Society of Graphic Fine Art at Mall Galleries, London : 105th Annual Open. SGFA MEMBERS ONLY

How Dare You

By alice white SGFA

Oil Pastel and Charcoal on Wooden Board

h: 30 w: 22 d: 2 (cms).

‘How Dare You’ is the signature piece to Alice’s current series 'Inner Nature'. Fiery colour and wild expression boil at the centre of this artwork, which captures a moment of intense challenge.

£560

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How Dare You

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The Dressmakers Bodice Inspiration

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'The Dressmaker's Scissors'

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Big Shoulders

By Arianna Tinulla Milesi SGFA

Graphite, pencils, acrylic, embroidery on paper and cotton

h: 160 w: 120 d: 2 (cms).

£1250

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Big Shoulders

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Santa Lucia Margherita

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Marsi Serpari

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The Kissmas Tree

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Hedgerow

By sharron astbury-petit

acrylic, acrylic gilding, gesso & graphite on 3 wood panels

h: 51 w: 102 d: 2 (cms).

This triptych was inspired by the intense beauty of a setting sun glowing through the organic lacework tracery of an autumnal hedgerow.

£3000.00

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Hedgerow

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Alan from Ilford

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Patricia at the Christening

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Date Night

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Over the bridge

By gary cook VPRI

Ink, watercolour and charcoal

h: 22 w: 32 d: 1 (cms).

There are fewer than 200 crystal-clear chalk streams globally but we in the UK have 170 of them, which is why painting en plein air next to the Leach, one of the rarest freshwater habitats on Earth throughout the year is so inspiring. The water meadow grasslands on the Thyme estate in the Cotswolds are flower-rich in the summer and lushly flooded in winter by the River Leach as it wends its way through them on its slow journey to join the Thames. Wildlife abounds in the tapestry of swaying grasses, tangles of hedges and ancient trees; I recorded 30 bird species as I painted recently, surrounded by birdsong.

£695

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Over the bridge

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Hambledon shade

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Spring in the lane

By gary cook VPRI

Ink, watercolour and charcoal

h: 22 w: 32 d: 1 (cms).

Early spring in the lane above the mill. Species I saw or heard while painting are written into the background along with the detail of a brimstone butterfly that flitted by

£595

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Spring in the lane

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Mizzled walk

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Honey Bees

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An Apian Rite

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Savoy Truffles

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Rapidly Rotting Veg

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La Fuga

By cristina celestini

colour pencils on polymer paper

h: 100 w: 84 d: 1 (cms).

This piece is part of a series of large drawings inspired by the classical paintings I have admired and learnt from all my life as well as my memories of growing up in Rome. By layering I try to tell stories that outside time and belong to all of us. "La fuga" is a celebration of rebirth and hope after an escape from a situation that ties us down, be it a relationship or a toxic habit. The medium I use, polymer is a celebration of my father's life and his skills as a draftsman.

£2000

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La Fuga

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Mega Saving

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Gallery Sheffield

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Apple

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Overblown Tulips

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Late Afternoon, Chelsea

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Corner of Sun Street

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I Must Go Down to the Sea Again

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Ella

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Corfe Castle

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Joy

By maz jackson

Egg tempera and gilding on gessoed oak panel

h: 14 w: 14 d: 2 (cms).

£1250

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Joy

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Feast or Famine

By maz jackson

Egg tempera and gilding on gessoed oak panel

h: 8 w: 18 d: 2 (cms).

£950

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Feast or Famine

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Thoughts of Flying

By maz jackson

Egg tempera and gilding on gessoed oak

h: 30 w: 55 d: 16 (cms).

£2500

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Thoughts of Flying

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Nak-Mayam

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Dunstanburgh Castle

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Morning Meanderings, River Wey

By Emma Price ASGFA

Graphite, charcoal and pan-pastel

h: 20 w: 26 d: 1 (cms).

A meditative work that explores the quiet restorative power of proximity to the River Wey, Surrey. Guided by regular walks and contemplative practice, the piece reflects the role of sustained mindfulness in cultivating a positive mental outlook. The deliberate use of black and white establishes depth and tonal contrast, shaping an atmosphere of stillness and introspection while emphasising mood, form, and emotional clarity.

