Society of Graphic Fine Art : 104th Annual Open. SGFA MEMBERS ONLY

Rakugo #7

By charles burns LSC, SGFA

Paper cutting

h: 25 w: 20 d: 1 (cms).

£1500

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Rakugo #7

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Rakugo #18

By charles burns LSC, SGFA

paper cutting

h: 25 w: 20 d: 1 (cms).

£1500

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Rakugo #18

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Time Flies

By susan poole PSGFA UKCPS PhD

Egg Tempera on gesso'd board

h: 42 w: 30 d: 2 (cms).

One of a series of paintings relating to Time, incorporating ancient sculptures or reliefs combined with contemporary figures. Painted with egg yolk mixed with raw pigments on board coated with gesso made from whiting and rabbit skin glue.

£1500

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Time Flies

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Minerva and the Peacock

By susan poole PSGFA UKCPS PhD

Egg Tempera on gesso'd board

h: 41 w: 29 d: 2 (cms).

One of a series of paintings relating to Time. Painted with egg yolk mixed with raw pigment on board coated with gesso made from whiting and rabbit skin glue.

£1000

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Minerva and the Peacock

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Thinking (after Rodin)

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Looking Up

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African Harrier Hawk

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hamerkopf study

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Travels with The Woodlanders

By gary cook RI

Pencil, charcoal and watercolour on paper

h: 93 w: 69 d: 1 (cms).

I am very lucky. My lovely wife is a travel writer and I often drive her to places she's reviewing. It's a tough job, but I don't mind helping. Consequently my sketch diaries feature lots of hotels and cities with beautiful architecture. On these travels, while she's working, I started re-reading The Woodlanders by Thomas Hardy and was struck by how most of his beautiful, casual references to nature would now count as a chance observation of something rare. Hardy wrote the novel in 1887 and over those 130 years, or more specifically the last 30 years, the wildlife he thought of as commonplace is now dying or near to extinction. For instance, nightingales, which he mentions frequently, have declined by 92% since 1970, due to our drenching the countryside with chemicals, cutting down trees and climate change. This artwork features pages from my sketchbooks, pinpoints where I was reading the book's chapters and marks where Hardy gave us a glimpse of a more nature-friendly world.

£2750

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Travels with The Woodlanders

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Travels with Under The Greenwood Tree

By gary cook RI

Pencil, charcoal and watercolour on paper

h: 61 w: 76 d: 1 (cms).

I am very lucky. My lovely wife is a travel writer and I often drive her to places she's reviewing. It's a tough job, but I don't mind helping. Consequently my sketch diaries feature lots of hotels and cities with beautiful architecture. On these travels, while she's working, I started re-reading Under The Greenwood Tree by Thomas Hardy and was struck by how most of his beautiful, casual references to nature would now count as a chance observation of something rare. Hardy wrote the novel in 1872 and over those 140 years, or more specifically the last 30 years, the wildlife he thought of as commonplace is now dying or near to extinction. For instance, nightingales, which he mentions frequently, have declined by 92% since 1970, due to our drenching the countryside with chemicals, cutting down trees and climate change. This artwork features pages from my sketchbooks, pinpoints where I was reading the book's chapters and marks where Hardy gave us a glimpse of a more nature-friendly world.

£1950

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Travels with Under The Greenwood Tree

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Tropical Study

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Morning Has Broken

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Old box of chess and draught pieces

By robert strange

Coloured pencil

h: 30 w: 60 d: 1 (cms).

This is an old box that once contained a Smith's alarm clock that I got for Christmas aged ten. I've since lost the clock but the box has been a reciprocal for my chess and draughts pieces. The drawing acts as a memory of earlier, innocent days of playing games and in case I lose the old, tatty and creased box, I will have an image to keep and pass on.

£600

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Old box of chess and draught pieces

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24 children's e

By robert strange

Coloured pencil

h: 39 w: 39 d: 1 (cms).

Two generations have read these books over and over which is evidenced by the torn, creased and general tatty appearance of the books. Another drawing that reminds us all of earlier times when reading was a discovery.

