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Nicholas Bowlby has been dealing in paintings for over 25 years. A direct descendant of Sir Henry Tate, the man who gave his name to the Tate Gallery in London and creator of the original white cube, Nicholas Bowlby specializes in early English watercolours and Twentieth Century British paintings. He also deals in contemporary artists, studio sales and contemporary sculpture. The Web Site should provide a constantly updated window to his present stock and Exhibition details. Should you wish to add your name to the mailing list then we will make sure you are kept informed of any future plans. NICHOLAS BOWLBY, ART DEALER. 00 44 (0)1892 667809 The Gallery specializes in early English Watercolours. Buying and Selling of Modern British Paintings. Contemporary Gallery Artists. Modern Sculpture and Bronzes. Art for offices. Advice on buying and the forming of Collections. Valuations for Insurance. Photographic Inventories of Collections. Restoration and Conservation of Paintings. NICHOLAS BOWLBY, ART DEALER. 00 44 (0)1892 667809 All material © 2005, Nicholas Bowlby. All content included on this site is the property of Nicholas Bowlby or his suppliers and is protected by copyright laws. All content on this site is the exclusive property of Nicholas Bowlby. This site may be used to buy paintings. Any other use is strictly prohibited. NICHOLAS BOWLBY, ART DEALER. 00 44 (0)1892 667809 We are not far from the Enchanted Place of Winnie the Pooh in East Sussex PLEASE CONTACT US FOR DIRECTIONS Tel: 00 44 (0)1892 667809 ....Or click on contact above to send email |
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Alex Uxbridge I must stress that the oddity is not on the purely artistic level at all. These are unmistakably all the work of the same hand, emanating from the same sensibility. The links between all manifestations of Uxbridge's talent are primarily a matter of mood. Everything seems to be pervaded by a species of melancholy as was the case with works showing a selection of his typical characters at a cocktail party, on a cruise ship, making love under a full moon. They might be expected to look happy, but the series was significantly entitled 'Desolation Row' shown at the Boundary Gallery three years ago.True, they were inspired by Bob Dylan's song of the same name. But then again, what made him choose it? In this show the literary connection is much more elusive: it is to T.S.Eliot's poem Four Quartets. In the most recent pictures, Uxbridge turns with renewed interest to "pure" landscape. He says that his landscapes used in the past to be filtered through memory, but now he also paints directly from the subject, in the best Impressionist, plein-air tradition. He still chooses, though, places that seem suffused with melancholy, the deserted parts of the Anglesey coast or the disused copper mine, and when there are figures included they generally seem isolated, gazing wanly out to sea. Come to think of it, even in his most "liberated" plein-air pictures, we hardly ever seen an unequivocally sunny day? Meanwhile, his "town" pictures have moved further away from on-the-spot observation, relying now on memory, or even outright invention, as in the imaginary 'Cities of the Night'. Maybe Uxbridge's back-story throws some light, maybe not. He is one of five children brought up in the Anglesey stately home, Plas Newydd. Settled in London, he went into publishing, and then set up The Poster Shop, which published and distributed Fine Art posters. It was not till he was in his thirties that he enrolled in art school for four years, since which he has devoted himself completely to painting, and lives some of the time in a very remote cottage on the coast of Anglesey, across the fields from the nearest road. To many it will sound like an idyllic existence, and possibly even to his conscious mind it has been and is. But there are clearly demons to be exorcised. Long may they lodge in his unconscious, provided he is able to let them out in art of such vibrancy and power. |
ANDY WAITE has had a twelve year association with the Nicholas Bowlby Gallery. He studied at West Sussex College of Art and Design . He exhibits regularly in Galleries in London. |
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Covadonga Valdés was born in Asturias, Spain in 1966. She studied at Chelsea College of Art London 1988-92 and the Slade School of Fine Art London 1992-94. Covadonga Valdés various solo exhibitions include Recent Paintings Pump House Gallery London 1999 and Interiores y Objetos Council of Oviedo Spain 1996. Covadonga Valdés more recent group shows include The Discerning Eye Mall Galleries London 2003, Hunting Art Prize Royal College of Art London 2005 and BP Portrait Award National Portrait Gallery London 2006. Covadonga Valdés was included in John Moores 23 in 2004. |
