Theodoros Stamos work for sale

Theodoros Stamos - the early years.

Theodoros Stamos was always interested in the effects achieved directly with colour, texture and abstract composition. He first experimented with Surrealism and the biomorphic forms that so interested Gottlieb, Baziotes and Rothko; then with just as much exuberance he went on in the fifties to immerse himself in Abstract Expressionism - and all of this was done at an age when most artists are still just leaving collage.

Theodoros Stamos was New Yorker , born and bred. He was born of Greek parents on East Eighteen Street in 1922 and lived in the city for most of his life. His parents had no artistic background and it was a photograph of a work by Jacob Epstein - one of his monsters- Stamos recalls copying onto a portable child's blackboard that is his first recollection of any artistic tendency at the age of about 8 years. Six years later at the age of 14 years he won a scholarship to attend the American Artists School where he was encouraged by Joe Soloman, who was part of a group known as "The Ten" which included Rothko, Gottlieb and Louis Schanker. Soloman also introduced him to the work of Arthur Dove and there is little doubt that his work from the 1930's influenced Stamos's work of the early 1940's. In addition he saw, and was influenced by the work of Paul Klee and Milton Avery.

Incredibly, Stamos held his first one man show when he was jut 20 years of age. In 1943 at the Wakefield Gallery run at the time by Betty Parsons, and when she moved on to become director of the Mortimer Brandt Gallery contemporary section she put on another show for Stamos in 1945. So, she was clearly a fan of his work and it is of little surprise that when she set up her own gallery in 1947 Theodoros Stamos was one of the first exhibitions. It is perhaps interesting to note that Barnett Newman was also one of the string of artists attached to the new gallery as was Hedda Sterne, Hofmann, Still and many others. Many of the artists employed similar styles and imagery which originated from nature and particularly the sea and it was a leading critic of the time , Lawrence Alloway, who gave these painters a collective name of Biomorphic Painters.

It was for the first show of Stamos that Barnett Newman wrote the following by way of introducing his work to the New York art world.

"The work of Theodoros Stamos, subtle and sensuous as it is, reveals an attitude toward nature that is closer to true communion. His ideographs capture the moment of totemic affinity with the rock and the mushroom, the crayfish and the might say that instead of going to the rock he comes out of it...........
Stamos is able therefore, to catch not only the glow of an object in all its splendour but its inner life and all its dramatic implications of terror and mystery . In doing so he makes clear the important difference between the sense of nature and the act of worship."

After his 1947 exhibition he travelled to Europe and visited France , Italy and Greece. We, here at Blondes Fine Art in Hertfordshire , England, have two pieces by Stamos from this period that are currently offered for sale. Both are in excellent condition and come from a private European collection  originally purchased from Turske Fine Art in Zurich. Both work are clearly signed and one tiled and dated. The two other pieces available are a little later, one from 1949 a Y Band series work , where he utilises abstract Y-like bands to create a powerful composition using transparent and iridescent metallic paints. This painting is almost calligraphic in quality and similar to a number of works produced by Stamos during this period of the late 1940's. Finally,  we have a lovely work on board which is influenced by his interest in the oriental although undated it is from the early 1950's and similar stylistically to a number of his Teahouse series of works.

Please do contact us for more information about the available works.


Artist Eduardo Paolozzi and his Essex roots!