£550

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24 children's e

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Birds do it - Robins

By emily tull ASGFA

Thread painting - hand embroidery

h: 20 w: 20 d: 1 (cms).

A pair of mating Robins

£410

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Birds do it - Robins

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Birds do it - House Sparrows

By emily tull ASGFA

Thread painting - hand embroidery

h: 20 w: 20 d: 1 (cms).

pair of House Sparrows mating

£410

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Birds do it - House Sparrows

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Pumpkin Hat (2)

By angela malone ASGFA

Graphite

h: 42 w: 29 d: 1 (cms).

Little granddaughter Wren with her favourite hat in which to go pumpkin picking, finally on the right way up! Caran d’Ache Graphites onto cartridge paper.

£600

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Pumpkin Hat (2)

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Sisters

By angela malone ASGFA

Graphite onto paper.

h: 40 w: 25 d: 1 (cms).

These two sisters were re-e actors, dressed in medieval costumes both entirely made by their mum at the Chalke History Festival this year. They are obviously a very close couple of girls, holding hands tightly without prompting throughout. I was interesting in capturing the variety of textures in their fabrics. Graphite onto cartridge paper.

£650

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Sisters

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Astrantias

By angela malone ASGFA

Watercolour and Acrylic

h: 26 w: 32 d: 1 (cms).

Astrantias were unknown to me until I retired and began to tackle my garden areas. I was beguiled by their complexity and subtle colours but eventually astonished by their complexity, partway through the piece. This work is painted in watercolours, onto Arches paper with acrylic background and presented in a vintage, oval frame.

£1600

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Astrantias

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Sycamore and Shadows

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Clinging to Life

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Drawing board and walnuts

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In My Collection

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Small Treasures

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Gas Street Basin, Birmingham

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London Bridge

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Southwark Bridge

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Trafalgar Square Schematics

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Pigeon of Peace

By alice white SGFA

Oil Pastel and Charcoal on Wooden Board

h: 50 w: 30 d: 1 (cms).

Alice’s artwork explores how wild animals have become part of our every-day visual lexicon. Her ‘Inner Nature’ portfolio seeks to restore these extraordinary creatures to their proper role as powerful icons of nature in action. Her high-colour, gestural approach is designed to encourage the audience to lean in. This follows the key concept underpinning Alice’s work: that proximity to an artwork can engender proximity to all creation.

£420

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Pigeon of Peace

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Tangle

By amanda bates ASGFA

Ink on kaolin-coated board

h: 46 w: 61 d: 1 (cms).

Hawthorn tree

£795

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Tangle

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Squeee!

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Incandescence

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Luminescence

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Sometimes

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When

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Still Life no.5

By rika newcombe MA(RCA) RWS SGFA

ink on paper

h: 33 w: 38 d: 1 (cms).

£1500

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Still Life no.5

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The Truth

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The Oxford Redwood

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The Royal Oak

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Still-life with peppers and plastic

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Still-life with cherry tomatoes and plastic

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Found Sea Glass 5

By fiona carvell PS

Soft Pastel

h: 50 w: 50 d: 1 (cms).

Glass factories were located at Seaham and Sunderland on the North East coast of the UK during the Victorian and Edwardian eras. Producing millions of bottles and glassware, waste glass was dumped directly into the sea and has been washed up ever since. It is widely collected today by locals and visitors alike, searching for tiny fragments that are now worn and shaped by the sea. The compulsion to collect things is a very human trait and sometimes has no conscious reason other than a fascination with colour, texture and form. Transformed by the sea from its original state and devoid of practical purpose, sea glass is returned to us as something to treasure.

£900

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Found Sea Glass 5

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Mussel Shells

By fiona carvell PS

Soft Pastel

h: 40 w: 40 d: 1 (cms).

Continuing the theme of objects connected to the sea, A detailed study of mussel shells in which I wanted to use texture, colour and light as a way of presenting something we often overlook, as incredible and beautiful objects.

£650

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Mussel Shells

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Texas

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Vases Apple Wine

By mike skinner ASGFA NBAC

Mixed Pen Graphite oil and acrylic on board

h: 60 w: 74 d: 1 (cms).