£360

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Morning Meanderings, River Wey

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Morning Solace, River Wey

By Emma Price ASGFA

Graphite, charcoal and pan-pastel

h: 26 w: 20 d: 1 (cms).

A meditative work that explores the quiet restorative power of proximity to the River Wey, Surrey. Guided by regular walks and contemplative practice, the piece reflects the role of sustained mindfulness in cultivating a positive mental outlook. The deliberate use of black and white establishes depth and tonal contrast, shaping an ethereal atmosphere of stillness and introspection while emphasising mood, form, and emotional clarity.

£360

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Morning Solace, River Wey

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Still Morning, River Wey

By Emma Price ASGFA

Graphite, charcoal and pan-pastel

h: 20 w: 26 d: 1 (cms).

A meditative work that explores the quiet restorative power of proximity to the River Wey, Surrey. Guided by regular walks and contemplative practice, the piece reflects the role of sustained mindfulness in cultivating a positive mental outlook. The deliberate use of black and white establishes depth and tonal contrast, shaping an ethereal atmosphere of stillness and introspection while emphasising mood, form, and emotional clarity.

£360

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Still Morning, River Wey

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Flying High

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The Rising Fighting Spirti

By frank to PSSA, SGFA

Ignited Gunpowder & Explosive Powder on Handmade Paper

h: 57 w: 39 d: 1 (cms).

Visual depiction of a hare rearing up for a fight with another hare.

£1550

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The Rising Fighting Spirti

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Sunset from London Bridge

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Lindisfarne Castle

By margaret eggleton

Watercolour and Liquid Graphit

h: 25 w: 43 d: 1 (cms).

£650

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Lindisfarne Castle

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Halfterm at the V & A

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Eating at Exhibition Road

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Expansion

By jackie devereux PPSGFA

Ink+water 3D montage

h: 50 w: 25 d: 4 (cms).

This Triptych is made of three framed and fully glazed images to hang side by side with a small space between each frame

£1450.00

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Expansion

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Southend seafront

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Cromer

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Winter on the Hill

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The Pear

By patricia rozental ASGFA

Watercolour on paper

h: 22 w: 20 d: 1 (cms).

A painting of one of the many pears which fell from our neighbour's tree into our garden in this mast year. It is sitting proud on my Grandmother's Chinese fruit bowl...

£450

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The Pear

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Autumn Equinox

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Rite of Spring

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Curly Parsley

By lucy clayton SGFA

watercolour and Ink

h: 47 w: 38 d: 1 (cms).

Everyday food items interest me because they are often overlooked. I especially like supermarket herbs as they have intense greens compared to varieties you might grow in the garden. I also like the way the colour changes when you look through the plastic wrapping.

£620.00

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Curly Parsley

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Basil

By lucy clayton SGFA

watercolour and Ink

h: 54 w: 53 d: 1 (cms).

I used a continuous line drawing to capture the large floppy character of the basil's leaves, before printing with the blotted line technique. There is something beautiful in everyday items and I like the way supermarket basil collapses when you scrunch the plastic wrapper down.

£770.00

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Basil

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Golden Autumn Walk

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Pickle

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Ladybird, Ladybird Fly Away Home...

By patricia rozental ASGFA

Watercolour on paper

h: 23 w: 21 d: 1 (cms).

A painting of 3 teaspoons depicting children's story book characters with a Ladybird. We've had such a lot of Ladybirds in our house over the last few months... it reminded me of the nursery rhyme: 'Ladybird, Ladybird, Fly Away Home'.

£450

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Ladybird, Ladybird Fly Away Home...

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Cherhill White Horse

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The Devils Den

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Walled Garden, September Afternoon

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Walled Garden, Borders

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Walled Garden, Summer Day

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Dreams of Star Carr V: deer, alder, human, thorn

By ibby lanfear

Alder cone ink on gesso and reclaimed wooden table top

h: 53 w: 45 d: 2 (cms).

One of a series of drawings exploring earlier, reciprocal relationships with other species generated by the Mesolithic finds at Star Carr.

£1600

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Dreams of Star Carr V: deer, alder, human, thorn

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Autumn I

By ibby lanfear

Natural inks (hawthorn berry, alder cone and hazel leaf) with silverpoint on gesso and reclaimed oak

h: 13 w: 10 d: 2 (cms).

