills
Oil on panel
h: 15 w: 10 d: 1 (cms).
£750
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Turkish teahouse by jiaqi sun
Turkish teahouse by jiaqi sun
42 / 217
By jiaqi sun
Canvas
h: 59 w: 42 d: 1 (cms).
A Turkish teahouse in Ankara. I would never forget.
£800
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Blue Moon Garden by mary mcfadden
Blue Moon Garden by mary mcfadden
43 / 217
By mary mcfadden
Earthenware Clay
h: 35 w: 23 d: 10 (cms).
Inspired by birds. This jug is slender and tall with a pointed beak and gold luster wing plumage handle. I've used layers of oxides and underglaze colours to do abstact painting with a transparent earthenware glaze. It's finished with a gold lustre handle and gold highlights.
£339
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Early Winter Landscape with Birds and Pink Clouds by caroline griffin
Early Winter Landscape with Birds and Pink Clouds by caroline griffin
44 / 217
By caroline griffin
oil on board
h: 30 w: 40 d: 1 (cms).
This painting was inspired by the shift in the seasons, the change in the light, the movement of birds across the fields. Painted in several sessions using both palette knife and brush, the aim was to create atmosphere through colour and painterly mark making.
£600
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Red Butterfly Garden by mary mcfadden
Red Butterfly Garden by mary mcfadden
45 / 217
By mary mcfadden
Earthenware Ceramics
h: 32 w: 23 d: 10 (cms).
Inspired by birds and garden creatures this jug stands on lookout ready to swoop and catch its prey. I've used layers of oxides and underglaze colours to add abstract painting beneath a transparent earthenware glaze. I've then used gold lustre on the handle and highlights to add sparkle and light.
£339
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Painting Notes by greta vilidaite
Painting Notes by greta vilidaite
46 / 217
By greta vilidaite
Oil on wood
h: 20 w: 20 d: 1 (cms).
Still life painting from life.
£320
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A Strong Minute by linda brett
A Strong Minute by linda brett
47 / 217
By linda brett
Oil on canvas
h: 100 w: 80 d: 2 (cms).
Tendai is a writer, academic and sometime artist's model.
£870
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La Vie Est Belle by louise giblin MRSS
La Vie Est Belle by louise giblin MRSS
48 / 217
By louise giblin MRSS
Bronze
h: 66 w: 40 d: 24 (cms).
La Vie Est Belle is covered with a tangled thicket, awakening with budding and flowering roses. It is full of positivity that spring and summer will return after a difficult ‘emotional winter’. This sculpture exhibited in Venice Biennale/Anima Mundi 2019 and the International Masters of Art exhibit at Art Revolution Taipei, Asia’s largest art fair, in 2022.
£27000
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Sea Change by louise giblin MRSS
Sea Change by louise giblin MRSS
49 / 217
By louise giblin MRSS
Bronze on granite base
h: 85 w: 52 d: 50 (cms).
Sea Change is formed and carved to appear like a ship’s figurehead that has undergone extreme weathering. The title is from Shakespeare's ‘The Tempest’ and Arial’s haunting song that describes how a drowned body undergoes a sea change into 'something rich and strange'. The sculptor observes that people who survive and overcome life's difficulties often become formed into more interesting and resilient characters as a result. This sculpture is intended to weather further - if installed in a garden, it can either be maintained by 3 polishes per year, or be left over a long period to respond to the elements, and to gradually to turn green with a natural verdigris patina.
£17000
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Marshlands III by caroline mackintosh
Marshlands III by caroline mackintosh
50 / 217
By caroline mackintosh
Oil and oil and cold wax
h: 70 w: 113 d: 4 (cms).
I began by painting the canvas a base of warm pink acrylic, onto which I mapped out the main lines and shapes with dark purple oil and cold wax, focussing on tonal value and contrast. Over this framework I worked loosely and boldly with oil pigment bars, focussing on free mark-making and pattern, in the knowledge that most of this layer would be hidden by future layers, but that elements would be retained and revealed. Onto this base I applied oil and cold wax, in masked off bands and geometric shapes, giving the painting structure and a definite form, but endeavouring to retain some of those earlier loose marks. As I built up the layers I constantly scratched back to reveal earlier layers, also providing textural interest. I applied the paint with a mixture of palette knives, silicon tools, brushes and rollers.
