2025
Annual Exhibition 2025
This catalogue is published to accompany the Society’s Annual Exhibition at Mall Galleries, 8 to 17 May 2025 Royal Society of Portrait Painters 17 Carlton House Terrace, London SW1Y 5BD Tel: 020 7930 6844 www.therp.co.uk Cover painting Ole Bendik by Kenny McKendry RP Printed by John Good Limited Published by the Royal Society of Portrait Painters © 2025 Royal Society of Portrait Painters The Royal Society of Portrait Painters is a Registered Charity No. 327460
Royal Society of Portrait Painters Patron: HM King Charles III
Advisory Board
Selection Committee
Prize Judging Panel 2025
Christopher Baker
Tim Benson
Jane Bond
Anne Beckwith-Smith LVO
Anthony Connolly
Dr. Sarah Moulden
Damon de Laszlo
Saied Dai
Sir Simon Schama
Philip Mould
Simon Davis
Mark Shields
Dr. Sarah Moulden
Miriam Escofet
Mark Stephens CBE
Benjamin Hope
Daphne J Todd OBE PPRP
Jamie Routley
Jon Lys Turner
Antony Williams
Commissions Manager
Neale Worley
Martina Merelli-Stevens
Hanging Committee
FBA Trustee
Paul Brason
Alastair Adams
President Anthony Connolly Vice President Antony Williams
RP Coordinator Luke Alan Mills
Simon Davis Miriam Escofet
Honorary Secretary
Robin-Lee Hall
Saied Dai
Benjamin Hope Jamie Routley
Honorary Treasurer and Archivist
Melissa Scott-Miller
Alastair Adams
Neale Worley (Chair)
Council Frances Bell David Caldwell Miriam Escofet Andrew James Jamie Routley Martin Yeoman
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Deceased Honorary Members
Past Presidents
Sir Lawrence Alma-Tadema OM RA RWS
1891 – 1904 A. Stuart Wortley
1999 – 2001 Paul Brason
William Bowyer RA RWS NEAC
1906 – 1910 Sir W. Q. Orchardson RA HRSA
2001 – 2002 Andrew Festing MBE
Maurice Bradshaw OBE
1910 – 1924 Sir James J. Shannon RA
2002 – 2008 Susan Ryder NEAC
George J. D. Bruce PPRP
1924 – 1930 Sir William Orpen KBE RA RHA
2008 – 2014 Andrew James
Derek Clarke RSW ARSA
1932 – 1940 Sir John Lavery RA RSA RHA Etc
2014 – 2021 Simon Davis
Sir George Clausen RA
1944 – 1948 George Harcourt RA
Sir Arthur Cope RA
1948 – 1953 Augustus John OM RA
Cowan Dobson RBA
1953 – 1965 Sir James Gunn RA LL.D
William Dring RA RWS Hugh de T. Glazebrook Kenneth Green Sir James Guthrie PRSA RA Allan Gwynne-Jones DSO RA J. McLure Hamilton Claude Harrison ARCA Augustus John OM RA Dame Laura Knight RA RWS Leonard C. Lindsay FSA Sir William Llewellyn PRA Leonard McComb RA Hon RBA Sir John Everett Millais PRA
1965 – 1971 Sir William Hutchison PPRSA 1971 – 1980 Edward Halliday CBE PPRBA 1980 – 1983 Norman Hepple RA 1983 – 1991 David Poole PPRP ARCA 1991
Edward Hall
1991 – 1994 George J. D. Bruce
Tom Phillips CBE RA Hon PS Sir Edward Poynter PRA RWS Hugh G. Riviere Carlos Sancha C. Sanders RA John S. Sargent RA RWS Howard Somerville Trevor Stubley RBA RSW RWS A. R. Thompson RA G. F. Watts OM RA T. Fiddes Watt RSA J. McNeill Whistler HRSA LL.D Walter Woodington RBA NEAC 4
David Poole PPRP Tai Shan Schierenberg Daphne J Todd OBE PPRP John Wonnacott CBE
Members 2025
1994 – 2000 Daphne J. Todd OBE
Alastair Adams PPRP Hon Archivist and Treasurer
2000 – 2002 Paul Brason
Frances Bell RP ROI
2002 – 2008 Andrew Festing MBE
Tim Benson RP NEAC FROI
2008 – 2014 Alastair Adams
Jane Bond RP NEAC
2014 – 2017 Robin-Lee Hall
Paul Brason PPRP
2017 – 2022 Richard Foster
Keith Breeden RP Martin Brooks RP
A. T. Nowell Herbert A. Oliver RI
Honorary Members 2025
Past Vice Presidents 1898 – 1934 The Hon John Collier OBE 1934 – 1944 George Harcourt RA 1944 – 1952 Sir Oswald Birley RA 1952 – 1953 T. C. Dugdale RA 1953 – 1957 Simon Elwes ARA 1959 – 1964 Sir William Hutchison PPRSA 1966 – 1980 Norman Hepple RA 1980 – 1985 John Ward CBE RA RWS 1985 – 1991 George J. D. Bruce 1991
Edward Hall
1991 – 1994 Richard Foster 1994 – 1999 Trevor Stubley RWS RBA
David Caldwell RP David Cobley RP Anthony Connolly PRP President Saied Dai RP NEAC Hon Secretary Sam Dalby RP Simon Davis RP Miriam Escofet RP Andrew Festing MBE PPRP Richard Foster PPRP David Graham RP Valeriy Gridnev RP PS ROI James Hague RP Robin-Lee Hall PPRP
Honorary Friends Geoffrey Hayzer RP
Ms Philippa Abrahams
Ms Sarah Howgate
Benjamin Hope RP NEAC PS ROI RSMA
Ms Anne Allport
Ms Dotti Irving
Emma Hopkins RP
Sir Ian Amory
Mrs Lucy Jenkins
Sheldon Hutchinson RP
The Rt Hon Lord Archer of Weston Super Mare
Dr Gillian Jondorf
Andrew James RP NEAC
Baroness Bottomley
Sir Henry Keswick
Hero Johnson RP
Gyles Brandreth Esq
Tim Knox
Peter Kuhfeld RP NEAC
Robin Buchanan-Dunlop Esq
Ms Christina Leder
Kenny McKendry RP
Colonel William Chesshyre
David Messum Esq
Anthony Morris RP NEAC
Sir Timothy Clifford
Ms Jans Ondaatje-Rolls
Anastasia Pollard RP
Mrs Peter Cookson
Richard Ormond Esq
Mark Roscoe RP
Selina Elwell
William Packer Esq. NEAC Hon PS Hon RBA
Jamie Routley RP
The Lady Fellowes LVO
Ms Liz Rideal
Susan Ryder RP NEAC
Lord Fellowes of West Stafford
Dr Charles Saumarez Smith
Melissa Scott-Miller RP NEAC RBA
Ms Frances Gandy
Sir David Scholey
Stephen Shankland RP
Dr Rita Gardner
Robin Simon Esq
Benjamin Sullivan RP NEAC
Martin Gayford Esq
Prof. Dame Marilyn Strathern
Michael Taylor RP
Robin Gibson Esq
The Lord Vinson of Roddam Dene LVO DL
Joshua Waterhouse RP
Philip Harley Esq
Duncan Wilson Esq
Emma Wesley RP
Sir Max Hastings
Prof. Tim Wilson
Toby Wiggins RP
Sir Michael Holroyd
Andrew Wilton Esq
Antony Williams VPRP NEAC Vice President Neale Worley RP NEAC Robbie Wraith RP Martin Yeoman RP NEAC
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President's foreword Welcome to the 2025 Annual Exhibition of The Royal Society of Portrait Painters. The Society’s principal sponsor is Mr. William Lock. Last year William asked me a very simple question, “What is the RP for?” I hesitated. The answer should be obvious. The RP is a charity with a clear remit – ‘to encourage the appreciation, study and practice of the art of portraiture.’ But what does that actually mean? What follows is a sketch for an answer. Firstly, the RP hosts what is arguably the finest portrait exhibition in the world. A visitor from China who is something of an aficionado of such exhibitions, having visited similar events across the globe, told me last May that this is simply the best portrait show, anywhere. I believe him. From a painter’s perspective this is important because it’s difficult to know what our work actually looks like until we’ve seen it in the context of other, not dissimilar, work. The RP exhibition is an annual opportunity for artists who paint people to see their paintings hung alongside the work of their peers. As always, emerging and established talent is displayed together. With more than 3,000 entries for our open call I can confidently write that the selectors, all artist members of the RP, have seen a very wide range of contemporary painting and drawing, from the UK and beyond. This exhibition can properly be described as a bellwether; it is a sound and comprehensive indicator of where portrait painting is in 2025. Painting, serious painting, which is what the RP aspires to nurture, isn’t a sport. It’s not a competition. There is no ‘Portrait Artist of the Year’ – that’s a fiction; 6
a knowing concoction for the entertainment industry. Such amusements might help the watching public to become more aware of portrait painting and that in turn might be beneficial to the RP’s charitable purpose but the risk is that it reduces this complex and difficult endeavour to a diversion. A thousand ‘likes’ is not a certificate of authenticity. There will be paintings which undoubtedly appeal to lots of people but it could be a mistake to confound popularity with merit. The RP tries not to do that. Any competition requires that contestants play the same game by the same rules but there is no ‘level playing field’ in painting. A painting is as sui generis as its maker. There are, of course, constants and we might agree that certain paintings have qualities which others lack but I believe all the paintings in these galleries deserve your attention. I also believe your attention itself is a meaningful prize. That said, the RP does award prizes, £30,000 worth of prizes! Prizes at the RP, however, exist to encourage and support and not just to applaud. The RP rewards endeavour and excellence in an informed, constructive way. Winning some distinction here is a fillip to an artist’s professional standing and in supporting those careers we hope to add something to a larger debate about the value of painting itself. We do this remembering that good painting, like any worthwhile art, can be difficult. So, the RP is for serious painting, it is for debate and it is for opportunity. It is also for your attention and if you agree that all this is of some communal benefit then the RP is also for you.