DAVID FAWCETT David Fawcett says: I am self taught and work in acrylic. Most of my paintings are based on my observations of people and reflect my day to day life - at home with the family, commuting to and from London, using the tube, working in an office. Body shapes and expressions fascinate me. I am interested in compositions involving a number of people - the tube and commuting gives me a lot of inspiration for this. I try and look for a humourous element in these paintings - a situation which can be identified with and related to. To convey this idea I have found that the title is often particularly important. If the title strikes a chord it really enhances the image. In addition to these "people" paintings I am also very interested in still life painting. This is principally from the point of view of trying to make colours work together and harmonise. If that balance is achieved I think the painting has a tremendous impact and really holds the eye. |
E-mail: francis@francisfarmar.com Tel: +44 (0)77 6972-0274 Francis Farmar was born in Surrey and began painting at an early age. Francis Farmar won the Eton College School Drawing Prize and later studied in Florence at Simi's Academy. Francis Farmar attended St Martins's School of Art and the West of England College of Art, Bristol, graduating in 1971. |
Gary Bunt, 47, is rapidly finding fame as an artist whose works are achieving a new level of popularity with all kinds of art collectors. Gary Bunt has always had an artistic flair but, in early life, his love of music had a more powerful influence, luring him into a career as a professional guitarist. It brought Gary Bunt a rock and roll lifestyle, but one that led him along a path to self-destruction. Gary Bunt was soon indulging in all the trappings of the music business, both good and bad. "I loved the life, everything about it," Says Gary, "playing guitar and drinking and drugs and the fun that went with it." Now London art dealer Nick Bowlby, a descendant of Tate Gallery founder Sir Henry Tate, is promoting his work at the Dulwich Art Fair. Gary Bunt says of his earlier work that it was "safe", figurative painting for the commercial market of, for example, scenes of Paris and Venice. But he has since branched out and become more expressive, following in the style of one of his favourite artists, LS Lowry, and channeling his life experiences into his paintbrush. He said: "Cancer gave me the freedom to break out of the mould and paint what I wanted to paint, rather than being dictated to by what people were buying. I am now doing exclusively my own style. It all comes from my emotions". Says Nicholas Bowlby: "Gary Bunt's most recent paintings signal a watershed in his progress as a painter. Gone, for the moment, are the free form impressions of landscapes and nudes, and in their place Gary Bunt gives us paintings of simple meaning and form, the colours rich and clean, the subjects taken from ordinary days in ordinary places but made special by his sense of fun and compassion. Many would call the paintings naïve. But their simplicity and shape have been formed by a life of great variety of experience of joy and pain. These paintings are the distilled essence of Gary Bunt, the man and the artist." |
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Harold Mockford has educated himself, so as to keep faith with his developing vision. His isolation and independence has kept his handling of paint agile, personal and deeply poetic. But it would be wrong to conclude that while Harold Mockford vision appears naive he is a naive painter. His work testifies to a number of deeply sublimated influences: Samuel Palmer, Van Gogh, Pierre Bonnard, Carel Weight, Mark Rothko. The diverse influences have been finely assimilated into a style that has enabled Mockford to convert the Sussex landscape and seascape into the most compelling images of magical transformation. Not unlike the isolated William Blake. Harold Mockford has nominated his own tradition to create his distinctive mythology. Anyone familiar with Sussex around Eastbourne will have no trouble identifying the immediate physical locations which are the scources of most of his paintings. Again and again, in his direct dramatic canvases one recognizes the actual site. And even if one doesn't know the exact place, one registers the feminine undulations of the Downs, the slender church spire rising above the trees, the small gates, the long stone walls, the disappearing chalk paths and the treeless uninterrupted horizons. One could draw a fifteen mile circle around Eastbourne and have immediate ownership of Harold Mockfords landscape. This is where the artist was born. This is where he has lived his life. At one level his work is an epiphany in paint to the small patch of nature and culture he was born into, and, no doubt, many of the sites are resonant with childhood memory. What we have ,then, in his work is a wonderful local affirmation and a unique poetic transformation. An act of Alchemy. |
Henrietta Stuart paints abstracts in oil on canvas, in which Henrietta Stuart aims to evoke time and place, using colour and light. The paintings are based on 'things seen': formerly still life, now mostly landscape. Henrietta Stuart paints in thin layers, laying paint over paint to exploit its transparency, a technique of which Turner and Titian were both masters. |
John Lipsham started painting in oils at the age of 16 whilst himself a dockyard worker.