£2600
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Omey Island - County Mayo by caroline mackintosh
Omey Island - County Mayo by caroline mackintosh
51 / 217
By caroline mackintosh
Oil and oil and cold wax
h: 70 w: 113 d: 4 (cms).
I began by painting the canvas a base of warm pink acrylic, onto which I mapped out the main lines and shapes with dark purple oil and cold wax, focussing on tonal value and contrast. Over this framework I worked loosely and boldly with oil pigment bars, focussing on free mark-making, in the knowledge that most of this layer would be hidden by future layers, but that elements would be retained and revealed. Onto this base I applied a limited palette of oil and cold wax, in masked off bands and geometric shapes, giving the painting structure and a definite form, but endeavouring to retain some of those earlier loose marks. As I built up the layers I constantly scratched back to reveal earlier layers, also providing textural interest. I applied the paint with a mixture of palette knives, silicon tools, brushes and rollers.
£2600
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Achill Island - County Mayo by caroline mackintosh
Achill Island - County Mayo by caroline mackintosh
52 / 217
By caroline mackintosh
Oil and oil and cold wax
h: 50 w: 150 d: 4 (cms).
I began by painting the canvas a base of warm pink acrylic, onto which I mapped out the main lines and shapes with black oil and cold wax, focussing on tonal value and contrast. Over this framework I worked loosely and boldly with oil pigment bars, focussing on free mark-making, in the knowledge that most of this layer would be hidden by future layers, but that elements would be retained and revealed. Onto this base I applied a limited palette of oil and cold wax, in masked off bands and geometric shapes, giving the painting structure and a definite form, but endeavouring to retain some of those earlier loose marks. As I built up the layers I constantly scratched back to reveal earlier layers, also providing textural interest. I applied the paint with a mixture of palette knives, silicon tools, brushes and rollers.
£2500
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Furnas 2 by mary st george
Furnas 2 by mary st george
53 / 217
By mary st george
photography and collage on wood (unframed)
h: 31 w: 22 d: 1 (cms).
from series on abandoned buildings
£500
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Dog with Kisses by lois sykes SOFA
Dog with Kisses by lois sykes SOFA
54 / 217
By lois sykes SOFA
oil
h: 31 w: 21 d: 4 (cms).
This is just a face I fell love with.
£650
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Healing our minds by penny german
Healing our minds by penny german
55 / 217
By penny german
oil on panel
h: 20 w: 40 d: 3 (cms).
£795
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Hello? Are You There? by caijing kuang
Hello? Are You There? by caijing kuang
56 / 217
By caijing kuang
Paper and Oily Ink
h: 85 w: 60 d: 1 (cms).
This project is deeply personal to me, inspired by my grandmother who suffers from Alzheimer's. The time difference and her fluctuating state of clarity make it increasingly difficult to connect with her. This experience drove me to explore themes of time and memory, and the feeling of being trapped within time. A central element of this project is the door, symbolizing connection and transition from one place to another. In the context of my project, the door also hints at the unknown, just like how we never know which memory my grandmother will drift into next. For her, memories are like a maze. She wanders through them, with the passage of time losing its meaning. She can only loop through these fragments of memories in her daily life. I feel like I'm calling out into a void, asking, "Hello, are you there?" I can't reach her world, but through this project, I hope to bridge the distance just a little.
£2300
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The Wheel by katalina koneva
The Wheel by katalina koneva
57 / 217
By katalina koneva
Acrylic paint and cold wax finish
h: 80 w: 70 d: 2 (cms).