The curator, John Hutchinson, has written, ‘Good art makes room for the other. It is open and inclusive, respecting otherness and encountering it with alertness, with warmth and affection. Good art unfolds and implies; it never mystifies, manipulates or bullies. It accepts the wonder of uncertainty.’ I think the RP is for good art. I would like to thank William for his very generous support, and for asking fundamental questions, which I will continue to ponder. In the 2024 catalogue you were able to read essays by the finalists of the first RP Critical Writing Prize and this year we have a second instalment. The number of entries increased and once again I would like to thank our judges, Professor Alexander Marr, Laura Gascoigne, and Dr Alison Smith. They assiduously worked their way through all the proposals and sifted them down to three finalists. The Society is also very appreciative of David Lee at The Jackdaw for his encouragement and continuing involvement in this project. The winner of the 2024 RP Critical Writing Prize is Steve Slack for his essay, ‘Does this portrait look queer to you?’ This essay, together with those by the other finalists, Delphine Gatehouse and Lee Hearne, are featured in this catalogue and will be published in The Jackdaw magazine. They can also be found on the RP’s website. Entries are now open for the 2025 RP Critical Writing Prize. Have a look at www.therp.co.uk for details.
It’s a delight to announce that 2025 will see the launch of a completely new venture for the RP. Council has agreed to guarantee a £5,000 prize fund for the first RP Drawing Prize. The exhibition will take place at Hull University Art Gallery in October and November. We will be inviting artists to enter their drawings through an open call and rather like our annual exhibition the show will be selected from those entries. Please have a look at the RP website for more details. On behalf of the membership I would like to congratulate our Vice President, Antony Williams RP, who was awarded the inaugural Herbert Smith Freehills Prize at the NPG in 2024. Winning inaugural prizes might be Antony’s speciality. He
RP President, Anthony Connolly, with a letter from the Society’s Patron, HM King Charles III
Jane Bond RP and Mark Shields
also won the first ever prize sponsored by
(winner of The William Lock Prize 2024).
Christopher Ondaatje here at the RP in
Frances Bell RP, Jamie Routley RP, Andrew
1995. That particular prize fund came to an
James RP, David Caldwell RP and Martin
end in 2024, however, when Andrew James RP was awarded the final Ondaatje Medal.
Yeoman RP step down from council this year. The Society is almost entirely reliant
Sir Christopher Ondaatje has been an
on volunteers and we are grateful to all
extremely generous sponsor of the arts
these members and to many others who
and he is written into the history of this
involve themselves so willingly and in so
Society. On behalf of the RP I would
many ways.
like to thank him and acknowledge his
Those who attended our opening last year
immense kindness in enabling the Society to champion figurative painting for nearly thirty years.
will remember celebrating the forthcoming birthday of June Mendoza. June very sadly died shortly afterwards just a few days before
We are also grateful to The de Laszlo
her 100th birthday. Many of us will remember
Foundation, Neil Davidson of Raw Umber
her ageless and beautiful smile and her
Studios and the membership of the RP
charm. She was a gifted and prolific painter.
itself for their continuing generosity.
While writing this foreword I was also
Similarly, I wish to express the Society’s
informed of the death of another member,
gratitude to the judges this year; Sir Simon
Kathryn Kynoch. Kathryn started
Schama, Sarah Moulden (NPG),
exhibiting with the Society in 2000 and
was elected to membership in 2021. Kathryn was an accomplished painter and has work in many public collections and institutions, primarily in Scotland. Both Kathryn and June are represented in this year's exhibition. That the Society is grateful to Clare O’Brien and her team at The Mall for doing so much towards every aspect of mounting this fabulous exhibition is an understatement. The Royal Society of Portrait Painters’ Annual Exhibition would not be possible without their expertise and hard work. I hope you enjoy this celebration of painting. It has been prepared for you by hundreds of artists and is presented to you by the joint efforts of The Federation of British Artists and The Royal Society of Portrait Painters. Anthony Connolly President 7
Prizes and Awards 2025
Award Winners 2024
The RP Annual Exhibition offers prizes and awards worth £30,000: The William Lock Portrait Prize £20,000 for the most timeless portrait with a real feeling for paint and its aesthetic potential. Plus two runner-up prizes of £500 each.
The de Laszlo Foundation Award £3,000 for the most outstanding portrait by an artist aged 35 years or under, plus four Highly Commended awards of £500 each
The RP Prize for the Best Small Portrait A prize of £2,000 for the best small portrait in the exhibition, measuring not more than 38 x 30.5 cm (15 x 12 inches) unframed
Mr Heatherley Prize Every year the Society sponsors a £500 prize for the best portrait from the Diploma in Portraiture at Heatherley School of Fine Art. We do so in memory of the late John Walton RP, who himself donated the prize until his passing. Congratulations to this year’s winner, Caspar de Bono.
The Raw Umber Studios Prize Raw Umber Studios believes that the most exciting contemporary portraiture lies at the intersection of technical excellence and creative expression. Their annual prize, inaugurated in 2023, encourages and rewards such work. Value £2,000.
'Lukas Sheehan' by Stefano Curti (The de Laszlo Foundation Award) 8
'Last Letter from Me' by Florence Yuqing RI
'Reverie' by Andrew James NEAC RP
'Companion' by Mark Shields
(The RP Prize for the Best Small Portrait)
(The Ondaatje Prize for Portraiture)
(The William Lock Portrait Prize);
Bottom (left to right): “What will survive of us…” by Miriam Escofet RP (The Smallwood Architects Prize); 'Elizabeth 2024' by Nashunmenghe (The Raw Umber Studios Prize) 9
Does this portrait look queer to you? by Steve Slack Winner of the 2024 RP Critical Writing Prize Teenager overheard in the National Portrait Gallery: “Ugh, it’s so straight in here. Where are all the queer portraits?” You can perhaps imagine the awkwardness of the shoulder shrug that accompanied these words or the flop of adolescent arms in disappointment. I didn’t get the sense they were asking a rhetorical question, rather that this was a genuine line of enquiry. Where are the queer portraits? Museums and galleries can feel like rather straight places. Take a wander through portrait galleries and you’ll tend to see plenty of white faces, lots of men, people close to the centres of power. At first glance, many of these are also presumably straight, or at least painted into a portrait as if they were. There are symbols of stability, sovereignty, control and conformity aplenty – wives in backgrounds or children sitting attentively at a knee. So it’s easy to have some sympathy with the teenager’s question when searching for a queer face in the corridors of grey men. Defining and categorising a portrait as lesbian, gay, bisexual, transgender, intersex or asexual can be fraught with complications. It can feel like putting portraits – their sitters, painters, collectors, curators or anyone else for that matter – into a queer box. ‘Queer’ itself isn’t a straightforward word. Often used as shorthand, it’s something of an umbrella term – a word with origins in the peculiar or strange, reclaimed from discrimination and hate speech and which defies clear definition. 10
Indeed, the notion of ‘queer’ is delightfully disruptive which is perhaps why those in the LGBTQ+ community are drawn to it. In recent years, art galleries have been ‘queering’ their collections – looking again at their artworks, drawing out queer narratives and highlighting these for visitors. Sometimes a portrait’s queerness is clearly visible, especially in modern portraits where superstars and celebrities wear their queerness publicly and proudly. In the NPG, we can find a parade of queerness – an almost life-sized canvas of queer rights campaigner Peter Tatchell (NPG 7180), a photograph of the actor Andrew Scott (NPG x200148) or a double portrait of the Pet Shop Boys (NPG x88067). But further back in history, identifying queer portraits can be trickier, especially if we are looking for anything beyond the realm of the white, gay man. Sometimes we can spot a queer portrait by eye, but more often we might only get a queer inkling from a painting – a hunch, a question, a raise of an eyebrow. On floor 3 of the gallery, meet Chevalier d’Eon, who was part of early 19th-century fashionable London society. A French diplomat, soldier, spy, celebrity fencer, performer and author, d’Eon lived and dressed throughout their life as both a man and woman. A source of fascination, people placed bets on their biological sex, and they were offered huge sums to be physically examined. Looking around Room 18, we are surrounded by the formality of the portraiture of the day.
Chevalier d’Eon (1728 – 1810) by Thomas Stewart, after Jean-Laurent Mosnier, oil on canvas, 1792, NPG 6937 © National Portrait Gallery, London
Amongst the grand faces and gilded frames sits a haziness of gender portrayal. Shown neither as butch man, nor as gentile Georgian woman, there’s a calm ambiguity to this painting. The sitter has an understated reservation about them, perhaps a quiet queerness that we can sense, as much as we can visibly see or learn about in a biography or from an art history textbook. There’s something in the portrait that seems to be asking us a question, rather than making a statement. NPG curators have hung d’Eon with a group of boxers and fighters. While d’Eon was a diplomat, their portrait isn’t shown alongside the grand dukes and famous poets,
instead it’s in a corner, next to the door, with the knuckle-baring ne’er-do-wells and the societal misfits – a place where queer people often find themselves, perhaps by accident, perhaps quite happily.
Hall isn’t dressed in the conventional female fashions of the day, instead shown as an Edwardian male aristocrat complete with starched collar and monocle, perhaps as an act of rebellion, perhaps as an influencer of queer fashion and touchpoint of lesbian sartorial style. It would be too simplistic to focus purely on the depiction of Hall’s outfit in this portrait though, for there is also queer grief on display. At the time of painting, Hall was in mourning for Mabel Batten and there’s an air of melancholy and loss here. Again, the curator’s choice of where to hang this portrait might have a queer quality to it. Drawing back from the painting, we notice it’s sandwiched between Winston Churchill (NPG L250) and a youthful King George VI (NPG L214) in full naval uniform. On one hand, this places Hall firmly in polite, Edwardian society – part of a man’s world, close to the establishment. Yet there’s something of a pushback against authority here, having a censored lesbian writer placed between two men who would go on
Radclyffe Hall (1880 – 1943) by Charles Buchel (Karl August Büchel), oil on canvas, 1918, NPG 4347 © National Portrait Gallery, London
One floor down, here’s the face of Radclyffe Hall. That Hall was a lesbian is clearly on record as was the furore caused around the publication of her novel The Well of Loneliness (1928), which makes the argument for lesbian rights and same-sex marriage. A decade after this portrait was painted, her work would be banned by the British state for being obscene.
to run and rule the country. Hall held her own in a world dominated by straight men, and she’s still holding her own today. Queer portraits become more visibly noticeable the closer we get to the present day, thanks to the advancement of LGBTQ+ rights and shifting opinions. Part of the queer heritage narrative from the 1980s onwards that can’t be ignored is the HIV/ AIDS epidemic. The name Terence Higgins sits on queer people’s lips with both pride and poignancy.
