Pencil sketch preparation for “Life in the Loft”1998 · Pencil · 16.5” x 11.5”February 1998.
Pencil sketch preparation for “Life in the Loft”1998 · Pencil · 16.5” x 11.5”February 1998.
A bird's wing, from a picture by Albrecht Durer1998 · Ink and watercolour · 13” by 10”Gave me the feel and form of the feathers. Preparatory sketch for 'Life in the Loft'.
A wounded heron, after G.F. Watts1998 · Ink and watercolour · 10” by 14”The watercolour helped to soften the feathers. Preparatory sketch for 'Life in the Loft'.
Preparation for “Life in the Loft”1998 · Watercolour on paper · 11.5” by 16.5”
Life in the Loft1998 · Acrylic on card · 22” by 32”Inspired by the loft at 38 Main Street Wawne and my research into surrealism. The word Surrealism came from a burlesque play written by Guillaume Appollinaire, (1917) which he described as a "surrealist drama" . The word surreal quickly became popular in literary and artistic circles. The surrealists condemned all art whose expression reflected logic, rationality and harmony with nature, and can be seen in the works of artists such as Miro, Magritte, Ernst and Dali.
Preparatory sketch for 'Seen at the Botanic Station Crossing'1998 · Pencil on paper · 11.5” by 16.5”
Seen at the Botanic Station Crossing1998 · Acrylic on board · 21” by 29”Inspired by my interest in rocking-horse construction in the 1990s and in surrealism. The Botanic Crossing is a disused railway station (and lines) on Beverley Road, Hull; the station house is well preserved. The rocking horse came from making similar rocking horses for family and friends after my early retirement from teaching — another example of my interest in surrealism.
'Feed him with apricocks and dewberries, with purple grapes, green figs, and mulberries'1998 · Watercolour · 11.5” by 14.5”From A Midsummer Night's Dream. One of a series of preparation sketches (40–51) for 'Titania, Queen of the fairies, falls in love with Bottom the Weaver', inspired by the Pre-Raphaelite movement.
'And pluck the wings from painted butterflies'1998 · Watercolour · 11.5” by 14.5”From A Midsummer Night's Dream.
'And they shall fetch thee jewels from the deep, and sing while thou on pressed flowers dost sleep'1998 · Watercolour · 10” by 8”From A Midsummer Night's Dream.
Wild rose and creeper1998 · Watercolour · 11.5” by 16.5”
The voluptuousness of nature1998 · Watercolour · 11.5” by 16.5”
Untitled1998 · Watercolour · 10”x13”
Proserpine, after Dante Gabriel Rossetti1999 · Acrylic on paper · 7” by 15”After Dante Gabriel Rossetti (1828–1882), 1874.
The Last of England, after Ford Madox Brown1999 · Acrylic on paper · 10.5” by 15.5”After Ford Madox Brown (1821–1893), 1864–6.
The Blind Girl, after John Everett Millais1999 · Acrylic on paper · 10.5” by 15.5”After John Everett Millais (1829–1896), 1856.
Our English Coasts ('Strayed Sheep'), after William Holman Hunt1999 · Acrylic on paper · 10” by 14”After a segment from the 1852 work by William Holman Hunt (1827–1910).
Fir cone study for “Titania Queen of the fairies falls in love with Bottom the Weaver”1998 · Chalk on paper · 10” by 12.5”
Titania Queen of the fairies falls in love with Bottom the WeaverPencil · 15.5” by 25”Pencil sketch, in preparation.
Titania Queen of the fairies falls in love with Bottom the Weaver1998 · Acrylic on canvas · 25” by 30”In the style of the Pre-Raphaelites
Life drawing1998-1999 · Wax crayon on paper · 22” by 33”
Life drawing1998-1999 · Wax crayon on paper · 22” by 33”
Life drawing1998-1999 · Acrylic on paper · 22” by 33”
Life drawing1998-1999 · Acrylic on paper · 22” by 33”
Life drawing1998-1999 · Acrylic on paper · 22” by 33”
Life drawing1998-1999 · Acrylic on paper · 22” by 33”
Life drawing1998-1999 · Acrylic on paper · 17” by 25.5”
Two sketches1998 · Charcoal on paper · 13” by10”Charcoal on paper, 13” by 10” and 10” by 14”. Origin or subject unknown.
Preparatory sketch to illustrate 'The Hobbit' by J.R.R. Tolkien1999 · Intaglio printIn intaglio printing the positive image is cut below the block or plate, and it is this line that carries the ink that produces the print; but the process is so time-consuming that it is rarely used by modern illustrators.
Preparatory sketch for book illustration, 'The Hobbit'1999 · Intaglio print
Goblin1999-2000 · WatercolourPreparation for illustration on The Hobbit.