The artwork was inspired by my personal life experiences at the moment of creation and also by the ancient archetypal wisdom behind the tarot card The Wheel of Fortune. The mid-turn motion of the figure is a symbol of the cyclical nature of life and the shifts of fortune. I made this painting amidst a personal crisis in my life. It was painted as a sign of my faith that circumstances may easily turn around for the best in a glimpse of an instant. I believe this portrait is a talisman that brings positive shifts, reminding us the potential of positive change and the promise of new beginnings. The mixed media collage of old letters, newspapers and documents from the early 1900s is a tiny window into another era. Its faded ink and ornate script is a reminder of personal histories long gone and the ever-changing nature of human existence. The entire piece is finished with a layer of cold wax, giving the artwork a soft sheen with ethereal quality.
£2100
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Briar and Bindweed by caroline wallis BA(Hons}
Briar and Bindweed by caroline wallis BA(Hons}
58 / 217
By caroline wallis BA(Hons}
Watercolour
h: 73 w: 36 d: 1 (cms).
£2000
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River Bank of the Exe by caroline wallis BA(Hons}
River Bank of the Exe by caroline wallis BA(Hons}
59 / 217
By caroline wallis BA(Hons}
Watercolour
h: 70 w: 36 d: 1 (cms).
£2000
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Echoes of Millennia by huihua bi
Echoes of Millennia by huihua bi
60 / 217
By huihua bi
Canvas
h: 180 w: 130 d: 5 (cms).
In Echoes of Millennia, the artist draws inspiration from a type of folk architecture in Guangdong, China, as well as tile-based ceramic art and traditional Chinese dramatic characters. Observing how theatrical motifs on rooftops have been weathered by sun, wind, and the passage of time—leaving behind a mottled imprint of history—sparked a profound artistic impulse. After a century or two of gradual change, these surfaces reveal a raw, unrefined quality that moved the artist, prompting a desire to reimagine this historical resonance in a contemporary light.
£12000
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Echoes of Millennia II by huihua bi
Echoes of Millennia II by huihua bi
61 / 217
By huihua bi
Canvas
h: 180 w: 130 d: 5 (cms).
In Echoes of Millennia II, the artist draws inspiration from a type of folk architecture in Guangdong, China, as well as tile-based ceramic art and traditional Chinese dramatic characters. Observing how theatrical motifs on rooftops have been weathered by sun, wind, and the passage of time—leaving behind a mottled imprint of history—sparked a profound artistic impulse. After a century or two of gradual change, these surfaces reveal a raw, unrefined quality that moved the artist, prompting a desire to reimagine this historical resonance in a contemporary light.
£12000
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‘Life Behind Closed Doors - St. Ives’ by jan clarke BA
‘Life Behind Closed Doors - St. Ives’ by jan clarke BA
62 / 217
By jan clarke BA
Watercolour, gouache ,watercolour pencils
h: 46 w: 61 d: 1 (cms).
Taken from the view from Tate Modern Cafe St Ives
£2325.00
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Wood for the Trees by joanna sellick BA (Hons)
Wood for the Trees by joanna sellick BA (Hons)
63 / 217
By joanna sellick BA (Hons)
Oil on Canvas
h: 152 w: 102 d: 4 (cms).
This painting was inspired by Maggi Hambling’s eponymous portrait (1977-1978) in which all of the items in the painting had a personal significance to the artist when her life was 'in a muddle', and by Tim Walker’s ‘Wonderful Things’ exhibition at the V&A, where images were layered with props, clues, details and tricks of light all designed to capture a moment of pure fantasy. Having moved out of London to the countryside, my life felt like it was ‘in a muddle’ too. I was disorientated by the change of circumstances. Over time, the landscape outside became my companion, and followed me inside the house. I began work on this ‘self-portrait’ by mining my experience for imagery. I made smaller drawings and watercolours of various elements in my life, and of images conjured by my children’s conversations and experiences. The resulting painting attempts to create a feeling of a dream, where things make sense emotionally rather than literally. It is not a traditional ‘self-portrait’ that pursues likeness, rather it is about an experience, a surreal merging of the internal and external world.
£7500.00
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Release by kate henderson SSA
Release by kate henderson SSA
64 / 217
By kate henderson SSA
Stained glass
h: 46 w: 44 d: 2 (cms).