Eduardo Paolozzi is quite rightly considered to be one of Scotland's greatest artists as he was born and bred there, to Italian parents who ran an ice cream shop. However , after studies at Edinburgh Collage of Art he moved to the Slade school of art where he met two key people who changed the course of the art world for ever. It was his friendship with William Turnbull and particularly Nigel Henderson that led to the formation of the Independent Group who shared a modernist vision and embraced mass culture.
Paolozzi studied around the globe but when he came to settle down where did he choose? Yes, Essex of course.
In 1954 he moved there with his wife Freda and travelled to London to teach and work. They lived in a row of cottages at Landermere Quay which is a tiny smugglers haven on the coast of Essex near the village of Thorpe-le-Soken in the Essex marshes. The Hendersons bought the smugglers pub the Kings Head and the cottages called Gull cottages and the rest is history as between them Henderson and Paolozzi formed Hammer Prints and ran the venture from the pub . Sounds like a great plan to me......... See image of the building today.
So there we have it another bit of easily overlooked art history which makes Eduardo Paolozzi one of Essex's greatest artists!
Another interesting art fact is that living in the same cottages at the same time was Basil Spence later to be knighted as he was the architect who built Coventry Cathedral and the etched windows were designed and made by John Hutton another great artist who lived- Yes, you guessed it- in the same line of cottages. Small world isn't it!

Former Smugglers pub Kings Head the  HQ for Hammer Prints

It always seems strange to me that the most modern art of the popular culture was actually rooted in the remote Essex countryside but that was just out of necessity as the property prices made the area affordable and is the reason why such greats as John Armstrong, Bawden, The Two Roberts and countless other great artists settled in Essex particularly in the post war period.
So forget your preconceived ideas of Essex and embrace its wonderful Art heritage as it gave us Eduardo Paolozzi ! 

We here at Blondes Fine Art, located on the borders of Essex and Hertfordshire, currently have a number of works by Eduardo Paolozzi for sale and have just acquired a lovely collection of plaster maquette's from the studio of the Artist. Keep an eye on the website as they will be added soon.

Mark & Mel

John Thompson - Northern Artist - For Sale

I really have neglected the blog and this lazy Sunday with an extra hour gained by the clock change seems like the best day to start to make amends. We can always find reasons and excuses such as working in Germany and Portugal recently in my case, but actually I have missed the time to "chat art". So after much deliberation I have decided to go back to my childhood roots for the first of what I hope can be more regular blogs in the run up to Christmas. To start us off this one is about the Northern artist John Thompson.

John Thompson was born in Oldham and is essentially self-taught save for a few years studies of life drawing classes , John Thompson painted groups of figures, cloth capped and anonymous, that loom, loiter and cannot stop reminding you of Lowry. He is quite rightly compared to other, better known northern artists such as Theodore Major, Harold Riley and the man himself, L. S. Lowry. This recognition took time to develop, but in the last 7 years of his life John enjoyed enormous success.

I am myself a Lancashire lad having been born in Morecambe  before slowly migrating south with my fathers job, so it is not a real surprise that I have an affinity with Northern art and John Thompson is one of the best. It was a few years ago in the mid 1990's and on a wet afternoon that we were wandering around a mill in Uppermill which had lots of small areas filled with crafts, antiques and artists and came across John Thompson in a room filled with his paintings.  John Thompson was beginning to find some  recognition at this time for his very individual work particularly of his “groups of working men”. We left  about 3 hours later having talked about  painting, the art world and John’s life. We nearly purchased one of his group series and this is still a regret that we did not. I do remember that he even said that he would be happy split the cost into multiple payments on  postdated cheques as he said he still liked the idea of receiving a wage from his job. Wish I had agreed!

John Thompson painting for sale

 John Thompson's  work is now widely collected both at home and abroad. He has had successful one man shows in Manchester and Dublin and in 2002 three of his paintings were purchased by the House of Lords in London and are now hanging in the Committee Rooms.

A book on his life and work – “Do you like ’em then” was published in March 2006 and he has been the subject of features on Channel 4 and Granada TV.

This recognition, particularly for his group portraits of working men, has taken time to develop, but is thoroughly deserved. The image available now at Blondes Fine Art is in great condition and a sure fire investment for the future, so do contact us for further details .

John Knapp-Fisher - Watercolour makes over £11,000 at auction today ! Should we all be buying his work?

John Knapp-Fisher is a great artist who spent time painting in both Suffolk and then in rural Pembrokeshire . He is a favourite of ours here at Blondes Fine Art and I am often asked by clients and friends my views on buying his particular work as an investment.