Semi abstract still life based on studio objects .

£1800

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Vases Apple Wine

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From Billy and Michael's window

By mike skinner ASGFA NBAC

Mixed pen graphite oil and acrylic on board

h: 37 w: 33 d: 1 (cms).

Semi abstract work based on a view from a friend's house in France .

£475

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From Billy and Michael's window

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Sampling Samplers no.1

By rika newcombe MA(RCA) RWS SGFA

ink on paper

h: 33 w: 38 d: 1 (cms).

£1500

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Sampling Samplers no.1

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New Life

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Streetscape: Walking with Shadows

By sally barton

Watercolour

h: 23 w: 47 d: 1 (cms).

Figurative study. Portrait/Landscape

£550

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Streetscape: Walking with Shadows

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Annie

By sally barton

Watercolour

h: 24 w: 24 d: 1 (cms).

Portrait of nine year old girl

£485

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Annie

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Power Line

By mike skinner ASGFA NBAC

Mixed pen graphite oil and acrylic on board

h: 44 w: 60 d: 1 (cms).

Semi abstract view based around the power lines that cross the UK landscape.

£1200

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Power Line

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Oil and water don't mix

By mike skinner ASGFA NBAC

Mixed pen graphite and acrylic on board

h: 45 w: 60 d: 1 (cms).

Semi abstract study

£750

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Oil and water don't mix

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Storm Crow

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Tilt

By amanda bates ASGFA

Ink on paper

h: 76 w: 56 d: 1 (cms).

This oversize piece should count as two works. I haven't framed it yet but previous works of this size were framed to 90x70cm. I hope that the extra 5cm is okay!

£845

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Tilt

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Grapes

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Plums

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Hung Out to Dry, Cadgwith

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Standing Waiting, Cadgwith

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The Flat

By Arianna Tinulla Milesi SGFA

Pencils and graphite on antique cotton bib

h: 60 w: 25 d: 1 (cms).

This artwork represents the start of my interest for seagrass. The home details come from my apartment. The part in pink is linked to a Carla Accardi exhibition at Museo Correr in Venice. Seagrass are the link between Accardi deep work, my journey in the Laguna and the area where my home is. The artwork will be framed.

£560

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The Flat

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Tu sei l'impero dell'armonia (The empire of harmony)

By Arianna Tinulla Milesi SGFA

Penbrush on fabric

h: 60 w: 60 d: 1 (cms).

I am mostly focusing my research on drawing on fabric, this allows me to link different themes with the preciousness of memories hidden into clothes. This is a composition dedicated to St Lucy and to my grandma, who made the shirt itself. This artwork will be framed and it will show the back side, the one you see in the attached pictures.

£780

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Tu sei l'impero dell'armonia (The empire of harmony)

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Only entropy comes easy

By Arianna Tinulla Milesi SGFA

Acrylic on suede

h: 30 w: 15 d: 1 (cms).

The title comes from a famous Anton Cechov quote and in this case to me it represents the difficulty of embracing complexity that life spontaneously presents but that, sometimes, we are not able to accept. So we wear gloves, clothes, layers to protect us from reality. We make these layers beautiful, even full of divines imagoes. Despite all this entropy wins and forces us to deal with its marvellous variety. These gloves belonged to a not very nice person but that had an exquisite taste. This double artwork will be framed.

£380

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Only entropy comes easy

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Ciao, ciao bambina

By Arianna Tinulla Milesi SGFA

Graphite and coloured pencils on paper

h: 42 w: 59 d: 1 (cms).

This drawing is a celebration of anything that's considered controversial, from the hermaphrodite of the Louvre to the St. Teresa d'Avila, both of Gian Lorenzo Bernini, to a special freiendship or a series of text messages. The hope is embodied by a wise turtle swimming into the sky of love and unicity. The title comes from a famous Italian song of the Sixties, it means "Bye, bye baby"

£890

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Ciao, ciao bambina

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Valentine

By karen de la gorce SGFA

Pencil & white Conté crayon

h: 60 w: 50 d: 1 (cms).

Drawn directly from life capturing the delicate beauty, strength and determination of a young lady.