Stained glass in burnt wooden sleeper frame
£1800
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Sunflowers by charlotte staunton
Sunflowers by charlotte staunton
65 / 217
By charlotte staunton
Linocut
h: 33 w: 36 d: 1 (cms).
Linocut reduction with monoprint
£365
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Affinity by rebecca swainston
Affinity by rebecca swainston
66 / 217
By rebecca swainston
Oil on gesso panel
h: 122 w: 95 d: 5 (cms).
The horse and rider has long been a symbol of reason over emotion. Here this idea is pushed as the female rider balances precariously as the horse moves. There is nothing reasonable about this. She is wearing unsuitable clothing and performing acrobatics. The horse is unbridled and could easily decide not to cooperate. Success relies on a bond, a fragile connection. They are together, with reason and emotion being equal.
£4100
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In Marvellous Suspension of Disbelief by rebecca swainston
In Marvellous Suspension of Disbelief by rebecca swainston
67 / 217
By rebecca swainston
Oil on gesso panel
h: 98 w: 122 d: 5 (cms).
The woman lies on the four-legged bird creature which is perhaps a figment of her imagination. The bird like a hummingbird is the symbol of good fortune or a changing of luck, and also of freedom beauty and fragility. It is combined with a stick legged creature which may be a costume for some kind of performance and in which we must suspend our disbelief to enter into the spirit of the art. The woman wears a hat like one my mother wore when trying but failing to learn to swim when I was very small
£4100
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Bruna by emily rogers
Bruna by emily rogers
68 / 217
By emily rogers
oil on canvas
h: 65 w: 55 d: 5 (cms).
This portrait of Bruna was painted at the Charles. H. Cecil Studios entirely from life, to the scale of life and under natural light using the old masters’ technique of ‘sight-size,’ where the canvas is placed alongside the subject, and both are observed side-by-side from a set distance. This method, famously employed by John Singer Sargent and his contemporaries, has its origins in the practices of Titian, Van Dyck, and Velázquez.
£4000
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‘Leaning Out’, part of ‘She Is Unknown’ Series by miche watkins
‘Leaning Out’, part of ‘She Is Unknown’ Series by miche watkins
69 / 217
By miche watkins
Acrylic on deep canvas
h: 90 w: 60 d: 4 (cms).
‘She Is Unknown’ series is of women with no facial details or no face at all. As women we are more than just the beauty of our faces
£975
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End of Summer by Sue Wales
End of Summer by Sue Wales
70 / 217
By Sue Wales
Oil on board
h: 18 w: 37 d: 1 (cms).
Painted to enjoy the richness of oils
£795
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Precious by Emma Price ASGFA
Precious by Emma Price ASGFA
71 / 217
By Emma Price ASGFA
Graphite pencil
h: 30 w: 30 d: 1 (cms).
Rhino's are hunted towards extinction for their horns – about the fragility of their survival, 'Precious' is the horn.
£850
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Cuppa by anne simmonds
Cuppa by anne simmonds
72 / 217
By anne simmonds
Oil paint on paper
h: 40 w: 30 d: 1 (cms).
£450
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Real women by judit matthews
Real women by judit matthews
73 / 217
By judit matthews
pen and wash with collage
h: 30 w: 20 d: 1 (cms).
This picture is about accepting ourselves whatever shape, size or colour we are.
£265
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Here come the girls by judit matthews
Here come the girls by judit matthews
74 / 217
By judit matthews
pen and wash with collage
h: 30 w: 20 d: 1 (cms).
I wanted to show that your shape, size or colour doesn't matter. Have confidence with in yourself and enjoy life, enjoy the moment.
£265
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The Quay by Katrina Wilkie
The Quay by Katrina Wilkie
75 / 217
By Katrina Wilkie
Acrylic on Canvas
h: 50 w: 60 d: 2 (cms).
£680
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Beech X by beverley matchette-downes
Beech X by beverley matchette-downes
76 / 217
By beverley matchette-downes
Lithograph
h: 30 w: 30 d: 1 (cms).
