Showing all 12 results

  • Autumn Colours


    A colourful oil painting of pears, apples and quince with alla prima feel to the brush strokes .  Set upon a table top there is a Classical Realist feel to the still life composition. The palette has warm vivid autumn yellows, golds, reds and oranges.  Usually these paint colours are composed of Cadmiums yet here is a mix of vibrant modern pigments such as Quinacridone Rose, Arylide Yellow,  Phthalocyanine Green .  All these are remarkably vivid and allow a rich play of opacity and transparency to enliven the canvas.  The frame is a simple squared moulding which slopes into the painting, draws us in.  The painting was made as part of one of Paul Foxton’s online workshops that began in lockdown.

    Oil on panel  2021   28 x 41cm 11 x 16in   Frame colour – Farrow & Ball yellow (Babouche)

  • Blue Bottle, Lemon and Dish


    An open door allows natural light to illuminate the pale background casting shadows on the table top and putting half the small dish into shade.  The fabric is pulled back as if it were a curtain.  Like Majolica Plate, you can see the interplay of a real lemon with a painted version.   The smooth curve of the bowl with patterns of leaves and small red/orange swirls accentuates its shape, the spiral of the half peeled lemon repeats the swirl pattern

    Oil on linen panel  2015   44 x 39cm  17 x 15in

  • Brass three-legged dish with Chinese Plate


    Theatrical references with drapes held up by white pillars are used to frame an antique Chinese plate, a brass dish containing fruit and flowers and small glass vase.  Playing with this dramatic scene, the fringed tassels of a white cloth appear to joyfully dance along the lower part of the canvas.  Framed in a rather dazzling way this painting makes a striking impact and creates a glorious palette of colours

    Oil on panel  2018  50 x 70cm   20 x 28in

  • Davenport Jug and Shallots


    This larger painting harks back to Peaches and Small Jug.  We do in fact have two of these jugs, one small and this one that stands 15 cm (6”) high.  As it is larger, there is more detail giving it a slightly different character.  My preference is to paint things in still lives larger than life,  I don’t know if this reminds me of seeing the world newly as a young child when most things were larger or at least many things seem smaller as one reflects on them as an adult.  Whatever the reason, I like this apparent magnification and here, on the lovely handmade bricks and with an orderly arrangement of shallots, the jug is carved out of the dark background but also melts into it where it is in shadow.  This is a simple composition with few things and it is here that I often find a magic that gives arrangements a particular vibrancy and balance.  There is no formula and it takes a bit of patience arranging and rearranging, changing lighting, going away and returning with a fresh eye, until I get almost too exasperated and just have to begin.  Or at least make the initial graphite drawing to check the underlying structure has unity and impact. 

    Oil on panel  2020   59 x 67cm  23 x 26in

  • Figs

    A perishable painting !  Now what does that mean?  The beautiful small green figs are only available at the Mercato di Sant’ Ambrogio in Florence for the month of September hence their name ‘Settembrini’  or Little Septembers.  And every few days I had to go and replenish stocks as the fragile fruit seemed to melt leaving strange silhoutted outlines on the simple brass plate that we found in an Antiques Shop or Brocante antichità in Via Cimabue close by.  But returning briefly to the idea of perishables – in painting terms each figs did not last long enough to be painted to a finish.  An unusual strategy is used, laying out the composition and giving things a simple form, then finishing each fig by working on it non-stop until it is done.  The next day won’t do – the paint will be too dry to work on, and one has to start again with a new fig.

    But somethings I can’t explain, why this joyful frame was a perfect choice and how it is that these figs simply glow with a simple glorious wonder.

    Oil on linen   2013  46 x 66cm  18 x 26in   Bespoke Florentine Frame

  • Four Apples


    Apples are surely one of the most painted fruit and as a subject, their simple shape and glorious colours are a delight to work with.  In this painting I wanted to bring light into the composition by using different illumination.  Dark backgrounds are typical of the Atelier system and have a dramatic impact, by changing this I thought of the work as a landscape and studied how the light would bounce onto the objects.  The carved wooden moulding was not in the foreground but as I worked there seemed to be little feeling of space to the painting. Its addition brought an extra dimension and volume and was a fascinating technical challenge.

