We have just loaded up an Art Buyer's Guide to this website. Click here to view it or just use the link on our home page.

This guide has been written to help you in searching and selecting artists, then deciding what to buy.

It also serves as the basis of our relationship with you our clients, behind which there is also our relationship with the artists whose work we show at the gallery or online.

A preview of "Prelude for a London Symphony" to be shown at the Fairfax Gallery, Chelsea from 2-6 September, then moving to Arundel until the end of September - see the Exhibition page for more details.

For those wanting a preview of Katharine Le Hardy's new work to be exhibited here in October, the wait is over! We have just loaded up three new paintings onto her web page.

This new exciting body of work shows woodland scenes from Scotland and other places in her instantly recognisable style (see Copse by Water show here).

With no discernable landmarks, or any evidence of mankind, the place becomes almost secondary to the timeless qaulity and effects of light through the trees or reflected on water. The resultant paintings are an opportunity for calm reflection, an escape from our busy hectic lives.

We have just received in a new series of six etchings, with aquatint and hand watercolour by Tom Hammick.

They are called the Elizabeth Bishop series after the American Poet Laureate (1949-50) and Pullitzer Prize winner (1956). She is considered one of the most important and distinguished American poets of the 20th century.

The six prints show various scenes in and around Great Village, Nova Scotia, where Elizabeth Bishop House, an artists retreat since 2004, has been dedicated to her memory. Effectively orphaned during her very early childhood, she lived with her grandparents in that house from 1915-17, before moving back to Massachussets (she did return most summers until 1930). The period at Great Village is often referenced in her writing for example from "The Moose":

"on red, gravelly roads, down rows of sugar maples, past clapboard farmhouses and neat, clapboard churches"

In 1978 Bishop told Alexandra Johnson in an interview, “I’ve never felt particularly homeless, but, then, I’ve never felt particularly at home. I guess that’s a pretty good description of a poet’s sense of home."

After 1930 Bishop returned to Great Village only occasionally (in 1946, 1947, 1951 and throughout the 1970s). But as she moved out into the world, she took her experiences of Great Village with her as touchstones. What Elizabeth Bishop carried within her was a vivid sense of space and time, shape and colour, a multi-dimensional perspective, a layered memory, which emerged first in Great Village, and which helped her navigate the world. Somewhere inside her mind, her childhood home, an “inscrutable house,” endured as an aesthetic template, anchor and exemplar.

The prints (53 x 45cm) are in an edition variable of 25, see Fish House pictured here after Bishop's poem "At the Fish Houses" (1955).

For our Summer print show we are pleased to announce the arrival of two prints by Patrick Caulfield: Dressed Lobster and Red Jug and Lamp.

Dressed Lobster, published in 1980, is now quite rare and shows a line drawn lobster with abstract background. 

Red, Jug and Lamp was published in 1992 to coincide with Caulfield's Serpentine Gallery Exhibition the same year.

Do ask to see these next time you come to the gallery.