This morning I have watched a watercolour sell for over £11,000 at Brightwells auction room and wonder how much further have his prices to go. With an auctioneers estimate of 500-1000 clearly the seller and the auction house will be very happy.

John Knapp-Fisher watercolour £11,000 at auction

John Knapp-Fisher watercolour £11,000 at auction

So why do people keep paying higher amounts and see his work as being inflation proof? Before I start to answer this question I should say that my immediate response to these quires is preempted by my view on art in general . That it is an emotional purchase and the fact that owing art that resonates with you personally, is far more important than its value or potential investment. But for one moment let us look at the work of John Knapp-Fisher.

Last month I was asked this very question by a client who was considering a purchase. He is from Wales and was looking at Knapp-Fisher's work as he has links to Pembroke. He has children and wanted to buy something that was relevant to them all but would increase in value. He asked me to set out my views which I did.

Knapp-Fisher has a strong following and there are a number of privte collctors of his work, particularly in Wales and the value of his work has continued to rise over the last 5 years or so. John sadly died in 2015 and since then the prices of his work at auction , particularly Rogers & Jones in Cardiff, have taken another leap upwards. In fact last year an oil sold for £20,000 including premiums so there are some very wealthy welsh collectors determined to get their hands on his work and happy to pay whatever is needed. So there is a market for his work and although John painted a large number of work there is a greater demand than there is supply. So simple economics come into force and the price has been driven upwards.

Clearly, there are other factors such as condition, the medium in which painted and subject that have an impact on price but in general terms the prices continue to increase. So will this continue ? Who knows , it was not long ago that you could buy an early Porsche for about £10,000 and they are now in the region of £500,000 so who knows where or when any market will stop!

So what is my advice? Very simply to buy what you like and what makes you feel good. Art is much more that the price tag. If you like it and can afford it buy it.

But actually I do rate the work of John Knapp-Fisher and do think it will continue to be collected by an ever increasing group of knowledgeable individuals and good work will continue to command higher prices. Look at todays auction price for that watercolour which when bought direct from John in his gallery at the turn of the century can not have been more than a few hundred pounds. Perhaps the next work of a similar quality will possibly exceed the price made today who knows I will have to dust of my crystal ball and see what the future holds!

The client who asked my views did buy a watercolour from us and must be very happy to see that the market is as bouyant as it is for the work of John Knapp-Fisher and that he paid only 10% of the price of the work sold today.

Perhaps the way forward is to buy from a gallery as they seem to offer better value than the auction rooms for the work of John Knapp -Fisher. Just a thought and of course I would say this.

Happy investing!

Harry Becker - Wanted

Harry Becker is an artist who is of particular interest to us here at Blondes Fine Art.

Did your father or grandfather know Harry Becker ?
Are you related to the brothers that played in Beckers home and allowed by Georgina to choose paintings after his death?
Did you move to remote Scotland and now looking to sell your collection?

If you have inherited work by Harry Becker, other Bushey School of Art artists,  or have been told that an unsigned work is by this artist and are a little unsure, then please do contact us and we will help where ever possible.

He was a fine artist and we are genuinely enthusiastic about acquiring new work for the gallery. We will pay the best price we possibly can and have a very up to date feel of the current market in his original work. We - Melanie and I - work from our private "stable yard gallery" in Hertfordshire close to the Henry Moore House & Garden , where Melanie also works. We offer a friendly , professional and  honest service that you can trust. 

Harry Becker originals are Wanted right now so contact us and we will help you realise the best price.

Mark Ponting
Blondes Fine Art

mobile number 07519639386




Merlyn Evans - 1960's abstract paintings

Merlyn Evans wrote in the introduction to his exhibition at the Marlborough Gallery in March 1968 .....

