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Click here to subscribeCharles Edward Stewart (act. 1890-1930) Britishdepicting a lady sat in an armchair reading a book, wearing a draped Grecian style dress, signed and dated 1914 in pencil, watercolour painting, within a painted and gilt glazed frame, 53 cm x 44 cmProvenance: from the estate of the artist's family
Attributed to Francis Nicholson (1753-1844), a watercolour "View Above the Falls of Lodore Cumberland", 60 cm x 76 cm (see illustration). CONDITION REPORT: This painting is in generally very good condition. We can see no evidence of any repairs or any restoration. There is no significant fading, the colours being bright. Due to the age of the paper there is some slight yellowing in the clouds. In our opinion this is not significant. The picture is well mounted and framed. The picture has come in for sale from a local private vendor.
Percy Kelly (1918-1993), a watercolour Trawlers, 11 cm x 13 cm, framed. ARR (see illustration). CONDITION REPORT: The watercolour is in generally good condition. The top left hand corner of the painting has a crease mark which should be visible on our image. There is slight discolouration to the paper which is usual. There is no evidence of any foxing. The picture is well mounted and decently framed.
M Johnson, four early Victorian watercolours, various scenes including classical ruins, each 25 cm x 36 cm, all framed, three signed and dated 1842 and 1844. CONDITION REPORT: The four watercolours appear to be in their original frames. The frames are serviceable but all have had knocks and repairs particularly to the moulded corners. All four mounts are discoloured in varying degrees. The watercolour with the figure amongst the ruins is in good order with no issues. The painting with the long arched bridge and fishing vessel on dry land has areas of foxing to the sky in particular. Approximately 20 spots. The landscape with figure and cattle also has some foxing to the sky area. Approximately 6 spots. There is a little bit of foxing on the front top edge of the waterfall. The fourth painting has some minor foxing to the sky above the tree line directly above the cottage with smoking chimney. Other than the foxing the paintings are in generally good order with strong colours. There does not appear to have been any restoration or any repairs. The paintings have come in for sale from a local house contents.
The Queen’s South Africa Medal awarded to ‘painter, etcher, raconteur and rifle-shot’, Mortimer Menpes, who accompanied the City of London Imperial Volunteers to the front during the Boer War as war artist for Black & White illustrated weekly magazine Queen’s South Africa 1899-1902, no clasp, (Mr. M. Menpes “Black & White.”) very fine £1,400-£1,800 --- Mortimer Luddington Menpes was born in 1855 at Port Adelaide, South Australia, the son of property developer James Menpes and was educated at John L. Young’s Adelaide Educational Institution, although his formal art training began at the School of Art in London in 1878 after his family had moved back to England in 1875 and settled in Chelsea. He first exhibited at the Royal Academy in 1880, and, over the following 20 years, 35 of his paintings and etchings were shown at the Academy. He met James McNeil Whistler on a sketching tour of Brittany in 1880 and became Whistler’s pupil, learning the etching techniques that were to become evident in much of his later work. In 1886 he stood as godfather to Oscar Wilde’s son and the following year, a visit to Japan led to his first one-man exhibition at Dowdeswell’s Gallery in London. In 1900, following the outbreak of war in the Transvaal, Menpes sailed to South Africa as a war artist for the weekly illustrated magazine Black & White, in which, on 3 February 1900, the following appeared: ‘Accompanying the City of London Imperial Volunteers to the front is an artist whose name is known the whole world over, because he is first of all an artist, and secondly a reporter of events. This is Mr. Mortimer Menpes, who is entitled to tag after his name a list of honours and titles of which few artists can boast. Mr. Menpes is the inventor of a process of colour etching, in which, to the sharpness and definition attained by the tools of the etcher, he has added the softness and brilliance of all the rich colours that may be laid on the painter’s palette. Mr Menpes will be able to send us from the front portraits of all the principal Generals and notabilities of the war.’ Menpes’ sketches from the campaign were subsequently transcribed by his daughter Dorothy Menpes and published by Charles Black of Soho Square in 1901 under the title ‘War Impressions, being a record in colour by Mortimer Menpes’. After the war Menpes travelled widely and and many of his illustrations were published in books again accompanied by text written by Dorothy. He painted in oil and watercolour as well as being a prolific printmaker, producing over 700 etchings and drypoints during his career to great acclaim. A definitive catalog raisonné of his printed works was published in 2012 which also included an extensive biography and his exhibition history. He died at Pangbourne in 1938. ‘Menpes, Mortimer, F.R.G.S.; painter, etcher, raconteur, and rifle-shot; inartistically born in Australia; war artist for Black and White in South Africa, 1900. Educ.: nominally at a grammar school in Port Adelaide, but really on a life scheme of his own. His career as a painter began when he was one year old; he is still a painter. He had held more one-man exhibitions in London than any other living painter: viz Japan, India, Mexico, Burmah, Cashmere, France, Spain, Morocco, Egypt, Venice, Beautiful Women, Beautiful Children, The War in South Africa, Venice, exhibitions of Black and White, and of Etchings in colour, thereby reviving a lost art. Publications: a whole series of etchings at different periods; Essays (one called the Actualists, a skit on the Impressionists); War Impressions, 1901; Japan 1901; World Pictures, 1902; World’s Children, 1903; The Durbar, 1903; Venice, 1904; Whistler as I knew Him, 1904; Brittany, 1905; Rembrandt, 1905; India, 1905; Thames, 1906; Sir Henry Irving, 1906; Portrait Biographies, Lord Roberts and Lord Kitchener. In the preparation of World Pictures he did the world in record time, being unsurpassed even by Jules Verne. Founder of the Menpes Press; Founder of the Menpes Great Masters, which are reproduced under his direction; Founder and Managing Director of the Menpes Fruit Farms, Pangboume.’ (Who’s Who, 1932) Sold together with a copy of Black & White magazine (cover loose), dated 3 February 1900, containing the above quoted reference to Menpes and his portrait picture; copy of Black & White magazine, dated 5 May 1900, cover loose; a quantity of copies of Menpes’ illustrations and sketches appearing in Black & White magazine during 1900; a letter from Menpes to a Mr Head, written from the Vicarage, Gorelstone in 1902, regarding a sold painting; other copied research and the following 8 hardback books: Deluxe Edition (No 86 of 350 copies and signed by Mortimer Menpes) of War Impressions, being a record in colour by Mortimer Menpes transcribed by Dorothy Menpes published by Adam & Charles Black Soho Square, London 1901, very good condition; another, standard 1901 edition, binding loose; Japan a record in colour by Mortimer Menpes transcribed by Dorothy Menpes published by Adam & Charles Black , Soho Square, London 1901, binding loose; World Pictures by Mortimer Menpes text by Dorothy Menpes published by A. & C. Black Soho Square London 1902; World’s Children by Mortimer Menpes text by Dorothy Menpes, published by Adam and Charles Black, London, 1903, 1st edition, Westbourne School Sheffield 1908 prize label inside front cover - awarded to Dorothy A. Nash, cover of spine weak; India by Mortimer Menpes text by Flora Annie Steel published by Charles Black Soho Square London, 1912 edition, ex public library, spine sun faded; Paris by Mortimer Menpes text by Dorothy Menpes published by Adam and Charles Black 1909, with partially torn dust jacket, inscribed inside front cover ‘with love and good wishes from all at Netherley, Xmas 1909’ Venice by Lonsdale and Laura Ragg illustrated by Mortimer Menpes, published by A. & C. Black Ltd. 4,5 & 6 Soho Square, London, 1916.
Follower of Claude Lorrain, 18th Century - A landscape on the continent with figures,: cattle and sheep grazing in the foreground, view to a river and the outskirts of a settlement beyond, watercolour and bodycolour, 31 x 38cm.*Notes Two indistinct inscriptions on the backing read 'Guache de Romanelly de ??ornce' and 'An old Gouache painting Claremont Feraud, late the property of the Mayor of Claremont Feraud'.
GRAHAM DEAN (BRITISH 1951) 'Slight Nudes No 7', a nude study of a female figure, signed and dated (19) 88 bottom left, watercolour on paper, framed, size approximately 20.5cm x 14cm, comes with original bill of sale from Oriel Gallery - Cardiff and Welsh Arts Council label, originally stuck to back of painting
* CLAIRE HARKESS RSW (SCOTTISH B. 1970 - ), POLAR BEAR watercolour on paper, signed, dated 1998 label verso 26cm x 18cm Mounted, framed and under glass. Label verso: Gallery 41, Edinburgh Note 1: In 1998, Claire worked as Artist in Residence with The Royal Zoological Society of Scotland. While at Edinburgh Zoo she was filmed as part of the BBC "Ex-S" series and a fascinating documentary about her work was broadcast in November of that year. This work is a portrait of a specific animal at Edinburgh Zoo and it's likely that many Edinburgh residents and visitors to the Zoo will recognise this animal.. Note 2: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.
