Here are works that have been sold.  If you like the look of one of them and would like a painting on the similar theme do let me know.  I’m happy to take commissions.  In fact click here is a recent commission of SNOWDROPS which we are very pleased with.

Showing 1–16 of 27 results

  • A Cluster of Snowdrops

    A commissioned painting that called for a different approach because when I heard what these little flowers meant to my client I needed to express the subject not just as flowers in a vase but as flowers emerging, as they do with such surprising vigour, from the cold winter earth.  I had to include the ground from which the flowers appear not just as a dark space but with other plants, their leaves red and orange crinkled and pleated or pale greenish blue and fleshy, some whispy yellow ones creating a tunnel.  Naturalised crocus are making a significant appearance.  It is against all of this, according to the laws of nature, that the snowdrops were at their very beautiful best.

    Oil on panel  2023  54 x 44cm   21 x 17in

  • Basket of Apples

    I wonder how many apples I have painted?  These small Gala’s fitted just perfectly into the beautifully crafted basket which I have to point out, is pretty tricky to paint.  The interweaving willows made me think of the Islamic patterns that I had copied in Morocco.  To add a sense of the basket’s form turning into darker space of the background simply added an extra complexity – and strings of paint colours on my palette.  But all this is eclipsed by the simplicity of the apples and particularly by the almost sculptural grace with which the single apple holds its leaves.  For me there is a feeling of it sitting in perfect space on the warmly coloured wooden board, basking in the glory of being painted.  

    Oil on canvas  2015  30.5 x 36cm 12 x 14in

  • Basket of Apples in a Box

    Shadow boxes are used for controlling light and creating a dark space.   When this small box was sent with an order of paints I put it on my shelf of still life candidates, I liked it.  As you see the basket fits it exactly. Apples are a highly popular subject for still life painters and the linen cloth gives an abstract reminder of something square – the box opening – but collapsed, folded.  There is an initial drawing and this little painting.  Framed in deep red it can work as a colourful brick, slotting into the most surprising places.  Or because of the shape of the frame it can stand on a flat surface as many of the small paintings can.

    Oil on panel  2020  23 x 30cm  9 x 12in

  • Basket of Sprouting Onions with a Blue Cup

    This is the first of many Cup Paintings.  I bought two of these attractive, contemporary cups in Florence – one grass green, and one traffic light red – during my time at the Angel Academy where I was a student on the Four Year Classical Realism Program (January 2010 – December 2013).  Then back in England some years later I bought more colours online from Germany where they are made.  And I shall paint each and every one!  Just search ‘cups’  on this website to find them as the collection grows.  The wonderful sprouting red onions are what we artists call ‘Perishables’ and they need a particular way to be painted.  And of course now these ones are only available to enjoy in the painting.

    Oil on canvas 

    2018  40 x 50cm   16 x 20in

  • Blue Delft Vase, Chinese Plate and Pears

    Still lives often tell stories and here is part of this painting’s story.  It is based on the favourite theme – Blue and White.  The small delft vase came from the Midhurst Antiques Market with a fascinating article on Delft Wear tucked inside  It tells us that most Delft designs are characteristic scenes of Dutch life and landscape often taken from old factory pattern books made at the Royal Makkum Factory who have been producing tiles since 1650.  The white opaque tin glaze acts as a background for the blue decoration.  It became so popular that factories sprung up in England and are still going strong. The plate however I bought in Florence and was told that it is Chinese and was certainly made for export to Europe.  This is part of a story of this still life which was on my easel when someone saw something they liked very much.   They bought it before it was finished.  And now have it in their house where it is in just the right place and so its provenance grows.

    Oil on linen  2015  45 x 65cm  18 x 26in

  • Brown Coffee Pot, Poppies and Red Cup

    Oil on panel

    2022 43 x 43cm  17 x 17in

  • Coffee Pot with Red Cup

    A glossy brown coffee pot is half seen, a deep red cup is placed almost centre stage, both these glazed objects are smooth and shiny contrasting against a small bunch of white flowers and a rather dramatic frilled begonia.  

    This was the second cup to be painted.  See where we go with this idea as there are a number of new cups, and will be more in the future. 