' By temperament and preference, I have been from the early age of seventeen an abstract painter'

He was precociously gifted as a student at the Glasgow School of Art and then Royal College of Art in London and exhibited at the Royal Scottish Academy on 1930 and 31. He was influenced by Surrealism in the 1930's and also Mondrian . Evans temperament combined passion and philosophical speculation and argument, and he was well read in psychology, philosophy, politics and the history and techniques of art. He was also profoundly affected by Modernist literature and poetry, a lover of music and player of jazz piano and trumpet. He married the concert pianist Marjorie Few in 1950 I think it is interesting that his abstract work seems to have started in the late 1950's with a series of work entitled The Orchestra. These derived from studies made from the box at the Festival Hall and were an attempt to depict the ensemble of the orchestra as a crowd.

The theme of crowd and its complex form and process continued to fascinate Merlyn Evans and drove him to produce the vast Waterloo Station Series in 1963.

His final work consisted of four tall sections of nine feet by four but what we have here at Blondes Fine Art in Hertfordshire are two of the studies that he painted at the station over a period of years. These recorded, what he termed 'direct from nature'. The final work was too big to be hung in the gallery rooms of Tunnard and Roberts  where Evans exhibited in October 1963, and was displayed instead in the studio, a disused church in Fleet Road, Hampstead, which was also large enough to house his huge presses. ( see image below of Evans in front of the huge panels )

Merlyn Evans had after returning from the war, learnt etching and aquatint and became a master intaglio printmaker and he is still considered to be one of the Modern British 'greats' in this particular field.

Merlyn Evans

The sequence of panels in the Waterloo Series is also interesting as it suggests a musical process of complication to simplicity, with overlapping transitions from the figurative to the geometric. Panels one and three where described by Evans as 'figurative with a controlled degree of representation. Everything is on the move. ' In panel one the crowd is clearly seen as a collection of individuals, massing at rush hour into spaces between the booths and advertising hoardings. In panel three there is more of a merging into one mass. Panel two gives a cinematic  shot of the stations static properties with the crowd in the foreground while the transition to abstraction is complete in the final panel which shows the station reduced to purely geometric forms. It seems that Evans wanted to articulate the disconcerting vision of the modern city of London with its human masses in contrast to the stark modern architecture.

 The pair of works available here are for panels three and four and come from the personal collection of the great British composer Malcolm Arnold. His work is hard to find and rarely available other than in a few St James, London galleries so please do contact us to arrange a viewing or for more information about these works.






Walter Hoyle - Great Bardfield Artist - Etchings for sale

Walter Hoyle was greatly influenced by his friend Edward Bawden and , together with Sheila Robinson , they are my favourite Bardfield printmakers. Indeed both worked very closely with Bawden on a number of projects both in the UK and abroad. Walter Hoyle worked together with Bawden and Robinson on the mural for the RCA's Lion and Unicorn Pavilion at the 1951 Festival of Britain on the South Bank in London and upon its completion he holidayed with Bawden in Sicily where they both painted daily.

It was shortly after their return from this trip that Walter Hoyle moved to Great Bardfield. In the early 1960s he really concentrated on printmaking. He was teaching at Cambridge School of Art , set up a print studio and launched 'Cambridge Print Edition' to produce limited editions of artists' prints. It was at this point that he produced a series of prints depicting Cambridge Colleges that was published by Editions Alecto. The Cambridge Colleges were 10 Linocuts made in 1965-6 and were sold in a portfolio box set. These were shown in an exhibition 'Zodiac Paintings and Cambridge Prints ' at Savage Gallery , London 1966. 

A short time later Hoyle made a series of prints based on his paintings on the zodiac and were produced by Editions Alectro as the  ' Planet Series' . These seem to have disappeared over the decades and rarely now come to the market for some reason. They were complicated works and he experimented with paper, techniques and inks producing for cutting edge material.