£850

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Valentine

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Pompon Dahlia Autumn bouquet

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Slava Ukraini, In Memory of Y

By Helen A Taylor MA. ASGFA. ASWA

Linocut

h: 56 w: 56 d: 1 (cms).

In 2023 I had a solo exhibition at The Cowper & Newton Museum in Olney, I made some work specifically for this exhibition which was inspired by the extensive and beautiful antique lace in their collection. During Bucks Art Weeks 2024 I was visited by the team organising an exhibition in Milton Keynes showcasing the work of Ukrainian and British artists aiming to focus attention on the war in Ukraine. They said my lace prints reminded them of Ukrainian lace, so I made this piece specially for this exhibition. The inspiration is Ukrainian White Work Lace showing stylised sunflowers and ears of wheat, the leaves and flowers are Viburnum (Guelder Rose) the national shrub of Ukraine which symbolises rebirth and infinity of life in their culture. It is named Slava Ukraini - in memory of Y. Glory To Ukraine, in memory of a lovely person who went To Ukraine to help and didn’t come back.

£375

£300 (Unframed)

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Slava Ukraini, In Memory of Y

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Here Comes The Sun

By Helen A Taylor MA. ASGFA. ASWA

Linocut

h: 76 w: 57 d: 1 (cms).

This print is very different to my usual work, I aimed to challenge myself and I did indeed find it quite challenging, but a very enjoyable process. It is inspired by a wood carving I own, which is a very strange mixture of different cultural influences. It appears at a glance to be African in origin but has western imagery in the clothing of the figures.

£375

£300 (Unframed)

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Here Comes The Sun

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Tiny Sheffield Beauties 1

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Sweet Memories

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Liminal Space

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Woodland Floor

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Shoreline

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Found in the Barn (1939)

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Charleston Garden II

By stuart stanley SGFA

Oil on Canvas

h: 70 w: 50 d: 2 (cms).

£2000

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Charleston Garden II

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Charleston Garden III

By stuart stanley SGFA

Oil on Canvas

h: 70 w: 50 d: 2 (cms).

£2000

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Charleston Garden III

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William the Conqueror, Rye, after Ravilious (went there)

By lyndsey smith SGFA

Ink and Watercolour

h: 31 w: 31 d: 1 (cms).

£395

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William the Conqueror, Rye, after Ravilious (went there)

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Autumn Evening in Elm Hill, Norwich

By lyndsey smith SGFA

Ink and Watercolour

h: 37 w: 27 d: 1 (cms).

£395

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Autumn Evening in Elm Hill, Norwich

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Julia

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Trastevere

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Hanging by a Thread or 'Your turn.' 'I'll opt for this move.': Competing on a distorted playing field.

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Peaches and Cream

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Gherkins

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Pilot's Office

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3 Fountain Court

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Watery Autumn

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Circular Walk

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Watchful Protector

By frank to PSSA, SGFA

Collagraph with Ignited Gunpowder Flaks

h: 70 w: 47 d: 1 (cms).

Large collagraph done with etching inks and ignited gunpowder flaks

£785

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Watchful Protector

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Muse Positions

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Muse Baby

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St Justinians

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Boatyard

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Winchelsea Beach

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Kythira Steps

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Frosty Mooring

By pamela lloyd-jones SGFA

Acrylic paint and pen on stretched canvas

h: 100 w: 100 d: 4 (cms).

£2850

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Frosty Mooring

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Fez Scaffolding

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Shadows and Light

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Cafe Split

By pamela lloyd-jones SGFA

Pens and acrylic wash on stretched hessian

h: 50 w: 40 d: 2 (cms).

£600

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Cafe Split

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Walled Garden, High Summer

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Walled Garden, Lower Gate

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The new stained glass window, St Mary's Goudhurst.

By Kaye Hodges SGFA

Mixed Media

h: 29 w: 40 d: 1 (cms).

The team from Canterbury Cathedral stained glass workshop were commissioned to make a new window for the church with ultra violet filtered glass.

£472

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The new stained glass window, St Mary's Goudhurst.

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New White Trainers

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