***Dorothy Hepworth (1894-1978) aka Patricia Preece (1894-1966) - Portfolio of oil paintings, watercolours and sketches, including - Oil painting - Interior of Moor Thatch with figure slumped in an easy chair, canvas 16ins x 14ins, and three-quarter length portrait of young woman in blue dress, canvas 14ins x 10ins, both unmounted, and a large selection of other watercolour and oil sketches, etc, and a selection of photographic copies of drawings and watercolours, (all contained in one portfolio)
CLEVE GRAY (AMERICAN 1918-2004) UNTITLED ABSTRACT (RED), 2002 Signed and dated 2002 in pencil lower right, watercolour(56cm x 76cm (22in x 30in))Footnote: Lyon & Turnbull are excited to present for sale a wonderful example of the mature work of the American artist Cleve Gray. Gray, who passed away in 2004, was a significant artist within Post War Modernism, and is largely associated with the schools of Abstract Expressionism, Lyrical Abstraction and the Colour Field movement. Born in New York city in 1918, Gray saw active service in World War II, serving in the signal intelligence service in Britain, France and Germany, where he rose to the rank of sergeant. After the liberation of Paris, he was purportedly the first American GI to make an introduction to Pablo Picasso and Gertrude Stein. Remaining in Paris for some time after the War, he undertook training with the French artists André Lhote and Jacques Villon, becoming deeply influenced by Cubism during this period. Returning to America in 1946, Gray gradually relinquished his Cubist tendencies. In the 1960s he developed a friendship with Barnett Newman, a key figure within American Abstract Expressionism and one of the fore runners of the Colour Field and Minimalist movements, characterised by its utilisation of hard-edged blocks of saturated colour. Gray absorbed this influence but never abandoned painterly brushwork completely, and his mature work is distinguished by flat planes of colour over which he creates gestural, calligraphic marks. The work offered here for sale is a quintessential example of this style. He had gradually moved from oils to acrylics in order to more effectively create limpid washes of colour on his canvas, resulting in a hazy effect which nods to peers including Mark Rothko and Newman. This adoption of almost calligraphic mark-making evidences his interest in the Chinese practise of Zen painting. Though never directly representational, his marks nevertheless encourage his viewers to project our own reading, rooted in our understanding of the natural world; from the tails of comets to the swooping flight of a bird. Gray’s work is represented in many major collections including the Museum of Modern Art and the Whitney Museum of Art in New York.
§ CLEVE GRAY (AMERICAN 1918-2004) UNTITLED ABSTRACT (BLUE), 2003 Signed and dated 2002 in pencil lower right, watercolour(56cm x 76cm (22in x 30in))Footnote: Lyon & Turnbull are excited to present for sale a wonderful example of the mature work of the American artist Cleve Gray. Gray, who passed away in 2004, was a significant artist within Post War Modernism, and is largely associated with the schools of Abstract Expressionism, Lyrical Abstraction and the Colour Field movement. Born in New York city in 1918, Gray saw active service in World War II, serving in the signal intelligence service in Britain, France and Germany, where he rose to the rank of sergeant. After the liberation of Paris, he was purportedly the first American GI to make an introduction to Pablo Picasso and Gertrude Stein. Remaining in Paris for some time after the War, he undertook training with the French artists André Lhote and Jacques Villon, becoming deeply influenced by Cubism during this period. Returning to America in 1946, Gray gradually relinquished his Cubist tendencies. In the 1960s he developed a friendship with Barnett Newman, a key figure within American Abstract Expressionism and one of the fore runners of the Colour Field and Minimalist movements, characterised by its utilisation of hard-edged blocks of saturated colour. Gray absorbed this influence but never abandoned painterly brushwork completely, and his mature work is distinguished by flat planes of colour over which he creates gestural, calligraphic marks. The work offered here for sale is a quintessential example of this style. He had gradually moved from oils to acrylics in order to more effectively create limpid washes of colour on his canvas, resulting in a hazy effect which nods to peers including Mark Rothko and Newman. This adoption of almost calligraphic mark-making evidences his interest in the Chinese practise of Zen painting. Though never directly representational, his marks nevertheless encourage his viewers to project our own reading, rooted in our understanding of the natural world; from the tails of comets to the swooping flight of a bird. Gray’s work is represented in many major collections including the Museum of Modern Art and the Whitney Museum of Art in New York.
JS Bedford (20th Century British School) - Onward Christian Soldiers - 1962 - a watercolour painting depicting a line of British troops marching alongside foreign natives. Exhibited at the ' Role Of Painters In War ' exhibition at The Mall Galleries, London, 2005. Signed to the top corner. Framed and glazed (requires re-framing). Total size approx; 67cm x 87cm.