    Oil on panel  2019  30 x 33cm   12 x 13in 

  • Family Portrait – Jenny, Hugo and Max

    Oil on canvas 2009

    76 x 58 in (194 x 148 cm)

  • Family Portrait -Francesca Mosca & Lukas Gimpel

    Oil on canvas 2007

    72 x 54 in (140 x 185 cm)

  • Grapes and Red Wine

    One of those subjects that will always be popular.  Using some lovely purple vine leaves curved around a simple green glass, a fine ‘bottle of red’ and some gorgeous black grapes all set on a set of some very fine hand-made bricks, it is hard to translate the smoke and mirrors of the studio arrangements.  A wooden stool stacked up with several paint cans held bucket with a large spray of vine leaves which were wired into a slightly unwilling, but generous sweeping arch.  At times the lighting, that is always needed for a Tenebrist style Still Life, had to be used to coax the leave arch into this even parade directed forwards but still needing the occasional use of extra florists tape.  And when it was finally finished it was transported very carefully to Florence where we chose this hand-carved frame which was, painted, gilded and aged by our very favourite artesian Corniciaio (framer).  Then equally carefully returned home to the UK. 

    Oil on linen  2016   71 x 68cm   28 x 27in   Bespoke Florentine Frame

  • Green Cup, Limes with Hellebores

    The lime cup appears as part of a green painting.  Begun in January when good limes are scarce but hellebores are plentiful.  The bottle is part of a small collection I have been given.  This one is particularly lovely with the colours of the fruit and flowers reflected within it and looking almost like a butterfly’s wings.

    Oil on panel  2022  32 x 32cm   13 x 13in

  • Incense Burner

    There is a simple calm to this painting and a softness to the coloured palette.  A few objects make a contrast to the unfurling branches from a hornbeam tree.  Their pleated leaves seem mobile against the sold background composed in a technique known as ‘broken colour’ in which various hues seen in the painted objects are painted with visible brush strokes.

    Oil on panel  2019  28 x 36cm   11 x 14in

  • Peaches and Small Davenport Jug

    Peaches & Small Jug

    This is the first painting of these handmade bricks and a Davenport Jug.  We were given the jug and quite a few other Davenport pieces of pottery  from a family collection and their role in still life compositions is invaluable.  The knife is a gilder’s knife with an unusual, sloping blade. I have tried but I must confess I have not mastered gilding,  but have found an excellent craftsperson who has.  For the painting? The facets and pattern are  fascination needing minutely different colours and values of light and dark to create the sense of 3D.    It was quite a surprise when I realised the handle is decorated with green scales of a snake and its head is that bump – you can just make it out with the magnifier!  As so often happens when one thing is a labour – painting the peaches with their furry bloom, went just like that.  It is rather a dear little painting and has a very appropriate home.

    Oil on canvas  2014  50 x 45cm   20  x 18in

  • Portrait of David

    The third time I was commissioned to paint David Airey – a friend and neighbour.


    Oil on linen 2017

  • Primula

    Set on some handmade terracotta bricks, in a small alabaster cup, these little flowers hold all the charm of Spring in their simple shapes and beautiful colours.  When in the shade of another flower the yellow takes on a greenish hue, the mauve becomes intense magenta in places.  Nature really is a wonder and for a painter, despite its difficulties, painting flowers is such a joy to share.

    Oil on panel  2020  12 x 10in

  • Red drape and white dish

    Another story goes with this painting.  The purpose was two-fold.  First to paint something, in this case the cloth, that would be as vivid a red as paint on canvas can possibly be.  The second is to paint something that is white, but how do you do that when the lightest colour of paint you have is white?  What other colours do you use?  This whole bowl cannot be all white if it is to look like a three dimensional object.   Darker paint is needed to show it is turning toward a darker background.  But what colours are needed so that they all look part of something that is glazed and white?  The piece of red silk was something I had bought from the ‘cupboard’ on my last day at St Martins School of Art many years ago.  I still have it, soft and brilliant, folded up in an old (vintage) laundry hamper made of willow that  creaks when the lid is lifted.  The bowl, is in fact a sauceboat with the saucer attached and was given to me as a leaving present by a good friend at Angel Academy – Rusudana Gointi – a terrific artist.  I still have that too, on a shelf among coffee pots, tea pots, glasses and odds and ends.  But this is where its real life was – and in Rusudana’s painting of it.  After six years I realised I could finally part with the painting and it is with another friend – up the road and around a few corners – in her house it looks very at home.  

    Oil on canvas  2013  85 x 65cm   33 x 26in