As a joint winner of the Daler Rowney ‘Art Paper’ competition, twelve of John Lipsham paintings were exhibited in London at the Royal Commonwealth Society adjoining Trafalgar Square. In March 2002 he was short-listed to the last three for an award/grant by the Rootstein Hopkins Foundation. His first solo exhibition at the ‘Havant Arts Centre’ in Hampshire during 2002 was followed, by invitation, with a second solo exhibition, again at the RCS. John Lipsham has also exhibited in group exhibitions at Brighton Art Gallery and Museum and at The Phoenix Art Centre. John Lipsham successfully gained a three year BA Fine Art Painting degree course at Brighton University from 2002 to 2005. At the degree exhibition he was awarded ‘The Alan Davie Prize 2005’. |
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Martha Winter was born in London where she began her art training. She went on to study Fine Art in Falmouth and Norwich. Her work, whilst sculptural, is mainly wall-based. It is the unusual outcome of many influences, from the conventional desire for a sculptor to engage with her materials to the objective observation of the way these materials physically exist in the landscape. The artists fascination with geometry and geology result in calm contemporary pieces whose elemental composition resonate with our subconscious. The process Martha Winter has developed for creating her work has come out of many years of experimenting. She uses geological materials collected from the landscape including quarries. The creative process begins by preparing the material by grinding it down or through meticulously separating it out. Using a variety of techniques this 'matter' is then applied onto an armature. Layer upon layer are built up, forming permanent and textural surfaces. Martha Winter regularly contributes to group exhibitions including shows in London, Bath and East Anglia. She has been selected for several 'Open' exhibitions including Kettle's Yard and Artsway. She gained a 'Year of the Artist' award from the Arts Council and has received commissions from her local Council and Arts Organisations. Her work has been shown at Art Fairs in London and New York. Much of her time is spent developing new work for solo shows whilst also working on commissions for private and corporate clients. For details of forthcoming shows, available work or to discuss commissioning a piece please contact the artist. |
Miles Thistlethwaite works mostly on paper in pencil, pen & ink or watercolour. His last two exhibitions were "Grey, Non-conformist Chetwynd Road", a portrait of one North London street, and "Washing-line Portraits", a series of studies of clothes. Miles Thistlethwaite has combined a business career with printmaking, painting and illustration. Self-taught until a recent year with the Prince's Drawing School, Miles Thistlethwaite is now a full-time painter and also teaches at the Prince's Drawing School. |
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I hope you enjoy my work. Rose Rothschild has been making pictures all my life. Rose Rothschild is currently I am working mostly in oils, collage and mixed media making paintings, low relief and three dimensional work. Rose Rothschilds main themes at present are mazes and webs, home and garden life, technology and people and narratives. Rose Rothschild styles has some surrealist elements, figurative but not logically relaistic, often highly finished and detailed, sometimes richly techtured to the point of low relief. Pieces often engage the viewer in journeys or puzzles, they show a differnent reality which could come to life in imagination, dance, film, or animation. I am very interested in expanding and collaborating in this way. |
Sandra Liccioni Biog Listening to music is the source of my inspiration. For many years Sandra Liccioni has studied and the passing of the seasons. Sandra Liccioni has spent much time in the mountains observing the wide landscape from great heights, surrounded by thousands of miles of pure air far removed from urban life. Sandra Liccioni began to see a mass of details and analysed how, from apparent chaos, a structure emerges. These elements are reflected in my paintings.' COLLECTIONS: Morgan Stanley. Ted Baker. One Aldwych Hotel. Private collections in Europe and America. |
Simon Desmonds main concern with painting is colour. With the digital age dominant, the need to produce landscape in the traditional sense is perhaps less relevant today. Simon Desmond use of colour to project a feeling of mystery, energy and movement in a didactic sense. Many of Simon Desmond works have some sort of path or glimpse in to the distance, Simon Desmond use this as a medium to tackle issues relating to the passage of time and our inability to know what lies in store for us around the next corner. |
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TREVOR NEWTON was born in Lancashire, England in 1959. TREVOR NEWTON studied History of Art at Cambridge University and later became the first full-time teacher of the subject at Eton College. TREVOR NEWTONs work has been commissioned, exhibited and sold by Christie’s, published by the Oxford University Press and has appeared in publications as diverse as Country Life, Harpers & Queen, The Independent on Sunday, The Literary Review and The Bookplate Collector’s Quarterly. |
Robin Holtom has found the inspiration for his landscapes at home in S.W. Wales, on visits back to England and abroad, in Italy and the South of France. Robin Holtom paintings also reveal an interior world of the studio (in Llechryd or Tuscany), usually filled with the artist's model, a still-life or just a section of a room seen from an odd angle. Robin Holtom is also an accomplished artist in other fields, the drawing and thinking that lies behind his figures show a sculptor's grasp of their essential forms, while in the fluidity and subtlety of the handling of his colours can be seen the lessons learned from the silk screen works. The territory is familar, Matisse springs readily to mind, Holtom shares the urge to return to "purity of means". The comparison is unavoidable but it is not the slavish similiarity of a weak imitation. Holtom has been drawn by his own inner necessity to take the same direction as Matisse took, or Cezanne indicated, and then he moves on to find his own way forward. Above all Robin Holtom's work is informed by a strong taste for colour. A taste which verges on the edge of hedonism but is held in place by a classical sense of appropriate form and structure. The colours demand our attention on a planimetric, or almost heraldic level, but the drawing holds this tendency in control. A nude form, or the shapes of fields, or foofs, act as the clothing or frame for plays of colour to live and dance and hold their own. The nudes are often accompanied by their own introspective reflections in the studio mirror, their classicized and rather cool poise mitigated by touch of sensuality. In Robin Holtom's work I find pictures that will definately last and promise to respond well to being lived with, like a good book they will to some extent "read us" as we live our lives around them and they are also strong enough to demand that we keep looking at them fresh to find new bits in them, and ourselves. |
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