‘Terry Higgins – Three Ages of Terry’ (1945 – 82) by Curtis Holder, coloured pencil on paper, 2023, NPG 7162 © National Portrait Gallery, London
Terence’s biography as a House of Commons Hansard reporter, barman and DJ is largely overshadowed by him being one of the first people in the UK to die of an AIDS-related illness. There’s a charity named after him that seeks to educate and remind us about sexual health and emotional wellbeing. Wondering whether this portrait ‘looks queer’ or not, it’s clear that this drawing doesn’t conform to conventions of the historical, or even modern, painted portrait. There are no heavy oils in gilded frames and gone are the moody black-and-white photographs of popstars. 11
Does this portrait look queer to you? by Steve Slack (cont.) In this contemporary portrait (created in 2023), we find something that feels radically different – a bare-chested man, almost sketch-like, red pencil perhaps echoing the red AIDS ribbon we don each December. Terence’s face is shown three times at different stages in life – a life cut short. There’s a nervous uncertainty here and the triptych of faces reminds us of the multiple lives queer people live. Instead of a portraitist seeking to portray a definitive version of the sitter, here Curtis Holder reminds us of the shadows and memories we carry with us through life and death. Encouraged and thoughtful, and noticing Terence’s neighbour on the wall – the unashamedly queer artist Derek Jarman (NPG 6680) – we are forced to remember that queer portraits are rarely far from oppression. Out of the corner of our eye, the figure of Margaret Thatcher looms large across the room – she who, through her ignorance and her malice, damaged both of these men’s lives and those of countless other people. Looking at these portraits, across the NPG collection, there are queer codes visible, allowing us to glimpse something of queer
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lives, past and present. Those hints, those coded messages, placed on canvas by artists, are sometimes subtle, sometimes bold, but they are there to be observed, if we know how to unpick them. We can certainly see some queer portraits. Yet alongside these depictions of queer lives, there also exist queer readings of portraiture – the impacts that portraits have had on people in the past, the impressions they make on us today and the possibilities for what they might mean in the future. Context, interpretation and art history are important components in understanding a queer portrait. Yet so are the emotional reactions and intuitive responses we have to these artworks. So while we might scour collections for portraits which look queer, we ought also to allow ourselves to use our emotional intuition to recognise that queerness also. To the teenager who asked where the queer portraits are, I can say: everywhere. Queer culture is knitted into our society, baked into our history and painted onto canvases for all to see and for us to feel, sense and interpret as individual viewers.
Steve Slack is a curator and interpretation consultant who works with museums, galleries and heritage sites to make their collections and exhibitions accessible, understandable and relevant to their audiences. He teaches interpretive practice and is a Fellow of the Association for Heritage Interpretation.
The People’s Portraits Collection at Girton College The People’s Portraits reflects a cross-section of people’s lives in the United Kingdom from the beginning of the 21st Century, and is rich in its diversity of subjects and styles. All of the artists are members of the Royal Society of Portrait Painters, which makes it one of the UK’s hidden jewels in the portraiture world. In line with the College’s interest in art and its emphasis on community, Girton very much welcomes visitors to view the exhibition. The exhibition is open daily 9am – 5pm and admission is free. Families are welcome. People’s Portraits Girton College, Huntingdon Road Cambridge, CB3 0JG Tel: 01223 338999 Email: peoplesportraits@girton.cam.ac.uk www.girton.cam.ac.uk/peoples-portraits
'Eli' by Antony Williams 13
The Stuff of Afterlife/The Afterlife of Stuff: ‘What will survive of us…’ by Delphine Gatehouse Finalist, 2024 RP Critical Writing Prize Cosas ‘things’ (Spanish), from Latin causa ‘cause’ Our things tell our story. These bits and bobs, which we amass through work and life, finding self-definition among the clutter, have been used as biographical motif by portraitists through the ages: astronomer Nicholas Kratzer, famously clasping dividers in one hand and dial in the other; moustachioed explorers reclining on animal skins; the pioneers of Victorian infrastructure whose tools rest briefly on hard-working desks; actors signalled by props; chemists by test tubes. These are the clichés of the commissioned portrait – and it is cliché that contemporary artists like Grace Lau play with, posing among a tableau of things which speak to imperialist perceptions of China (Chromogenic print, 2005). But it is possible to see playfulness and challenge even in the stolid archetype. Is the cigarette casually held a fraction from the Indian Ocean in James Tissot’s 1870 portrait of intelligence officer, Frederick Burnaby, about to set the whole wall-map on fire? Why is Gerrit Dou’s ‘Urine Doctor’ (c.1650) swilling his vial of urine on the diagonal to a desk globe, whose handle resembles the aperture of a huge, hollow pisspot, transforming that symbol of Dutch ‘Golden Age’ power into a vessel for human waste? For that matter, why has David Teniers the Younger painted the dead fish at the feet of his marketmen so like a sheet of parchment if not to exploit the double-take and capture the troubling materiality of the seaborne empire to which the trader is pointing? 14
Things signal mastery. The portraitist includes the sportsman’s tools to actualise the reason for commission, solidifying the talent or intent that flickers behind the texture of skin, the shape of skull or hand. But we know, really, that the link is tenuous, the connection between thing and mastery so fragile it needs reification. After all, the monarch of the royal portrait can hold their orb and sceptre all they like, but disparate, resistant people are unlikely to think them ‘master’. The portrait’s things are not inert, then; ‘our story’ might be one of the stories told, but the bookcase at the back of the portrait of the author has others, too. To take the Spanish derivation – the language of the artist under discussion – things (‘cosas’) do not end with their originator. Things cause. Miriam Escofet’s portrait of her artist father, José, features compositional elements drawn from classical Spanish bodegón and details from the sitter’s own work. Miriam, who won the 2024 Smallwood Architects Prize for this painting and has previously won the 2018 BP Portrait Award for a portrait of her mother (‘An Angel at the Table’), describes the painting as ‘a biographical portrait that asks what is left of us at the end of a life’. The title, ‘What will survive of us…’, taken from Philp Larkin’s poem, ‘An Arundel Tomb’, is obviously suggestive. In the poem, a visitor to Chichester Cathedral is struck by the stone effigy of a couple holding hands – a gesture which in life might have been fleeting, private, not always meant. Escofet
caps ‘love’ (‘What is left of us is love’ ends the poem), stepping back from the schmaltz usually associated with the line when quoted in isolation, to foreground the permanence of the material, the obduracy of the thing. Awarded the Smallwood Prize for its suggestion of an interior, the stuff in Escofet’s portrait is staged on plinths and parapets typical of the classical Spanish school, particularly arrangements by Juan Sánchez Cotán, Antonio Ponce, Tomás Hiepes, Francisco de Zubarán, with the simple stone window redolent of Velázquez’s trompe l’oeil. The tradition is so clear that we cannot escape its associations – of rotting fruit, creped skin beside plump, perishability, vanitas. All the more interesting, then, that title: this will not perish, it says, amidst almost every visual clue of perishability going. The painting of the painting of the apples works to highlight the process of reification, the labour of making a lasting imprint which the art of portraiture attempts to short-circuit.1 Arguably, it’s this hopeless tension that gives the portrait its vitality. So, what are José’s things? Thanks to his own profile as an artist, a key of works can easily be drawn. These are emblems of the man’s creative world, with emphasis on ‘world’ – because we are back to seventeenth-century motif and, specifically, the presence of globes. The yolky eye of the auricula, the apples, the cut face of the
a study in space and atmosphere, and a reinvention of the bodegón, one of the achievements of ‘What will survive of us…’ is the way it spotlights amassment and the quest for durability.
‘What will survive of us…’ by Miriam Escofet RP
orange and the circumference gracefully delineated by its peel, the breast, the ruff, the blousy peony, the ring stain, the cup’s rim. Circles and spheres abound. And with this abundance of globes, the idea of a key becomes wobblier. Each world has its own system of references – an idea set into motion by the levitating apple, plucked straight from Magritte, which introduces unruly associations with American material culture. The painted object is free to roam symbolically in any direction; it lives beyond the physicality of the biographical subject. The cup and saucer in the bottomright corner show Escofet playing with this truism, because they have been “recycled” from ‘An Angel at the Table’, creating a feedback loop between paintings. A beautiful example of hyper-real application,
Rather than keep attempting to galvanise the connection between stuff and subject, effective contemporary paintings create visual disjuncts to interrogate it. Like ‘What will survive of us…’, Antony Williams’s ‘Jacqueline with Still Life’ tackles aging – or, more particularly, the coexistence of simultaneous temporalities. A “Covid painting”, Williams’s portrait is forcefully presentist – as such, it dialogues with a world where PPE is discarded in edgelands, and Amazon home ordering goes through the roof. Also like the Escofet, it has a selfconscious title that asks us to consider the ways in which the portrait (‘Jacqueline’) and the ‘Still Life’ are discrete. In this painting, Jacqueline lies naked on the floor beside a little tableau of miniature houses, towered over by a plastic dinosaur. Unnatural scales, passing childhood and claustrophobic domesticity. But, as a nude, this is also a study in flesh and the perversity of flesh to claim parity with objects whose timeframes are vastly different. Williams tenderly paints an adolescent physique for whom toys only had a brief relevance. The milky whorls of blood-infused skin, however, are no match for those robust primary colours, especially in a painting that timestamps itself so clearly during a period of high body counts. Whether or not to include associative objects will always be one of the choices faced by the portraitist – and, indeed, will continue to
be dismissed by many as gimmick.2 We only need look to art history and the paintings which deploy emblems to signal the longevity of a political system, to understand that they are never simply “associative”, drawing their own fraught attention and ethics. As consumerism modulates our landscapes into surreal goblin kingdoms, the burial ground of a thousand Saxon kings, and humanity’s thingness spells its death, it is time to reconsider the expressive, obdurate stuff that outlives its sitters and eyeballs the viewer as suggestively and uncompromisingly as any heavy-lidded stare. Dr Delphine Gatehouse is an early career researcher interested in the shifting politics of realism.