Waterless lithograph on aluminium plate. Inspired by woodland in the Chiltern Hills
£500
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Fragile by jane palmer
Fragile by jane palmer
77 / 217
By jane palmer
oil on stretched linen canvas
h: 50 w: 40 d: 3 (cms).
Painted from life over 3 sessions
£550
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Orchids listening to gossip by gertie young
Orchids listening to gossip by gertie young
78 / 217
By gertie young
Acrylic gouache, pencil on watercolour card
h: 76 w: 56 d: 1 (cms).
£490
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Jester's Disguise by soozi de leon
Jester's Disguise by soozi de leon
79 / 217
By soozi de leon
Cutout elements, acrylic on 600g watercolour paper
h: 30 w: 22 d: 4 (cms).
I’m an elusive out-of-the-box Jester, hiding in mix medium, paint, textiles, paper/card, wire and wood, esoteric fantasy objects from travel through the imagination out of my head, as well as from Morocco to Nepal, Panama, Venice and Africa.
£1500
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Doug by suzie edwards
Doug by suzie edwards
80 / 217
By suzie edwards
Ceramic
h: 32 w: 20 d: 18 (cms).
£950
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Swimmer by beryl miles BA(Hons) Fine Art (Painting) PGCE
Swimmer by beryl miles BA(Hons) Fine Art (Painting) PGCE
81 / 217
By beryl miles BA(Hons) Fine Art (Painting) PGCE
Oil and Cold Wax on Board
h: 52 w: 52 d: 1 (cms).
From a series of paintings conveying a sense of total absorption.
£595
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January Selfie by emma perring
January Selfie by emma perring
82 / 217
By emma perring
oil on canvas
h: 35 w: 60 d: 1 (cms).
A still life painting of a metal pice with lots of things on, including paintings and flowers.
£1200
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In Celebration of the Duchess by Katherine Kingdon MA
In Celebration of the Duchess by Katherine Kingdon MA
83 / 217
By Katherine Kingdon MA
Glazed Stoneware
h: 11 w: 22 d: 24 (cms).
In my work I combine the functional and the playful. The surface of this piece hints at a narrative, inviting the user to stop and ponder.
£350
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Beech III by beverley matchette-downes
Beech III by beverley matchette-downes
84 / 217
By beverley matchette-downes
Waterless Lithograph
h: 30 w: 30 d: 1 (cms).
Made with multiple aluminium waterless lithographs. Inspired by woodland in the Chiltern Hills.
£500
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The Compassionate Chair by kaidy lewis BSc
The Compassionate Chair by kaidy lewis BSc
85 / 217
By kaidy lewis BSc
acrylic
h: 48 w: 60 d: 3 (cms).
A series made living in the USA, early 2025. Compassionate is the umbrella to all other virtues and it is needed in spades
£1500
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Spring Hike by marta dyer-smith
Spring Hike by marta dyer-smith
86 / 217
By marta dyer-smith
Mixed Media Original Print with chine collé
h: 50 w: 40 d: 1 (cms).
This print combines Intaglio and relief printmaking techniques and it is one of only two produced monoprints
£280
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Drawing under the shade of the lemon tree by cristina celestini SGFA
Drawing under the shade of the lemon tree by cristina celestini SGFA
87 / 217
By cristina celestini SGFA
colour pencils on polymer paper
h: 100 w: 80 d: 1 (cms).
This portrait is part of my latest series of works where I explore the perception of who we are and how we present ourselves to the world. I introduce myself as an artist and an outsider as I draw under the shade of a lemon tree. The lemon tree is a symbol of my otherness: a plant from the warm mediterranean transplanted in the temperate north. The techniques and media I use are also a celebration of my past and of my late father’s life. As an amateur architect, my father used to draw detailed plans of houses and building on transparent paper which could then be superimposed. I am using the same method here and instead of building I draw memories on layers of polymer paper to map the complexities of our personalities.
£2000
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The Journey Diptych by jane molineaux boon
The Journey Diptych by jane molineaux boon
88 / 217
By jane molineaux boon
oil on canvas
h: 100 w: 152 d: 2 (cms).