' Bright Star ' 1969

' Bright Star ' 1969

There is no doubt that the years spent in Great Bardfield were an important part of Walter Hoyles life . Moving to Essex and Cambridgeshire allowed him to raise a family and to develop as an artist while mixing with other like minded individuals. Unlike some of the other artists in Bardfield his work developed greatly over the years, creating new images that challenged his previous work. As a result I think his work is more varied than others but perhaps less distinctive and recognisable than other Bardfield artists. Having said this it also makes his work more interesting and individual, as he adapted his practise in response to where ever he was at the time . We here at Blondes Fine Art currently have two lovely Etchings available for purchase.

He married Denise Hoyle who was of French birth and spent the later part of his life living between Hastings and Dieppe until he died in 2000.

John Bratby - Sunflower oil painting - Wanted

John Bratby is one of our most well known artists who was one of the group of famous  'Kitchen sink' artists.

He is particularly known for his large vibrant images of yellow sunflowers from the 1960's /70s and we are currently looking to buy a work in good condition with good provenance. the cash is waiting for the right work so please do contact us if you are looking to sell. 

Bratby’s fame was, in his time, the equivalent of Damien Hirst or Tracey Emin. Everyone knew who John Bratby was. A supercharged realist-cum-expressionist, Bratby piled up the paint in mounds of impasto that threatened to topple off his pictures. Bratby epitomised the mid-Fifties British rebellion against pretension and the class system.

In the Sixties he produced intense, psychedelic portraits of international stars such as Paul McCartney and David Frost, wrote existentialist novels and painted a notorious mural of the crucifixion with his own flabby torso on the cross.In the Seventies he turned to the Right, politically, was elected to the Royal Academy of Arts and then tried, unsuccessfully, to paint the portrait of Idi Amin. He also completed perhaps the worst-ever group painting of the Royal Family purely for publicity .

There had been no one like John Bratby, but after his death only Charles Saatchi remained a champion of his. 

All this said we here at Blondes Fine Art are looking to purchase . Contact us now on 07519639386


Barbara Rae - painting for sale

Barbara Rae was educated at Edinburgh College of Art and has always been influenced by her surroundings. A scholarship in 1966 allowing her to explore Europe was the beginning of many travels which went on to include Ireland, Spain, Arizona and South Africa. Rae is not a landscape painter put more concerned with the human traces and intervention that make the landscape so unique. Her work is strong and borders on abstraction but the use of colour makes it live and jump off the page.

Certainly, if you look back over her work there are themes that recur such as doorways , windows looking out to fences and dilapidated buildings. It is here that we can see some synergy with John Piper, who was one of her college period heroes.

Barbara Rae painted in South Africa during 1996 - the same year that she was elected a member of the Royal Academy - and then again the following year. She first visited in November and December staying on the coast near False Bay with views to Cape point and Cape Town. She then went to the West coast the following year staying in the semi desert area of Karoo with its flat topped mountains. This spectacular scenery is an area that was also captured by John Knapp-Fisher some 30 years previous. (See image below right)


Work from this period by Barbara Rae was exhibited at the Art First gallery in London in 1997 and the work we have available here at Blondes Fine Art dates from that show , depicts Karoo Landscape and has the Art First gallery label verso. It is a wonderful example of Barbara Rae's work and represents great value. 

Please do contact us for more details.

Mark Hearld - Collage and Ceramics For Sale

Mark Hearld is, as any of you who follow our blog pages will already know, an artist of immense talent and someone who features in our own personal art collection.  He loves to create and has over the years been equally as happy making marks in oil paint, lino, print, collage, wood, and ceramics. We are delighted to have some of his very recent ceramic work available to buy and think that they offer remarkable value while they are sure to become collectors items of the future.

Mark Hearld's first ceramics were decorated blanks in a ceramic cafe where he decorated  bisqueware which then went for its final firing in much the same way that the great painters from the potteries worked in the 20th century. He went on to explore the use of scraffiti and slip trailing before collaborating with the great master potter , Terry Shone in Whitby.