‘Apple Tree with Toadstools’, by José Escofet oil on linen, 114 x 81cm, 1996 1
2 Interestingly, one of the critiques of Escofet’s royal commission is a lack of identifiers https://www.telegraph.co.uk/art/reviews/newportrait-queen-bland-kitschy-disappointment/
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‘British portraiture carries the influence of European fine art tradition and legacy that resonates with international clients.' The Royal Society of Portrait Painters (RP) reflects Britain’s remarkable portraiture heritage. Founded in 1891, stationed a stone’s throw from Buckingham Palace and with patronage from King Charles III, the RP represents the very best of British portrait painters. With a broad range of experienced artists to choose from, the sitter is able to select a creative approach and painterly style that best reflects their unique taste. The continuing quality of work has allowed the RP to expand its commissions to a global audience. In 2024, we experienced a substantial increase in enquiries from the United States. American clients now comprise a significant portion of our customers, indicating a growing interest in the craftsmanship of British portraiture. Working on a global level, clients may choose to travel to the artist’s studio within Britain, making the most of the singular experience of sitting for a skilled artist. Our talented selection of artists work in a variety of media, spanning from drawing, acrylic painting to watercolour. For example, RP painter Frances Bell – whose style of oil painting has been described as ‘warm’ and ‘timeless’ – recently completed a mesmerising portrait of the Californian-born, British entrepreneur, Rose Hulse. Reflecting on the collaborative process, Frances says: ‘The process of building the composition involved a couple of conversations with Rose in her home culminating in the life sittings. We adapted her fabulous clothing to suit our needs as we evolved ideas. When the sittings are in progress it becomes an organic process of allowing that time to inform me as to how a natural pose and ambience could work on the canvas.’ 16
In describing her choice of portraitist, Rose Hulse noted Frances’s technical ability as well as her sensitivity as an artist: ‘…to combine modern and classical technique. An artist who would be able to paint the female silhouette and that could bring out not only my strengths, but also my vulnerabilities […] I felt that this artist would be able to reflect the hopes, dreams and vulnerabilities that I hold within me and due to her technique with her brushstrokes in creating a soft style, very reminiscent of the Edwardian era of society painters, I knew that she was the one to reflect the vision I had for my painting.’ The relationship between the artist and the sitter is key. The RP painters know this well and strive to represent each subject as an individual. Rose describes this in her account of the portrait sitting: ‘Many people of African descent have been painted throughout history with an air of suffering, victimhood or struggle. I did not want this narrative depicted in my painting […] in the end, one has to trust the process and be honest with the artist, giving them the space to do what they do best and letting the artist see sides of you that may be hidden from the rest of the world.
The conversations with Frances continued long after the sittings and now, through her painting, she has been able to share a hidden side of me with the viewer. This has been a wonderful experience and the greatest gift to know that a moment in my life has been captured by her elegant brushstrokes and will live on long after I am gone.’ If you would like to discuss a portrait idea or find out more about our commission service, please contact: Martina Merelli-Stevens Fine Art Commissions Manager martina@mallgalleries.com 0207 968 0963 www.mallgalleries.org.uk Mall Galleries, The Mall St James’s, London, SW1Y
Commission Piece written by Anna Godfrey Image: Frances Bell painting Rose Hulse by Phil Wilkinson Photography
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‘The intersection of Chinese and Western styles referencing paintings by Olivia Pang’by Lee Hearne Finalist, 2024 RP Critical Writing Prize China and Britain have a long history of mutual cultural exchange which began with the merchant trade of Chinese goods during the eighteenth century encompassing materials such as silk, porcelainware and Chinese wallpapers featuring depictions of traditional subjects. Across the Western world they were present in royal palaces and grand houses principally between 1750 and 1850 as part of the Chinoiserie style. Examples of Chinese painted wallpapers can be seen at Nostrell Priory in west Yorkshire, the State Bedroom of Erdigg in Wrexham and Blickling Hall in Norfolk. It is important to note, however, this was the European interpretation and imitation of Chinese and other Sinosphere artistic traditions. The impression the West has of Chinese art still often finds itself relying on these traditional, rather than contemporary, depictions leaving a gap in our understanding of Chinese art's evolution. As a modern example I will discuss the works Where Are We Going I & II by Olivia Pang, who utilises the traditional techniques of Chinese brushwork but depicts modern subjects. She was first introduced to Western art at the age of thirteen, receiving formal training in drawing and colour at fifteen, while also studying Chinese painting around the same time. It was through this constant interchange and merging of Eastern and Western artistic traditions that her visual observations and personal style began to take shape. 18
'Where Are We Going I & II’ by Olivia Pang
Her works have been compared by peers
Throughout the painting, one cannot find a
Thus while yin and yang oppose they also
to the German artist Egon Schiele as can
trace of shadow - not under the nose, along
create and control each other as equal
be seen when comparing her style with
the sides of the cheeks, on the chin and neck,
qualities. Whenever one reaches its peak,
Schiele's portrait of his wife, Adele Herms,
or even in the subtle depressions where the
it will naturally begin to transform into the
in Seated Woman with Legs Drawn Up. His
hand presses against the body. Nevertheless,
opposing value.
mentor, Gustav Klimt, was himself inspired
this absence of shadow does not diminish
by Eastern art, most notable in his final
the painting's ability to evoke a sense of
portrait Lady with a Fan, demonstrating
realism, when compared to traditional
this interplay of Eastern and Western
Chinese art forms, or stir an emotional
art influencing each other over time. Tim
response in the viewer.
Craven, commenting on her work, said he
A fundamental aesthetic concept in Chinese art is liú bái (留白) or 'to leave blank space'. This is not merely the absence of content but an intentional, active, element that creates a balance between fullness and
In Where Are We Going II we see many
emptiness. It fosters a symbolic sense of
similar aspects and yet contrasts. To
harmony and tranquillity reflecting the
accentuate the feminine, she uses more
philosophical ideals derived from Daoism
curved and flowing, rather than rigid, line
and Zen Buddhism. This use of negative
work and a more subtle colour palette for the
space simultaneously allows the viewer's
skin. The features and posture of the woman
imagination to fill in the gaps, making the
are also more demure and less brazen
artwork feel more expansive and open-
compared to the bare chested man in the
ended yet able to focus purely on the key
complementary piece.
subject matter the artist has chosen to
The balance of yin and yang is an often
actively depict. A major example of this
her works employ line work to bring focus
repeated element in Olivia's works. In
would be the landscapes by Shitao (Zhu
to the outline of facial features and figures
Chinese philosophy, the feminine yin, or
Ruoji) at the turn of the eighteenth century.
using colour to enhance the sense of volume.
the negative principle, is characterized by
Unlike Western art, which often fills
“saw the echoes of Freud's early works in Where Are We Going.” Olivia’s contemporary Chinese gongbi paintings do not rely primarily on light and shadow to shape volume as Western aesthetics often favours. Western traditions utilise illumination and shadow to build form through highlighting areas via specular and diffused reflection in contrast to areas of shade to create depth. Instead,
In Where Are We Going I we notice how the man’s earlobe and chin evoke a soft, tactile sensation, whereas his fingers convey a strong, rigid feeling. These contrasting impressions are all created through the use of confident brushstroke line work in Chinese painting. Furthermore, the man’s rosy cheekbones and nasal bridge possess a remarkably real sense of threedimensionality, yet this is achieved entirely without the use of light and shadow.
concepts such as darkness and passivity as represented by the dark clothed woman. This contrasts the bare chested man representing yang symbolising the masculine or positive principle corresponding to light, warmth, dryness and activity. The large leaves used in each piece's background offer an immediate contrast to each figure, by adhering to the opposing principle, and the pieces juxtapose yet complement each other.
the canvas completely, Chinese artists embrace blank space as a vital part of the composition, enhancing the overall depth and meaning of the piece. Considering Moulin Rouge: La Goulue by Henri de Toulouse-Lautrec we see it shares elements similar to Chinese pigment work, by building dimension through layered ink work, yet still clearly conforms to Western aesthetics. This is made most evident by the lines denoting floorboards beneath the
Olivia uses colour to construct the structure
The contrasting of yin and yang should be
dancer's feet filling the potential empty
of the features themselves.
seen as complementary and interconnected.
space of the composition. 19
‘The intersection of Chinese and Western styles referencing paintings by Olivia Pang’by Lee Hearne (cont.) Western ink based artwork, in contrast, has primarily focused on densely detailed printworks. Most notably during the French etching revival and development of lithography which concentrated on building form through cross hatching and line weight to create a contrast of light and varying depths of shadow. Examples of this can be seen in the works of Gustave Doré, Edgar Degas and Eugène Delacroix.
piece features the interplay of yin and
Another concept utilised by Olivia is "疏可 跑马，密不透风" (shū kě pǎo mǎ, mì bù tòu fēng) roughly translated as “loose enough for a horse to gallop through, but dense enough that not even the wind can pass through". This highlights the importance of a balanced composition, emphasising the requirement for areas which are airy and open, allowing movement and flow contrasting areas of tightly packed detail to create contrast and depth. This reflects the Chinese understanding of harmonious arrangement in art, where both open space and dense detail work together to create visual and emotional impact. We see this evident in the backgrounds where richly detailed leaves contrast the blank, though textured, remaining space.
reached its peak with the Qing Dynasty
From a Western perspective Olivia challenges traditional expectations of couples portraiture. She defies them by making the Asian female figure, a self portrait, the more active figure by holding a tool of her trade, the ink brush, while the most notable item on the Caucasian male figure is the ring on his hand held to his chest in a defensive manner denoting his passiveness. Thus each individual 20
yang energies being represented yet transformative and paired we see the traditional expectations of gendered portraiture subverted. Western art has greatly influenced Chinese artists beginning with their figure painting during the Ming Dynasty. However, it did not become mainstream but rather developed into an independent branch. It painter Lang Shining, otherwise known as Giuseppe Castiglione, an Italian Jesuit brother and missionary in China, who served as an imperial court artist of the Kangxi, Yongzheng and Qianlong emperors. This led to a more observational, rather than symbolic, depiction of the subject developing in Chinese art through his influential fusion of the styles. Olivia pursues an innovative artistic practice in the fusing of Western and Eastern watercolour traditions, having been mentored by He Jiaying, with the resulting works being of delicate yet high quality with a unique style of her own. While many artists have already investigated such possibilities in the past her hybridisation of styles offers a fresh perspective in advancing art. She demonstrates the classical gongbi brush style, with its carefully realised realist flowing fine line work and rich yet subtle use of pigmentation, which we recognise from the iconic Chinese 'ancestor portraits' tradition. While retaining this distinctly Chinese form they also include
contemporary Western elements in the strong colour palette choices and distinct, bold, outlines seen in the artworks of Western artists such as Roy Lichtenstein and Julian Opie, amongst many others, during the more experimental forms of twentieth century Western art. Olivia Pang's works, with their modern take on traditional techniques and composition, form a bridge between these two distinct cultural artistic traditions producing contemporary works belonging to our shared global culture of the twenty-first century. Lee Hearne is a freelance copywriter and editor from South Wales who has a lifelong appreciation of art and regularly visits historical locations, galleries and events across England and Wales. In his free time he sketches and studies the works of Sergio Toppi amongst other illustrators.