A diptych of the journey between south London and London Bridge. each of the 2 paintings is divided into three sections. At the top are the flight patterns of birds. The centre is the train journey and the bottom is the road map. Each piece can be viewed separately but together they make a story of train travel. This was the beginning of the reflections series using overlapping images to suggest motion and progress through time
£4250
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Friday Night at Mo's by jane molineaux boon
Friday Night at Mo's by jane molineaux boon
89 / 217
By jane molineaux boon
oil on canvas
h: 60 w: 50 d: 2 (cms).
Another in the Reflections series. What interested me are the reflections and overlapping images in the chip shop window. Some of these people are inside and some are out on the street, and yet they all inhabit the same space in the reflection.
£2500
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Wednesday afternoon at Cass by jane molineaux boon
Wednesday afternoon at Cass by jane molineaux boon
90 / 217
By jane molineaux boon
oil and canvas
h: 60 w: 50 d: 2 (cms).
Another in the Reflections series. What interested me about the image is the colour. The large pink splash of the promotion not only adds intense colour but also gives a flat area for the selfie reflection. Each of these paintings in the series is really a self portrait. It's a way of exploring identity when all we ever see of ourselves is a reflected image
£2500
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Path to the Sea by emma perring
Path to the Sea by emma perring
91 / 217
By emma perring
oil
h: 40 w: 50 d: 1 (cms).
£1200
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Cat Yoga by rebecca guyver
Cat Yoga by rebecca guyver
92 / 217
By rebecca guyver
egg tempera on panel
h: 30 w: 31 d: 1 (cms).
How do you pamper yourself? Would a plate of grapes or a bouquet of pert orange tulips cheer you on or mark a success? Perhaps you’re the sporty type and roll out an exercise mat and do some down dogs? I might watch from the curtain then light a candle and drink in the complementary poses. Is Yoga a language? Did you know a duo of cats are called a clowder or that a cat trilling is the same as a friendly hello?
£520
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Portrait of Rachel by omma moonfalk
Portrait of Rachel by omma moonfalk
93 / 217
By omma moonfalk
Trois crayons (three chalks) on toned paper
h: 65 w: 48 d: 1 (cms).
£450
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Grandfather by omma moonfalk
Grandfather by omma moonfalk
94 / 217
By omma moonfalk
Oil on panel
h: 50 w: 35 d: 1 (cms).
This close portrait of my grandfather Ingemar was painted from life during two-hour sessions at our family summer house, completed four months before his passing. Painted in oils on an aluminum panel, it features a limited palette of lead white, ochres, ivory black, and vermilion. These sittings became cherished moments of connection, interspersed with conversations about philosophy, music, and art; subjects he always enjoyed discussing. This portrait of my grandfather is also a keepsake of these memories.
£2000
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A Blanket of Snow, Tignes by sophie coe
A Blanket of Snow, Tignes by sophie coe
95 / 217
By sophie coe
Oil on timber panel
h: 76 w: 61 d: 5 (cms).
Snow over Tignes, French Alps
£2750
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St Martin's Street, Patterns and Shapes by audrey rapier
St Martin's Street, Patterns and Shapes by audrey rapier
96 / 217
By audrey rapier
Oil on wood panel
h: 26 w: 21 d: 1 (cms).
£400
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Soft Evening Light, Cornwall by audrey rapier
Soft Evening Light, Cornwall by audrey rapier
97 / 217
By audrey rapier
Oil on wood panel
h: 16 w: 16 d: 1 (cms).
£350
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Girl on a Train by sara gregory
Girl on a Train by sara gregory
98 / 217
By sara gregory
Oil on Cradled Panel
h: 40 w: 20 d: 2 (cms).
£750
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Girl in a Red Hat by sara gregory
Girl in a Red Hat by sara gregory
99 / 217
By sara gregory
Oil on Cradled Panel
h: 31 w: 23 d: 2 (cms).
£650
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All The Memories by nicola durrant
All The Memories by nicola durrant
100 / 217
By nicola durrant
Stitch, collage, ink and monoprinting
h: 65 w: 55 d: 4 (cms).
I've reminded myself how much I love combining stitching with painting in this piece
£600
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