Alice Boyd (British, 1823-1897)Steps to the studio, Penkill House; Cappella di S. Clemente, S. Marco two, the first signed with initials and dated 'AB Jun 1875' (lower right), the second inscribed with title in pencil (lower right); the second also inscribed 'Chapel of San Clemente/S Marks, Venice/Painted by/Alice Boyd/Bellevue House/Chelsea' (on a label attached to the reverse)watercolour, bodycolour and scratching out over traces of pencilthe larger 35 x 25cm (13 3/4 x 9 13/16in)(2)Footnotes:Alice Boyd painted several watercolour studies outside the stable studio or in the grounds at Penkill Castle. For Alice and William Bell Scott, the summer months were spent painting at Penkill and entertaining friends from their circle including Dante Gabriel Rosetti and his sister Christina. In 1874, Lawrence and Laura Alma Tadema spent most of September with Alice and Scott and the watercolour of the brightly plumed peacock amongst the roses of 1875 conveys hints of the Aesthetic movement combined with Alice's natural talent for painting wildlife. From May 26 to July 6, 1873, Alice, William Bell Scott, Letitia, William Rosetti and Lucy Maddox Brown went on a European tour. A sketch book containing Alice's drawings in the Dick Institute, Ayrshire (Accession number PK/U3) chronicles a pictorial journey through the tour starting in Chambery, France and afterwards travelling through Italy; Turin, Bay of Spezia, Rome, Venice, Verona, Lake Lugano, Bodio and St. Gotthard. Ellen Clayton in her dictionary entry for Alice, mentions the painting Chapel of San Clemente, St Marc's Venice in the artist's studio.1 This was presumably the oil painting (63 x 58) The Church of St. Clemente, Venice 1873 which was sold by Christie's at the Penkill Castle, Girvan, Ayrshire sale, (15 December 1992, lot 176), a fully worked up version of the present watercolour. William Bell Scott sketched a similar view of the Church of St Clemente (National Galleries of Scotland, Accession number D4715.28B). Drawn in pencil at a slightly different angle, it is described as The Interior of St. Marks.1 Ellen C Clayton, English Female Artists,London, 1876, Vol II, pp. 47-50.For further information on this lot please visit Bonhams.com
Sir William Russell Flint RA, PRWS (British, 1880-1969)Cynthia signed 'W. RUSSELL FLINT' (lower left); signed and inscribed with title (in pencil, on the reverse)watercolour37 x 57cm (14 9/16 x 22 7/16in).Footnotes:ProvenanceRegents Studios, Leamington Spa.Private collection, UK, since circa 1968.In a letter to the parents of the present owner, dated 21 April 1968, Flint writes: 'I think your (my) 'Cynthia' the best of my bunch! Ever!' I hope to have a happy little meeting with you both at the R.A. Private view on May 3rd but I'm completely booked up for the afternoon. Next morning I start for France for my usual painting trips. So, alas, again I won't have the pleasure of welcoming you here.'For further information on this lot please visit Bonhams.com
The English School of Painting in Watercolour by Aaron Penley, Pub: London, John Camden Hotten, Piccadilly, a book on watercolour sketches from nature with illustrations in colour chromo-lithography after original watercolour paintings, with practical instruction on the use of watercolours and discussions of sketches and their locations.