THE RP Critical Writing Prize Open to all, the prize is for new writing on any aspect of contemporary portrait painting. Applicants are invited to send a proposal or pitch for a new text. Three of the applicants will be selected to realise the proposed text and awarded either the first prize of £500 or one of two ‘special mention’ prizes of £250. All three texts will be published in the RP Annual Exhibition Catalogue. Submissions will open on 7 May 2025 For more information, visit therp.co.uk
21
On loan from a private collection John Singer Sargent RA RP (1856 – 1925) Conrad and Reine Ormond 58 x 74 cm Oil on canvas
John Singer Sargent was made an Honorary Member of The Royal Society of Portrait Painters in 1903. The Society is delighted to be able to celebrate its distinguished former member in this, his centenary year. The Sargent scholar, Richard Ormond, has very generously loaned Sargent’s painting of ‘Conrad and Reine Ormond’ for this annual exhibition. Richard’s catalogue raisonné of Sargent’s drawings will be published in May and Richard has also very kindly agreed to give a talk about the drawings during the show. Please check the RP website for dates and times. It is important for the Society to be reminded of its tradition and Sargent certainly represents one strand of that tradition, a quite glorious strand. That contemporary portrait painters
22
can see their work in such company is a wonderful opportunity for comparison; for noting similarities and differences, which will, in both cases, surprise some of us. Conrad and Reine Ormond was painted in 1906, the same year that Cezanne made six oil portraits of his gardener, Vallier. The juxtaposition is interesting because Cezanne’s paintings too belong to the convention of the painted portrait. Quite different artists who were both responding to the presence of another and attempting to give form and colour to that experience. With the contrast of Sargent and Cezanne in mind, the variety and accomplishment of the portraits in this annual exhibition should not surprise; it should remind us that our tradition bubbles on. The Society is deeply grateful to Robert Hiscox and to its Honorary Friends for making this loan possible.
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Artists’ General Benevolent Institution Founded in 1814 by JMW Turner, the Artists’ General Benevolent Institution provides help to professional artists and their dependants in times of difficulty. Funds are always needed, and donations of any amount are gratefully received and acknowledged. Please send your donation to: The Secretary Artists’ General Benevolent Institution 15 Churton Street, Pimlico, London SW1V 2LY Registered Charity No. 212667
Royal Society of Portrait Painters You may consider making a bequest to the Royal Society of Portrait Painters, which specifically promotes contemporary portraiture and receives no public funding. If you would like further information, please write to: Anthony Connolly RP President Royal Society of Portrait Painters 17 Carlton House Terrace London SW1Y 5BD Telephone 020 7930 6844 Registered Charity No. 327460
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Annual Exhibition 2025
25
Alastair Adams PPRP Mr Colin Lawson CBE FRCM, Director, Royal College of Music, London 92 x 70 cm Oil Colin was born in Saltburn in the North East and educated in Bradford. At school he was a member of the National Youth Orchestra, before going on to read music at Keeble College, Oxford. He is portrayed in the atrium space at the Royal College of Music, a transformational project during his 19-year tenure as President. We were fortunate to have the use of a very rare ivory Clarinet in D, c.1740, by Georg Henrich Scherer. Looking closely, a crack can be seen in the clarinet’s mouthpiece. Despite rendering the instrument unplayable, an RCM research project has employed digital scanning technology to produce a rapid prototype version, which Colin enjoys playing, at a fraction of the risk! My respect for Colin comes from his academic achievements, as he is certainly widely published, but also his profile as a practitioner. Being internationally recognised as a performer of historical clarinets and having held principal positions with leading British period orchestras, he can certainly perform, too. As he said at his unveiling, “You can’t play the footnotes.” Colin also came to visit me at the studio. This is unusual for me, as I don’t often encourage visitors to my ‘end-of-garden’ work environment. He reassured me that, in common with many musicians who perform on the world’s most renowned stages, the hours of practice often take place in the humblest of surroundings. The portrait was commissioned via The Royal Society of Portrait Painters' commissioning service.
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The Rt Hon Patricia Scotland KC, Secretary-General, Commonwealth of Nations 127 x 86 cm Oil
27
Frances Bell RP ROI
Among her thoughts
Monopoly
70 x 65 cm Oil on canvas
80 x 100 cm Oil on canvas
28
Rose Hulse and the Masai Necklace 150 x 150 cm Oil on canvas This is a portrait commission of entrepreneur Rose Hulse. It pulls the various strands of her identity together to form the composition, attempting to convey her at home among her various stories.
29
Tim Benson RP NEAC FROI Fisherman, Alabat, Philippines 152 x 102 cm Oil on canvas
30
Paul Brason PPRP Bruno Schroder 155 x 120 cm Oil on canvas
31
David Caldwell RP Tom Murray, Deacon of the Incorporation of Goldsmiths of the City of Edinburgh 91 x 76 cm Oil on linen
32
Winter Self Portrait 31 x 26 cm Oil on linen
33
Anthony Connolly PRP
Alfie Pickering
Henry Pickering
60 x 50 cm Oil on linen
60 x 50 cm Oil on linen
34
Katherine Bergen Coughlin 75 x 60 cm Oil on linen
35
Simon Davis RP
Revolver 41 x 64 cm Oil on board
T 40 x 28 cm Oil on board
36
Who Knows Where The Time Goes? 66 x 89 cm Oil on linen
V 46 x 30 cm Oil on board
37
Saied Dai RP NEAC Sisters 104 x 78 cm Oil on gesso panel
38
Miriam Escofet RP Professor Helen Moore, President of Corpus Christi College Oxford 85 x 65 cm Oil on linen over panel
39
Richard Foster PPRP
Ardmulchan 127 x 178 cm Oil on canvas
40
Self Portrait
Painting in Romania
35 x 35 cm Oil on canvas
25 x 18 cm Watercolour on paper
41
David Graham RP
Alicia with Still Life
Eugenia
64 x 76 cm Oil on canvas
41 x 51 cm Oil on Sundeala board
42
Miss Luz
Yemenite
38 x 51 cm Pastel on paper
114 x 84 cm Oil on canvas
43
Valeriy Gridnev RP PS ROI Oliy 99 x 102 cm Oil on canvas
44
Benjamin Hope RP NEAC PS ROI RSMA Self Portrait in Oil 30 x 30 cm Oil on canvas
45
Emma Hopkins RP Apart 30 x 20 cm Oil on canvas
In an Abnormal Place 30 x 20 cm Oil on canvas
46
‘Apart’ and ‘In an Abnormal Place’ are both self portraits of my arduous journey to motherhood. Unfortunately, I experienced two ectopic pregnancies prior to the birth of my daughter. Both ectopic pregnancies lived and died in my body without me ever having the closure of seeing them. Creating these paintings helped me find some resolve to what had happened. ‘Apart’ is constructed in three parts. Firstly, I sculpted a foetus at the developmental age of my first ectopic pregnancy when it was heartbreakingly located in my left fallopian tube. I then painted the sculpture, blurred and muted, as if submerged and distant. On a separate canvas I painted myself in the colours of our internal anatomy. I then gave myself a gateway to the eternal world, through the sense of sound, through an ear that I painted in detail. I stitched the three layers of canvas together, put it to one side and started on the second painting.
‘In an Abnormal Place’ is constructed in two parts. I similarly sculpted and painted a foetus, this time at the age of my second ectopic pregnancy when it died. I then painted myself, mask like, expressionless, without a nose or a mouth, a vessel to contain the trauma and memory of my pregnancy. Again I stitched the layers of canvas together, the foetus initially hidden. Then, in a very cathartic act, I cut through the layers of canvas revealing what should have been my children, imprinted across my mind and trapped inside my body.
'Snake Girl' 42 x 30 cm Oil on canvas
'Snake Girl' is the first in a series of paintings that combine women and snakes in ways that are more gentle and sensual than the traditional notions of deceit and sin. The sitter for this depiction of a serpent-like woman is the Latvian artist Elina Rudzite. I met Elina in my early 20’s, in London, when we both moved into an old disused Edwardian school. We lived and painted next door to each other for 3 years. Elina became the subject of a few of my paintings then and 10 years later it was nostalgic joy to paint her once again. As Snake Girl, Elina embodies undertones of ancient stories such as Medusa and Eve while becoming something new. Both Elina and I find solace in communicating through visual art, more so than the spoken word. Guided by her senses, Snake Girl’s protruding tongue seems to both steer her and keep her captive. Under closer inspection, you’ll see the features of the serpent woven into the anatomy of the tongue, her neck and the unnatural tones of green in her skin.