Mark Hearld Ceramic Horse

Mark Hearld Ceramic Horse

In more recent times Mark Hearld has worked with a low volume pottery producer in Stoke on Trent . This came about when he was initially away in Berlin for a few days with Emily Sutton and they came across an old wooden horse that had wheels on its base and had been a child's toy. It was for sale in a flea market so , being the great collectors that they are, it was purchased and came home to York and then onto the potteries to be the model for a mould. The rest is history as Mark has now produced a small number of his ceramic horses in a hand full of batches each individually decorated by him and are of such great proportion that they make a feature and talking point in whichever room they are located. We here at Blondes Fine Art love the simplicity of form and nobleness of stance which when combined with Mark's decorative verve makes them a must have item.

The most recent output by Mark, in Stoke on Trent, are a new series of slipware platters which have been hand produced in small numbers and have designs inspired by his recent visit to the USA with birds such as the Blue Jay featuring strongly. Mark Hearld will continue to produce great work in all mediums and we very much look forward to seeing his latest output, a ceramic cockerel, which is still in the design stage. But for now we are delighted to be able to offer a selection of ceramic and other work by Mark Hearld and if you check out his artist page here at Blondes Fine Art you will find a few gems still available to purchase. Don't miss out !

Peter Biegel - Sporting Art

Peter Biegel is one of finest equine artists and Blondes Fine Art are delighted to have acquired two fabulous oil paintings dating from the 1960's. 
The smallest work is an oil sketch on board and has a real period quality about it and a very American feel due to the denim clothes worn by the lad. It has its original gallery label attached verso and details of its later sale in the 1990's to raise funds for the injured jockey fund. It is  really nice piece that would fit well into any equine lovers home.

Peter Biegel and his wife Dora were actually regular visitors to the United States and would go for a month every year to paint. They first went out in the 1960's to paint for Barry Ryan at Normandy Farm, Kentucky . Their host was an equine art lover and had works by Herring , Munnings and many others but was quoted in a magazine, Thoroughbred of California ,  as saying that Peter Biegel was' the best painter of the horse today'. Biegels work is still much admired in the U.S.A. and a draw for many a collector.
It is also fitting that these works that we currently have available were both  later sold for the benefit of the Injured Jockey Fund. Many charities benefited from Peter Biegel's generosity but it was the Injured Jockey fund that benefited to the tune of one hundred thousand pounds on a number of occasions from the sales of reproduced images in the form of Christmas cards. 

Please do view our new Sporting Art pages and contact us is there is anything that you are particularly looking for.

Gwilym Prichard - Welsh artist of painterly form

Gwilym Prichard  - or Pri(t)chard as he signed his work in his earlier life - is much less well recognised than some of his contemporary Welsh artists from the same post war period.

For me one of the absolute joys of being a Fine Art dealer is that I can indulge my passion for art on a daily basis by sourcing and purchasing the work that I personally enjoy. It matters little to me if a particular artist has been 'over looked' by the mainstream Art community , and indeed I see it as a distinct advantage when looking to find new gems. The early work of Gwilym Prichard is perhaps one such example. He is well known in Wales but much less so elsewhere and I am always interested to hear from private clients who have his work from the 1950s and 1960s and are considering selling. I buy his work because it resonates with me emotionally, it has such vibrancy in texture and palette, yet communicates the bleak Anglesey landscape in a way that is hard to find anywhere else. 

As a child my sister and I would visit Anglesey on a regular basis to see 'Uncle Ivor' and to explore the wildlife of North and South Stack , watch the rock climbers navigate the cliffs and to search for Adders and Bee orchids on the sand dunes. They were , from my recollections, days of extreme weather and I recall being burnt from the sun and drowned by the cold rain on the bleak hills. I had , at that time, no knowledge of anyone called Gwilym Prichard and no knowledge of how he was recording my childhood memories at exactly the same time that I was visiting the places he painted. Penmon Priory was a regular subject of his work and often depicted Puffin Island in the background. Actually the bulk of his work was, for sometime focused in a triangle formed by Pentraeth, Penmon and Beaumaris  and it was while painting in this area that he really matured as an artist.These were also familiar places to me and I guess that is why his work has such a hold on me . But it is not just the subjects that are important but his painterly style and use of thick slabs of palette - knife and sweeping brush stroke to convey the boulders , buildings and beauty of his native land. In fact his colour and block work reminds me of de Stael.