Guru Nanak, by the artist Hari Singh (1894-1970) Punjab, circa 1950-60watercolour on paper, signed lower left 52 x 40.5 cm.Footnotes:Paintings of Guru Nanak, done in the late Pahari style, continued to be made at the Sikh courts and later, well into the 20th Century. The growing popularity of the calendar art of Raja Ravi Verma, the availability of new materials, such as machine-made paper and watercolours, together with other European influences, were absorbed by the artists of the time such as Hari Singh. Born in 1894, Singh produced remarkable portraits of eminent personalities of the Sikh courts, warriors - and the Sikh Gurus. Our painting is the original iconic image of Guru Nanak which has been reproduced widely over the last half century or more in posters, diaries and calendars and continues to be so even today. Here, Guru Nanak sits in a meditative pose on a terrace, against lush foliage of greenery and flowers with a Gurudwara behind him. Depicted as a serene aged figure holding rosary beads in hand, he wears a patch-worked wrap over his golden robe and a high flap cap with a domed top. His slippers, water vessel, lotus flowers and a fly whisk made of peacock feather surround him. One of Hari Singh's early patrons was M. S. Randhawa who recommended the purchase of a series of paintings by the artist depicting figures such as Maharaja Ranjit Singh, Maharaja Duleep Singh and Rani Jindan Kaur. However, Hari Singh is most well-known for his religious paintings which appear in several museums across the Punjab and in the most important Gurudwaras, both in India and the world over. A painting depicting Guru Nanak with Bala and Mardana, is in the Nankana Sahib (Pakistan); another depicting Guru Gobind Singh is at the Sri Hazoor Sahib at Nanded. His painting of Guru Hargobind was at the Akal Takhat until 1984 when it was reportedly destroyed during Operation Blue Star. In recognition of his contribution, Hari Singh's own portrait was acquired and hangs in the museum in the Golden Temple complex in Amritsar.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
PAINTINGS AND PRINTS ETC, to include a modern Venetian watercolour, indistinctly signed, Aboriginal painting by Brian Fisher, oils of Venice and a tropical scene, limited edition print of a Cumbrian winter scene, indistinctly signed, textile picture by Ermine Textiles, framed prints by Frank Moss Bennett, open edition Lowry prints, Tom Dodson limited edition with other assorted prints, etc (box and loose)
* CLAIRE HARKESS RSW (SCOTTISH B. 1970 - ), POLAR BEAR watercolour on paper, signed, dated 1998 label verso 26cm x 18cm Mounted, framed and under glass. Label verso: Gallery 41, Edinburgh Note 1: In 1998, Claire worked as Artist in Residence with The Royal Zoological Society of Scotland. While at Edinburgh Zoo she was filmed as part of the BBC "Ex-S" series and a fascinating documentary about her work was broadcast in November of that year. This work is a portrait of a specific animal at Edinburgh Zoo and it's likely that many Edinburgh residents and visitors to the Zoo will recognise this animal.. Note 2: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.
* MARYSIA DONALDSON (1930 - 2018), PIERROT AND NUDE watercolour on paper, signed 25cm x 25cm Mounted, framed and under glass. Note: Marysia Donaldson was born in Warsaw and brought up in Scotland where she was educated. She studied at the renowned Glasgow School of Art, which counted amongst its past students many illustrious painters. Marysia was taught there by her future husband, David Donaldson, the Queen’s Painter and Limner in Scotland, and by Hugh Crawford RSA. On leaving Art School she took up sculpture, but in time concentrated on painting. She has had numerous one-man exhibitions, both in the UK and abroad and has exhibited in many group shows including the Fine Arts Society, the Scottish Gallery, Fosse Gallery and the Everard Read Gallery, Johannesburg. She was a regular exhibitor at the Royal Scottish Academy, Edinburgh, The Royal Glasgow Institute and The Royal Academy, London as well as at the Royal Society of Portrait Painters. She is represented in the collection of HRH The Duke of Edinburgh and in collections throughout Scotland, England, France, South Africa, Canada and the USA as well as in numerous corporate collections, including Hambros Bank, The MacFarlane Group, John Capel and Freshfields.
* WILLIAM LITTLEJOHN RSA RSW RGI (SCOTTISH 1929 - 2006), SPOTTED FISH watercolour on paper, signed and dated, further titled verso 50cm x 78cm Mounted, framed and under glass. Note: William Littlejohn was born in Arbroath, Scotland in 1929 and began his artistic training at the Gray’s School of Art in Aberdeen from 1946-50. Although he explored different approaches to painting, Littlejohn favoured watercolours and collage-based media, often incorporating images of his native Angus and Aberdeenshire into his work. He held his first solo exhibition in 1963 but had already been exhibiting at the Royal Scottish Academy since 1951. He was elected member of the RSA in 1973, and often exhibited with the Royal Society of Painters in Watercolour. Littlejohn taught at his former high school in Arbroath and subsequently at Gray’s School of Art, later becoming Head of Fine Art until his retirement in 1991. He continued to paint late into life and began to experiment with silver and gold leaf in his later works. In 2006, Littlejohn gifted the contents of his studio, including 300 watercolours, oils, drawings, and studio objects, to the Royal Scottish Academy. That same year, the RSA held an exhibition in his honour. His work is held in important collections throughout Britain, including the private collections of HM The Queen and the Duke of Edinburgh.
* CLAIRE HARKESS RSW (SCOTTISH B. 1970 - ), PASSING ISLANDS II watercolour on paper, signed 17cm x 20cm (excluding frame and mount) Mounted, framed and under glass. Multiple labels verso: including The Scottish Gallery, Claire Harkess RSW "Galapagos" (Exhibition) 4th - 28th June 2008 catalogue number 84 where sold. Other Scottish Gallery stock labels with title, medium etc and artist's label. Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.
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