47
Kathryn Kynoch RP Judy 87 x 81 cm Oil on canvas
48
Kevin
Michael
61 x 51 cm Oil on canvas
93 x 71 cm Oil on canvas
49
Kenny McKendry RP
France Mike
Morning Son
25 x 20 cm Oil on board
30 x 24 cm Oil on canvas board
An informal portrait of a great English friend and handy man living in the southern French village of Esperaza.
My son Sam, caught in a late winter morning sun.
50
Ole Bendik
Sunny Afternoon, Maureen Ringland
25 x 20 cm Oil on board
80 x 62 cm Oil on linen
An informal portrait of the retired theatre director and our great Norwegian family friend from our yearly visits to Esperaza in France.
A commission to celebrate the birthday of Maureen. Her husband David having previously been painted by me.
51
Anastasia Pollard RP
Bertie 41 x 51 cm Oil on panel
Freddie 25 x 20 cm Oil on panel
52
Malaise 87 x 56 cm Oil on panel
53
Jamie Routley RP Professor Thomas Melham MA (BSc, PhD Cantab.) FRSE FBCS CEng 38 x 30 cm Graphite on paper Commissioned for Balliol College, Oxford Thomas Melham is a Professor of Computer Science and Fellow and Tutor in Computation at Balliol College, Oxford. This portrait will continue Balliol’s longstanding tradition of commissioning portraits of Fellows who have held the distinguished position of “Praefectus of Holywell Manor.” For decades, it has been customary for a portrait drawing of each Praefectus to be displayed in the magnificent Praefectus’s study at Holywell Manor, the 16th century manor house that lies at the heart of the Balliol graduate community.
54
The Marnham Boys 150 x 180 cm Oil on canvas
55
Susan Ryder RP NEAC
James and Monika with Mabel
Lord and Lady Dulverton
76 x 61 cm Oil
76 x 92 cm Oil
56
The Ramsay Triptych 56 x 123 cm Oil
57
Melissa Scott-Miller RP NEAC RBA Revd Canon Dr Judith Maltby in Chapel 2024 76 x 61 cm Oil on canvas
58
Benjamin Sullivan RP Kate 71 x 41 cm Oil
59
Joshua Waterhouse RP
Matthew
Thomas
50 x 42 cm Oil on panel
50 x 42 cm Oil on panel
60
James
Toby Wiggins RP
Ezra aged Six and Three Quarters 26 x 20 cm Oil on gesso panel
President of the Anaesthetists Association Dr. Matt Davies 80 x 60 cm Oil on canvas This was made for the end of Matt's tenure as president. He wanted to forgo the president's medallion in favour of his military veteran badge from time serving in the RAF. I hope that this uncluttered portrait hints at his warmth, humour and dedication to this vital medical profession.
61
John Wonnacott CBE RP (Honorary) The Mayor's Chair The three carved portrait heads set into the panelling above the chair are from a set of nine of which Porters (Southend's Civic House) has five. They are thought to be early 16th Century French and were originally coloured. Their visual presence stopped me in my tracks. I am indebted to Stephen Habermell, Mayor of Southend 2023–24, for showing me around Porters and for agreeing to sit for me, bringing the rich reds of his robes to the core of my painting.
Jack's Family Painting I struggled to organise the 8 figures in my garden family painting, until the generations began to fall naturally into interlocking sculptural pairs.
The Mayor's Chair 150 x 120 cm Oil on canvas
62
Jack's Family Painting 90 x 120 cm Oil on canvas
63
Catalogue 2025 LILY ABRAM
HANNA ARTEMENKO
BROGAN BERTIE
1
8
16
Silent Reverie Oil on panel 30 x 21 cm (32 x 23 cm framed) £500
Milushka-housewife Pastel on grey paper 70 x 50 cm (94 x 64 cm framed) £3,200
Self Portrait with Grief Oil on panel 30 x 22 cm NFS
ALASTAIR ADAMS PPRP
WENDY BARRATT
ASHLEY BIRCH
2
Mr Colin Lawson CBE FRCM, Director, Royal College of Music, London Oil 92 x 70 cm (110 x 88 cm framed) NFS
9
17
Blessing Oil on MDF 32 x 26 cm (38 x 32 cm framed) £10,000
18
3
The Rt Hon Patricia Scotland KC, SecretaryGeneral, Commonwealth of Nations Oil 127 x 86 cm (147 x 108 cm framed) NFS
Self Portrait Aged 35 Oil on MDF 20 x 14 cm (26 x 22 cm framed) £1,000
Castor Oil on canvas 60 x 50 cm (70 x 60 cm framed) £3,100
CAROLINE BAYS PS
ZAHRA AKBARI BASERI 4
Lost Pulse Mechanical pencil on paper 80 x 80 cm (85 x 85 cm framed) £1,500
RUPERT ALEXANDER 5
Annabel Oil on canvas 82 x 64 cm (100 x 82 cm framed) NFS
JENNIFER ANDERSON
10
ANGE BELL 11
Sister Oil on canvas 125 x 105 cm (135 x 115 cm framed) £4,500
64
I Am Invincible And I Do Not Matter Graphite on hand-toned paper 30 x 45 cm (40 x 55 cm framed) £1,500
URI BLAYER 19
Self Portrait at 53 Oil on linen 71 x 45 cm (74 x 48 cm framed) £2,200
FRANCES BORDEN 20
Caroline Chalk #3 Oil on board 18 x 13 cm (24 x 19 cm framed) £1,220
12
Among her thoughts Oil on canvas 70 x 65 cm (80 x 75 cm framed) NFS
13
Monopoly Oil on canvas 80 x 100 cm (90 x 110 cm framed) NFS
21
14
Rose Hulse and the Masai Necklace Oil on canvas 150 x 150 cm (170 x 170 cm framed) NFS
SIMON THOMAS BRAIDEN
LAURA ARENSON 7
Zhenya Oil on panel 20 x 15 cm (24 x 19 cm framed) £975
FRANCES BELL ROI RP
Invited by Alastair Adams PPRP 6
Rachel Oil 41 x 36 cm (48 x 45 cm framed) £3,000
JESSICA BOURDON SMITH
22
TIM BENSON NEAC FROI RP 15
Fisherman, Alabat, Philippines Oil on canvas 152 x 102 cm NFS
Nadine Oil 20 x 20 cm £450
Laura Oil on panel 75 x 67 cm (82 x 72 cm framed) £37,000
PAUL BRASON PPRP 23
Bruno Schroder Oil on canvas 155 x 120 cm NFS
MARTIN BROOKS RP 24
Erwartung Oil on linen 100 x 81 cm (118 x 99 cm framed) £5,750
25
Portrait of C Oil on linen 40 x 50 cm (58 x 68 cm framed) £2,600
26
27
32
33
Jaq (with braids) Oil on linen 30 x 25 cm (45 x 40 cm framed) £1,600 Tom Murray, Deacon of the Incorporation of Goldsmiths of the City of Edinburgh Oil on linen 91 x 76 cm (110 x 95 cm framed) NFS
Study of M Oil on linen 50 x 40 cm (68 x 158 cm framed) £2,600
34
We Move in Infinite Space Oil on linen 60 x 60 cm (78 x 78 cm framed) £3,950
STEVE CALDWELL 35
Winter Self Portrait Oil on linen 31 x 26 cm (46 x 41 cm framed) £1,800
Christina (Summer Painting) Acrylic on wood 40 x 30 cm (50 x 40 cm framed) £2,000
SHONA CHEW 40
SAM CLAYDEN 41
The Night Watchman Oil on canvas 71 x 71 cm (75 x 75 cm framed) £2,000
36
Tayo Acrylic on wood 30 x 20 cm (40 x 30 cm framed) £1,750
ARCHIE BURROWS
MARCO CASALVIERI
29
37
Ian Green Oil on canvas 111 x 81 cm (111 x 81 cm framed) NFS
Per Accendere un Tramonto Oil on canvas 70 x 50 cm £5,000
42
AMANDA COLEMAN ROI 43
Coleman Card Games Oil 13 x 18 cm (29 x 34 cm framed) £525
44
Little Study – Self Portrait Oil 18 x 13 cm (34 x 29 cm framed) £525
David, The Regent Oil on canvas 61 x 51 cm (64 x 54 cm framed) £2,000
46
Mark Gatiss Wearing Socks Oil on canvas 76 x 61 cm (79 x 64 cm framed) £2,500
Henry Pickering Oil on linen 60 x 50 cm NFS
47
HMC Oil on board 60 x 40 cm £4,650
JONATHAN CHAN 38
31
Andy Oil on linen 30 x 25 cm (45 x 40 cm framed) £1,800
39
ANTHONY CONNOLLY PRP Alfie Pickering Oil on linen 60 x 50 cm NFS
30
DAVID CALDWELL RP
Portrait of Sasha Oil on linen 30 x 20 cm NFS
45
OLENA BURYKINA The Light is Close Oil on panel 50 x 40 cm £3,200
Tomas Oil on linen 50 x 50 cm (62 x 62 cm framed) NFS
TULE CLOW
RUPERT W BROOKS 28
Self Portrait Pencil on board 25 x 20 cm (33 x 29 cm framed) NFS
65
Catalogue 2025 continued… 48
Katherine Bergen Coughlin Oil on linen 75 x 60 cm NFS
56
Who Knows Where The Time Goes? Oil on linen 66 x 89 cm (71 x 99 cm framed) £7,000