    Oil on linen 2017   59 x 67cm   23 x 26in

  • Majolica Plate with Fruit


    On our first visit to Florence we found this lovely plate at Armando Poggi (  It is so typical of Majolica pottery representing colourful fruit, flowers and leaves in a beautiful design.  Setting it on repurposed scaffolding planks in a simple plywood orange box that had held a Christmas wreath I added actual fruit to mirror the plate’s trompe l’oeil subject.   The interplay between the three dimensional ‘real’ fruit with the plate’s glazed peaches and lemons makes the magic of Realist painting come alive. Now framed in a simple white and gold spoon shaped moulding the vibrant colours come into their own in this statement painting. 

    Oil on linen  2016  158 x 208 cm  62 x 82 inches


  • Peony, Plums and Pears


    This painting makes a splendid and richly colourful statement.  The fruit glow against the dark background where it is possible to see the tracery of a 20th century iron screen.  The scale of the piece means all the subject matter is larger than life  This contributes to the need for a space that it can illuminate –  a large wall – which it does magnificently.  The frame is another of the bespoke range that I had made in Florence by the skillful couple who run their workshop producing elegance, as you see here as well as some more unusual and colourful frames.

    Oil on linen   2013  72 x 57cm   28 x 22in

  • Pink and Green Still Life


    Summer 2019 was hot and that is the reason for this still life. Outside everything seemed dry and baked and in my mind came the colours I wanted to see, like a mental ‘cool bath’.  Oddly enough these were a deep, magenta pink and eau de nil green – the colours of the crumpled paper and the candlestick.  Hanging around the antique lemonade bottle, a string of garlic brought to my mind dried fields of grass and hay.  The other old bottle conjured up water with its rippled vintage glass.  The words moulded into the surface say SCRUBB’S on one side and FLUID on the other.  Looking on my computer I found the rest of its description to be Scrubb’s fluid ammonia poison and I had just liked the glass has bubbles with their mica quality!   Another painting was leaning against the back wall when I set up these objects, it’s just visible is the edge of the panel and I found that the feeling of something happening beyond seemed to give a certain balance to the composition. 

    Oil on panel  2019   50 x 42cm  20 x 17in   Frame blocky squared, painted, distressed cream finish

  • Pumpkin


    A very sweet little painting of an autumn squash.  It’s rind is highly textured, having been worked with a palette knife so the surface has a thick and choppy body against the glowing interior.  This directness of paint application gives a tactile feel – it’s a small, lively and charming work.


    Oil on panel  2021   23 x 28cm  9 x 11in 



  • Tube Wringer


    Here a series of static objects are placed rather than casually laid down on a table top.  The wrung tube of Titanium White paint and the Tube Wringer have been lifted from their practical use and placed for scrutiny on a surface of glazed tiles. A cloth’s crumpled folds fall over the edge in pleats and in the background  is hung a small Victorian plate illustrating the ever popular Willow Pattern in blues glazed one over another to give a depth and vibrancy.

    Oil on canvas 2020   51 x 66cm   20 x 26in  

  • White Rose, Glass Vase and Shallots


    Another snake I did not see.  Isn’t that a strange thing to write?  But look closely at the glass bottle just appearing out of the dark ground.  Can you see those bands turning round and up towards the lip?  They are a snake.  And the colour of the glass has a mica quality to it.  This detail is just suggested.  The more you look, the more you see.  That is how it always is when I paint something, no matter how many preparatory drawings and colour studies I make.  There is always more to see.  I think that is why owning paintings has been so popular over the ages and this aspect of ownership will always be there, always full with surprises.  Bear in mind the very many hours that go into these works and the thoughts that accompany these hours of painting.  Add the use of Renaissance concepts of creating space, volume and illusions of reality, and you will see that it all adds up to something pretty significant.  I can ‘talk for Britain’ about it all.  But just looking at a painting will explain many things, and you – the viewer – will bring you own interpretation, history and likes to the act of enjoyment gained from looking and seeing the painting.  And see how this spills out into your experience of everyday life.  That is what I work from.

    Oil on canvas   2015   43 x 48cm   17 x 19in