Goblin1999-2000 · WatercolourPreparation for illustration on The Hobbit.
Goblins around Bilbo Baggins1999-2000 · Acrylic on viscerine · 11” by 15.5”Book illustration from The Hobbit (1999) by JRR Tolkein.
Goblins around Bilbo Baggins1999-2000 · Acrylic on viscerine · 11” by 15.5”Book illustration from The Hobbit (1999) by JRR Tolkein.
Preparation for 'A Spell of Words: Selected Poems for Children' by Elizabeth Jennings2000 · Intaglio Print · 15” by 10”
Preparation for 'A Spell of Words: Selected Poems for Children' by Elizabeth Jennings2000 · Intaglio Print · 15” by 10”
Preparation for 'A Spell of Words: Selected Poems for Children' by Elizabeth Jennings2000 · Intaglio Print · 15” by 10”
Illustration for 'A Spell of Words: Selected Poems for Children' by Elizabeth Jennings2000 · Intaglio Print · 15” by 10”Published January 1997.
The warm side of the colour wheel2000 · Watercolour on paper · 6.5” by 6.5”
The cool side of the colour wheel2000 · Watercolour on paper · 6.5” by 6.5”
The warm side of the colour wheel, using whites to obtain tints2000 · Watercolour on paper · 6.5” by 6.5”
Using two primary colours and no blacks2000 · Watercolour on paper · 6.5” by 6.5”
Using two complementary colours and no blacks2000 · Watercolour on paper · 6.5” by 6.5”
An exploration of colour perception2000 · Watercolour on card · 7.5” by 11”
Study in colour2000 · Collage · 8.5” by 11.5”mixing colours from the colour wheel
Study in colour2000 · Collage · 8.5” by 11.5”mixing colours from the colour wheel
Study in colour2000 · Collage · 8.5” by 11.5”mixing colours from the colour wheel
Study in colour2000 · Collage · 8.5” by 11.5”mixing colours from the colour wheel
Boston2002 · Oil on canvas · 55.5” by 39”One of a series, 'Cityscapes' (82–91), painted whilst attending the Lincoln and Humberside University. Initially influenced by the work of Kitaj (born 1932), whose work often created an atmosphere of social calamity; he was resistant to Abstract Expressionism. He said: 'Nothing is straightforward, reducing complexity is a ruse.'
Boston2002 · Oil on canvas · 55.5” by 39”
Whitefriargate2002 · Oil on canvas · 55.5” by 39”
Marketplace, Hull2002 · Oil on canvas · 55.5” by 39”Site of the old grammar school
Carr Lane, Hull2001 · Oil on canvas · 39” by 32”
Boston2002 · Oil on board · 15.5” by 23.5”
Carr Lane Hull1999 · Watercolour · 9” by 10”This and the following two paintings are partly influenced by the style of Bernhard Vogel an Austrian born in 1961. He is best known for his loose, expressive watercolor renderings of architecture and street scenes.
Midtown New York1998 · Watercolour · 9” by 10”After Vogel
Rio di San Polo, Venice1998 · Watercolour · 9” by 10”After Vogel
Burnt Car Carcassc.1997 · Acrylic on card · 22” by 26”
Infantary manc.1999 · Pencil on paper · 15” by 11”A sketch displayed alongside ‘1917 Trench in Oppy Wood’.
1914–18 Trenches1970s · Oil on board · 14” by 10”Painted from a photograph in 'The War Budget', volume 9. The photograph was taken on 12 October 1916, entitled 'The British Lion prepares to spring: a tense moment in the front line. Waiting for the order to advance across No Man's Land into the German lines.' A photographic record of the Great War, published by the Daily Chronicle. Although an early work, it was displayed alongside '1917 Trench in Oppy Wood' and a copy of letters written home from the front by Samuel David Frith before his death at Oppy Wood.
1917 Trench in Oppy Woodc.1999 · Acrylic on board · 24” by 30”Tribute to my maternal grandfather Samuel David Frith who died 3rd May 1917 at Oppy Wood, six months before the end of the war.
Real and Represented1999 · Acrylic on paper · 25” by 17.5”An example of deconstructionism in art. Deconstruction tackles a need for something different in Art. It is very architectural and influenced by Cubism. For example artists such as Rene Magritte and Zoe Zenghelis.
Crustaceans2001 · Acrylic on paper · 8” by 11”Influenced by 'The Crab' (1939–40) by the Austrian Expressionist Oskar Kokoschka (1886–1980). The crab was used by Kokoschka to add menace to a scene painted from his house in Polperro, Cornwall, where he lived between 1939 and 1940. It is political allegory, suggesting the threat of the Nazi party to the peace of the British way of life. I decided to use his style from 'The Crab' to place the lobster in a less conventional arrangement — in brilliantly coloured landscapes and figure pieces.