MIRIAM ESCOFET RP 64
Life Drawing of Aušra Conte on Canson paper 63 x 57 cm (83 x 77 cm framed) £3,500
TOM CROFT
ESTELLE DAY
49
57
Mathilda in Green Oil on wooden board 18 x 13 cm (35 x 25 cm framed) NFS
65
Life Drawing of Ddraig Conte on toned paper 74 x 50 cm (94 x 70 cm framed) £3,900
58
Self Portrait in Silver Ball II Oil on wooden board 15 x 15 cm (35 x 35 cm framed) £1,250
66
Life drawing of Professor Helen Moore, President of Corpus Christi College Oxford Conte and gouache on gessoed paper 74 x 53 cm (94 x 73 cm framed) NFS
67
Professor Helen Moore, President of Corpus Christi College Oxford Oil on linen over panel 85 x 65 cm (95 x 75 cm framed) NFS
Stripped Oil 50 x 40 cm (54 x 44 cm framed) NFS
BELINDA CROZIER 50
Man Resting Pencil on paper 38 x 24 cm (48 x 34 cm framed) £1,000
ALEXANDER DEBENHAM
SAIED DAI NEAC RP
Invited by Anthony Connolly PRP
51
59
Sisters Oil on gesso panel 104 x 78 cm (130 x 104 cm framed) NFS
Portrait of Baroness Bottomley Oil on linen 122 x 89 cm (141 x 108 cm framed) NFS
SAM DALBY RP
DAVIDE DI TARANTO
52
60
Bill Charlton Oil on panel 60 x 42 cm (70 x 42 cm framed) £6,000
Il Cecco Oil and gold leaf on copper 29 x 21 cm (36 x 27 cm framed) NFS
SIMON DAVIS RP
RACHEL DITTRICH
53
Revolver Oil on board 41 x 64 cm (46 x 69 cm framed) £4,200
61
54
T Oil on board 40 x 28 cm (44 x 32 cm framed) £1,300
MARK DRAISEY
55
66
V Oil on board 46 x 30 cm (50 x 34 cm framed) £2,500
62
Portrait of Alistair Green's Wall Oil on panel 30 x 40 cm (35 x 45 cm framed) £650
The Barista Oil on panel 61 x 46 cm £3,600
HUALIN DU 63
My Father Oil on linen 60 x 56 cm (74 x 71 cm framed) £100,000
GROUZDEV EVGENY 68
In the Wardrobe Oil on canvas 230 x 160 cm (236 x 166 cm framed) NFS
JAKE FERN 69
You don't live on Earth, you are passing through it Oil 50 x 40 cm (60 x 50 cm framed) £1,600
RUTH FITTON ROI Invited by Frances Bell ROI RP 70
Elizabeth with Hydrangeas Oil on linen 120 x 90 cm (124 x 94 cm framed) NFS
EMMA FOSTER 71
The Secret Oil on wooden panel 30 x 30 cm £3,000
RICHARD FOSTER PPRP 72
73
74
Ardmulchan Oil on canvas 127 x 178 cm (147 x 198 cm framed) NFS
79
80
81
Self Portrait Oil on canvas 35 x 35 cm (47 x 47 cm framed) NFS
ARINA GORDIENKO
Self Portrait at 40 Oil 30 x 40 cm (32 x 42 cm framed) NFS
JOSEPH GALVIN 77
Self Portrait Oil on board 25 x 20 cm (28 x 23 cm framed) £2,000
KHAIRZUL GHANI 78
Nigel Oil on canvas 32 x 24 cm (35 x 27 cm framed) NFS
87
82
Ethanol Oil 42 x 30 cm (47 x 35 cm framed) £2,000
I Had a Dream Oil on Belgian linen 120 x 85 cm (126 x 92 cm framed) £19,500
Invited by Jamie Routley RP 88
84
85
86
Alicia with Still Life Oil on canvas 64 x 76 cm (69 x 81 cm framed) £3,500 Eugenia Oil on Sundeala board 41 x 51 cm (48 x 58 cm framed) £7,000 Miss Luz Pastel on paper 38 x 51 cm (48 x 61 cm framed) £4,000 Yemenite Oil on canvas 114 x 84 cm (122 x 92 cm framed) £3,500
El Escondite Graphite, gouache and carbon 100 x 60 cm (104 x 64 cm framed) NFS
TEWODROS HAGOS Invited by Tim Benson NEAC FROI RP 89
Getahun Oil on canvas 40 x 30 cm £7,200
JAMES HAGUE RP 90
Boy with Dogs Oil on gesso board 70 x 50 cm NFS
91
Gina Oil on gesso board 36 x 28 cm £3,500
92
Woman in Red Jumper Oil on gesso board 95 x 50 cm NFS
DAVID GRAHAM RP 83
Oliy Oil on canvas 99 x 102 cm NFS
AMAYA GURPIDE
THOMAS GOLUNSKI
KATIE GALL 76
"Waiting" Portrait of Samatha Lavender Oil on wood 78 x 62 cm (96 x 82 cm framed) £3,000
Painting in Romania Watercolour on paper 25 x 18 cm (46 x 37 cm framed) £1,650
Nathan Sitting on my Feet Pencil 20 x 20 cm (32 x 32 cm framed) £350
VALERIY GRIDNEV PS ROI RP
DANIEL GILLINGWATER
SARAH FREEMAN 75
Thomas Oil on canvas 36 x 47 cm (39 x 50 cm framed) NFS
ROBIN-LEE HALL PPRP 93
Portrait of Izzy Egg tempera on gesso panel 25 x 20 cm (35 x 30 cm framed) NFS
CLEMENTINE HANBURY 94
The Distance between Us Charcoal on hand-prepared paper 45 x 30 cm £4,000
67
Catalogue 2025 continued… GEOFFREY HARRISON
BENJAMIN HOPE NEAC PS ROI RP RSMA
FENGSHI JIN
95
Self Portrait with Eraser Oil on panel 61 x 45 cm (65 x 50 cm framed) £8,000
103
Dad Oil 33 x 33 cm (43 x 43 cm framed) £1,500
112
96
Tayo Oil on panel 18 x 12 cm (19 x 14 cm framed) NFS
104
Sasha Oil on panel 64 x 51 cm (74 x 61 cm framed) £2,700
HERO JOHNSON RP
TJ Oil on panel 18 x 12 cm (19 x 14 cm framed) NFS
105
97
JULIA HAWKINS NEAC ROI 98
Portrait of Jeff Oil 59 x 61 cm (65 x 67 cm framed) £2,400
LEWIS HAZELWOOD-HORNER RBA
106
99
The Ruby Ale Oils 34 x 44 cm (35 x 45 cm framed) £2,450
107
108
JESSICA HELFAND 100
The Heart Off Guard Archival pigment and oil on canvas 51 x 41 cm NFS
109
AELFRED HILLMAN 101
On Alnmouth Beach Oil on panel 50 x 50 cm (51 x 51 cm framed) £5,000
68
Woman in Striped Shirt Egg tempera 61 x 61 cm (69 x 69 cm framed) £1,575
Self Portrait in Charcoal Charcoal 33 x 24 cm (43 x 34 cm framed) £1,100
Little Zara Oil on canvas 24 x 18 cm (29 x 23 cm framed) £1,950
114
Self Portrait in Oil Oil on canvas 30 x 30 cm (40 x 40 cm framed) £1,400
Professor Jane Shaw Oil on canvas 100 x 80 cm NFS
LUCIE KEROUEDAN
Apart Oil on canvas 30 x 20 cm NFS In an Abnormal Place Oil on canvas 30 x 20 cm NFS Snake Girl Oil on canvas 42 x 30 cm NFS
ANDREW JAMES NEAC RP 110
PETER HOLT 102
113
115
EMMA HOPKINS RP
Invited by Joshua Waterhouse RP
111
Friends Series – 12 Oil on canvas 35 x 26 cm (41 x 34 cm framed) NFS
Eduardo Oil on canvas 66 x 53 cm (72 x 59 cm framed) £3,500 Julie Oil on board 25 x 18 cm (30 x 22 cm framed) £1,500
The Painter's Daughter Oil on linen 70 x 50 cm £2,500
JEANNIE KINSLER 116
Jen Oil on canvas 50 x 55 cm (53 x 58 cm framed) £2,800
RICHARD KITSON 117
Enya Oil on canvas 46 x 36 cm (49 x 39 cm framed) £1,600
SANDRA KUCK 118
Repose Oil on canvas 70 x 90 cm (80 x 100 cm framed) £18,000
KATHRYN KYNOCH RP (1941 – 2025) 119
Judy Oil on canvas 87 x 81 cm (103 x 97 cm framed) £8,000
120
121
Kevin Oil on canvas 61 x 51 cm (82 x 72 cm framed) £7,000 Michael Oil on canvas 93 x 71 cm (118 x 96 cm framed) £8,000
ADAM MARSH
JORDAN MORGAN
128
137
Woman with Silver Earring Oil on wood panel 25 x 20 cm (30 x 25 cm framed) £500
LUIS MORRIS ROI
129
138
124
Cynthia Oil on linen 60 x 42 cm £500 Rhidian Oil on linen 60 x 50 cm NFS
AVA LIBERACE 125
Joseph in Blue Pencil and watercolor on paper 76 x 51 cm (81 x 56 cm framed) NFS
METTE LORENTZEN 126
Self Oil on canvas 40 x 25 cm (43 x 28 cm framed) £1,600
GILLY LOVEGROVE 127
The Artist Vibe Krogager Oil on board 100 x 70 cm (104 x 74 cm framed) NFS
Boy in Profile Charcoal 46 x 37 cm (46 x 37 cm framed) £400
Winter Self Portrait Oil on canvas 30 x 23 cm (45 x 38 cm framed) £2,000
KENNY MCKENDRY RP
JOHN MURPHY-WOOLFORD
130
France Mike Oil on board 25 x 20 cm (41 x 36 cm framed) NFS
139
131
Morning Son Oil on canvas board 30 x 24 cm (46 x 40 cm framed) £1,750
DANIEL MURRAY
PAUL LEE 123
Dad #2 Charcoal and graphite on paper 52 x 42 cm (55 x 45 cm framed) £950
KEVIN MCFALL
GRAHAM LACEY 122
Self Portrait II Oil on board 23 x 17 cm (25 x 19 cm framed) £400
132
133
Ole Bendik Oil on board 25 x 20 cm (41 x 36 cm framed) NFS Sunny Afternoon, Maureen Ringland Oil on linen 80 x 62 cm (96 x 78 cm framed) NFS
140
141
EMILIA MOMEN 135
School Yard Bully Oil on linen 30 x 25 cm (34 x 29 cm framed) £1,500
SARAH JANE MOON Invited by Hero Johnson RP 136