Gwilym Pritchard was born in 1931 and would keep the spelling of his surname with the 't' until the 1980s when finding that his Great Grandfather had been a Prichard - without the 't'. He had a brother Arthur, who was also a talented artist and he married his childhood sweetheart Claudia Williams who is yet another talented Welsh artist. They lived in Anglesey for much of their early life and it was here , and the images of the local landscape, that gave Prichard the notoriety he deserved. He taught at the local secondary school for 11 years and managed to paint in his spare time building up a steady patronage.

He built up strong ties with leading galleries and was a regular exhibitor from the late 1950's with Royal National Eisteddfod of Wales , Bangor Art Festival and notably with Howard Roberts Gallery, Cardiff for a decade between 1958 - 1969.

 In 1956, when private galleries were rare outside London, Howard Roberts established his gallery in the Welsh capital. Roberts  was born in Cardiff attended Cardiff College of Art, and taught art at Tiverton High School before returning to the Principality and opening what was to become Wales' most successful commercial gallery. It concentrated mainly as one would expect, on Welsh art but also showed many British artists who included Henry Moore, Ben Nicholson, Barbara Hepworth, Graham Sutherland, Prunella Clough,  and Bridget Riley. Welsh artists exhibited included Augustus John, Morland Lewis and Alfred Jones. The gallery was also a considerable force in developing the careers of Kyffin Williams, John Elwyn, Ernest Zobole and Will Roberts amongst many.

However, by 1970, expenditure on new premises, competition from other galleries and rising rents forced the gallery's closure. The work shown above dates from the early 1960s and has a Howard Roberts Gallery label fixed verso. Enquires about this work are welcomed so do not hesitate to contact us here at Blondes Fine Art.


Elizabeth Blackadder flower paintings in oil

Elizabeth Blackadder has had a love of flowers since her childhood but they did not appear significantly in her work until the mid 1970's, when she moved to Fountain Hall Road , which had a large garden . Prior to that period she was however, experimenting in her style and mediums and flowers were a topic that seems to recur.

In 1963 John and Elizabeth moved from their flat into a house in Queens Crescent, on the South side of Edinburgh. They then had for the first time, a small garden which gave her access to a constant supply of flowers and it is in that period that we begin to see them feature in her work. In 1966 she produced a large pen and ink drawing of Lilies which is depicted on page 51 of Duncan Macmillan's book about Elizabeth Blackadder, which has some similarities to the work we, here at Blondes Fine Art, have recently acquired. The work shown below is signed but undated depicts a still life of Lillies in a vase and is I believe from the same mid 1960's period. Interestingly the period, gold, glazed, box frame appears to have been 'borrowed from her husband as it bears his name and the title of one of his works to the back.

During the early 1960's Blackadder lived near Anne Redpath and it was she that helped Blackadder to see the possibilities of still life and as a result she began to experiment in a way that shows a direct link to those still-life flowers of Redpath's. It is also clear that Elizabeth was concentrating on still life in oil and produced a body of work that have a very similar palette to the work shown above. Two such examples are 'Summer' an oil from 1963 and 'Still-Life with Grey Tabletop' an oil from 1965 both of which use the same loose style in greys and yellows. During this period she experimented with approaches and appears to be looking to find a new way of working and her own distinct artistic voice. She did , as we are all well aware, hone her skills in the painting of flowers later in her career but this work offered here , 'Still-life Lilies' in oil, circa 1965 is one of the first serious paintings of this subject matter.

Early oils of flowers by Elizabeth Blackadder are a rare find and this one is delicately painted and of a size that will fit into any home . please contact us if you would like further details or arrange to view the work