Diana Souhami Oil on canvas 150 x 100 cm (153 x 103 cm framed) £14,500
Elizabeth 2025 Oil 50 x 40 cm (52 x 42 cm framed) £1,800
DANIEL NELIS 142
Hal Porter, Author Oil NFS
Mum in the Afternoon Light Acrylic on board 30 x 23 cm (26 x 34 cm framed) £3,000
NASHUNMENGHE
JUNE MENDOZA OBE FROI RP (1924 – 2024) 134
Self Portrait February 2025 Graphite pencil on paper 21 x 18 cm (50 x 44 cm framed) £850
Study of a Girl in Late Spring Chalk on black paper 60 x 69 cm (70 x 79 cm framed) NFS
BEATA NEWBOLD 143
Ghostly Watercolour on aquabord panel 25 x 20 cm (28 x 23 cm framed) £2,000
CHRISTOPHER NIGHTINGALE 144
Study of a Tattooed Man Oil on linen 40 x 30 cm (45 x 35 cm framed) £1,200
69
Catalogue 2025 continued… LUKE FJ NOLAN 145
Portrait of a Miao Girl Oil 120 x 95 cm NFS
153
Malaise Oil on panel 87 x 56 cm (92 x 61 cm framed) £2,500
GARETH REID
KAJA NORUM
Invited by Kenny McKendry RP
146
154
Self Portrait Oil 54 x 45 cm NFS
Sylvie Charcoal on canvas 50 x 40 cm (55 x 45 cm framed) NFS
OLIVIA PANG
IAN RITCHIE
147
A World in a Leaf Chinese Gongbi technique on paper mounted on wooden board 122 x 61 cm (132 x 71 cm framed) £4,999
155
Beloved, There Is No One Else Beyond Chinese Gongbi technique on silk 30 x 20 cm (40 x 30 cm framed) £1,000
TANIA RIVILIS
148
156
SONIA PANG NARASIMHAM 149
The Artist's Youngest Son Cretacolour colour pencil on pastel paper 21 x 27 cm (45 x 51 cm framed) NFS
151
152
70
Bertie Oil on panel 41 x 51 cm (46 x 56 cm framed) NFS Freddie Oil on panel 25 x 20 cm (30 x 25 cm framed) NFS Inkylayla Oil on panel 41 x 51 cm (46 x 56 cm framed) £2,000
The Ballad of Kate McCannon Acrylic, image transfers, photocopies, wallpaper and printing 60 x 60 cm (85 x 85 cm framed) £3,000
Baroness Royall of Blaisdon Oil on canvas 85 x 65 cm (90 x 70 cm framed) NFS
PATRICK ROBINSON 157
ANASTASIA POLLARD RP 150
161
The Next Chapter Oil on canvas 61 x 50 cm (63 x 52 cm framed) £2,200
JAMIE ROUTLEY RP 158
Professor Thomas Melham MA (BSc, PhD Cantab.) FRSE FBCS CEng Graphite on paper 30 x 38 cm NFS
159
Self Portrait at 42, II Graphite, charcoal and gouache on panel 23 x 18 cm NFS
160
The Marnham Boys Oil on canvas 150 x 180 cm NFS
"You are braver than you believe, stronger than you seem, and smarter than you think" A portrait of the artists daughters, Ivy and Margot Graphite on paper 74 x 100cm POA
JACK RUSSELL MBE Invited by Melissa Scott-Miller NEAC RBA RP 162
Johnny Johnson the Last Dambuster Oil on canvas 76 x 89 cm (96 x 109 cm framed) NFS
SUSAN RYDER NEAC RP 163
James and Monika with Mabel Oil 76 x 61 cm NFS
164
Lord and Lady Dulverton Oil 76 x 92 cm NFS
165
The Ramsay Triptych Oil 56 x 123 cm NFS
TAI SHAN SCHIERENBERG RP (Honorary) 166
Belle et La Bete Oil on linen 36 x 30 cm (38 x 32 cm framed) £12,000
ELI SCHUMONT 167
Older Woman in Drapery Oil on linen 31 x 28 cm (34 x 32 cm framed) £1,519
FIONA SCOTT 168
Self Portrait Oil on canvas 92 x 75 cm (100 x 85 cm framed) NFS
MELISSA SCOTT-MILLER NEAC RBA RP
MARK SHIELDS
BENJAMIN SULLIVAN RP
169
Adam Looking at his Phone in Early Evening Sunlight, Winter Oil on canvas 30 x 25 cm (35 x 30 cm framed) NFS
177
185
JACOB SKINNARD
YAN TIAN
170
Revd Canon Dr Judith Maltby in Chapel 2024 Oil on canvas 76 x 61 cm (81 x 66 cm framed) NFS
178
186
171
Self Portrait in the Front Garden, Islington Oil on canvas 71 x 90 cm (76 x 95 cm framed) £4,000
JORDAN SOKOL
NADINE TRALALA
Invited by Miriam Escofet RP
187
172
Writer and her Dog, in her North London Living Room Oil on canvas 60 x 80 cm (65 x 85 cm framed) NFS
179
Holding on to Moments Oil on board 50 x 47 cm (65 x 62 cm framed) £2,950
175
Catherine Oil on linen 90 x 65 cm £900 Tim Oil on board 30 x 30 cm £400
A Painter's Quest Oil on linen 100 x 70 cm (122 x 92 cm framed) £12,850
181
Idara Oil on linen on panel 61 x 46 cm (81 x 66 cm framed) £8,000
VASILISA STERN 182
Akatava Oil and acrylic on panel 40 x 40 cm (50 x 50 cm framed) £3,000
183
Alice: The Golden Evening Oil and acrylic on panel 50 x 40 cm (60 x 50 cm framed) £5,500
ALICE SHERWOOD Invited by Antony Williams NEAC VPRP 176
Self Portrait; Prick Your Fingers Egg tempera 80 x 80 cm £5,000
Untitled Oil on linen 30 x 38 cm (33 x 40 cm framed) NFS
180
DANIEL SHADBOLT NEAC 174
Familiar Faces Oil on canvas 160 x 120 cm NFS
CHARLOTTE SORAPURE NEAC
SVETLANA SEMENOVA 173
Bard Charcoal on paper 72 x 53 cm (93 x 73 cm framed) £1,600
Blonde Oil on canvas 40 x 40 cm (45 x 45 cm framed) £1,500
Self Portrait Oil on canvas 32 x 21 cm NFS
Vidahlia Oil on panel 40 x 30 cm (44 x 34 cm framed) £1,000
ADELE WAGSTAFF 188
Alex Oil on linen 60 x 40 cm (66 x 46 cm framed) £2,500
JOSHUA WATERHOUSE RP 189
Matthew Oil on panel 50 x 42 cm (68 x 60 cm framed) NFS
190
Thomas Oil on panel 50 x 42 cm (68 x 60 cm framed) NFS
COLIN WATSON Invited by Neale Worley NEAC RP 191
LUCY STOPFORD 184
Kate Oil 71 x 41 cm (87 x 57 cm framed) NFS
Karima Oil on canvas 50 x 40 cm £4,000
TOBY WIGGINS RP 192
Anonymous Boy Pencil on paper 30 x 21 cm (43 x 34 cm framed) £950
71
Catalogue 2025 continued… 193
194
Ezra aged Six and Three Quarters Oil on gesso panel 26 x 20 cm (42 x 35 cm framed) NFS President of the Anaesthetists Association Dr. Matt Davies Oil on canvas 80 x 60 cm (100 x 80 cm framed) NFS
BEN WILSON 202
A Living Statue Oil on canvas 120 x 100 cm (124 x 104 cm framed) £8,500
203
197
198
The Harlequin's Lullaby Oil on linen 120 x 80 cm NFS
204
Elvan Oil on canvas 50 x 40 cm (60 x 50 cm framed) £5,000
205
Lilie Oil on canvas 40 x 35 cm (50 x 45 cm framed) £5,000
206
Tatiana Oil on canvas 50 x 50 cm (60 x 60 cm framed) £5,000
207
Head of an Old Painter with Straw Hat, Day Oil on canvas 60 x 60 cm (70 x 70 cm framed) NFS Head of an Old Painter with Straw Hat, Night Oil on canvas 60 x 60 cm (70 x 70 cm framed) £20,000 Jack's Family Painting Oil on canvas 90 x 120 cm (100 x 130 cm framed) NFS The Mayor's Chair Oil on canvas 150 x 120 cm (160 x 130 cm framed) NFS
ANTONY WILLIAMS NEAC VPRP
NEALE WORLEY NEAC RP
199
Alice Egg tempera 49 x 43 cm (55 x 49 cm framed) £15,500
208
Boy with Pink T- Shirt Egg tempera 34 x 27 cm (50 x 43 cm framed) NFS
ROBBIE WRAITH RP
200
201
72
Self Portrait Egg tempera NFS
Studio Portrait Oil 31 x 23 cm (43 x 36 cm framed) NFS
212
Will Milne Charcoal 37 x 28 cm (51 x 43 cm framed) NFS
MARTIN YEOMAN NEAC RP 213
Anthony Connolly PRP Oil on canvas 92 x 76 cm (96 x 80 cm framed) NFS
214
Paul Oil on canvas 61 x 51 cm (65 x 55 cm framed) NFS
215
Self Portrait Oil on canvas 61 x 46 cm (65 x 50 cm framed) NFS
JOHN WONNACOTT RP (Honorary)
ROGIER WILLEMS 196
211
TORSTEN WOLBER
GRAEME WILCOX 195
Christine Oil on canvas 61 x 45 cm (63 x 48 cm framed) £6,000
Annie Oil 61 x 46 cm (76 x 61 cm framed) NFS
209
Ania Gruszczynska Oil 48 x 38 cm (64 x 51 cm framed) NFS
210
Portrait Study Pencil and charcoal 36 x 26 cm (56 x 46 cm framed) £3,500
FLORENCE YUQING RI 216
Marigold Watercolour on paper 21 x 15 cm (35 x 26 cm framed) £1,000
217
Self: Familiar Yet Unknown Watercolour on paper 30 x 21 cm (47 x 35 cm framed) £1,500
On loan from a private collection JOHN SINGER SARGENT RA RP (1856 – 1925) 218
Conrad and Reine Ormond 58 x 74 cm Oil on canvas NFS
ISBN 978-1-0369-1648-0
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