£400

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Autumn I

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Mad enough to cry for an animal? Grey squirrel

By ibby lanfear

Bone black pigment (fox, crow, roe deer) with site specific earth and charcoal in linseed oil on gesso and reclaimed oak

h: 28 w: 22 d: 2 (cms).

These drawings originate from the project ‘Mad Enough to Cry for an Animal?’ which examines human practices of mourning for wild animals in an age of extinction. Demonstrating an overt and ongoing practice of attention and care, the project challenges dominant Western myths of human exceptionalism and beliefs around the legitimate grievability of animal bodies.

£800

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Mad enough to cry for an animal? Grey squirrel

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The Forest

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You'll Find Him In The Garden

By elizabeth mccrimmon SGFA

Coloured Pencil

h: 40 w: 31 d: 1 (cms).

£550

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You'll Find Him In The Garden

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TG1926

By alison griffin ASGFA

Pencil and oil on Fabriano artistico paper 300g

h: 47 w: 34 d: 1 (cms).

Moving back to Norfolk recently and seeing these old water towers again instantly takes me back to my childhood - memories of driving past them and staring at their imposing presence on the landscape with a feeling of awe, wonder and foreboding too - there was always something so alien-like about these structures. There is also a familiarity which makes us feel connected to these forgotten places resulting in a profound melancholic yearning for an absent something. By stirring feelings of nostalgia, ruminations on the past and invoking collective memory, these images create an almost shrine-like sense of time elapsed, intense longing and missingness.

£625

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TG1926

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Charleston Garden

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Distaff Lane Garden, London

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Leith Hill Woodlands

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A Quiet Spot to Sit, Venice

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Dodo's Beach

By vincent matthews VPSGFA

Indian Ink & Watercolour

h: 20 w: 76 d: 1 (cms).

£925

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Dodo's Beach

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Shedland

By vincent matthews VPSGFA

Indian Ink & Watercolour

h: 20 w: 76 d: 1 (cms).

£925

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Shedland

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St Mary Le Strand

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The Motor Home

By vincent matthews VPSGFA

Oil on canvas

h: 30 w: 40 d: 2 (cms).

Surreal from imagination

£1500

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The Motor Home

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Bees at the Barn

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The Royal Automobile Club

By julian osbaldstone SGFA

Pen and ink

h: 36 w: 56 d: 1 (cms).

£995

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The Royal Automobile Club

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BENDING MORE LINES - ONCE AGAIN XXVII [Till They Crack]

By sumi perera RE SGFA FSDC

MONOPRINT, OPEN-BITE ACID-ETCHING, AQUATINT, STITCH, THERMOCHROMIC INK (COLOUR FLUCTUATE S WITH HEAT/TOUCH, COLLAGE, EMBOSSING & DEBOSSING

h: 60 w: 60 d: 3 (cms).

This ongoing series of hybrid printmaking techniques of cracks, drips and DIY repair by me (with no previous experience beforehand) depicts the effects of a leaking roof and ceiling within my home, my house. It was a process not only restoring structural damage to my lived in space, but the disrepair initially also took its toll on my physical and mental health, battling with a difficult breakdown of a marriage of 41 years, for more than a decade of separation ending in an acrimonious divorce in 2025. Throughout this period I gradually learnt skills of repair, how to ‘make do and mend’ to preserve integral structures to retain strength and safety. I began to appreciate imperfections and to see beauty within marks of wear and tear, and natural ageing processes. I saw the effects that the passage of time brings to surfaces without trying to white wash or plaster over cracks. This body of work became my therapy, an important tool while I learnt to survive and thrive through adversity.

£795

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BENDING MORE LINES - ONCE AGAIN XXVII [Till They Crack]

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THE CROSSES AND SCARS WE BEAR INSIDE THE GLASS BOX I

By sumi perera RE SGFA FSDC

etching and aquatint (composite of 4 prints)

h: 70 w: 50 d: 1 (cms).

This print is a composite of 4 etchings and aquatints. The two middle panels were inspired by watching a documentary on Sir Norman Foster’s architectural practice. It depicts a view from within 30 St Mary Axe in London, more commonly known as “The Gherkin”. The image reflects on the heavy use of glass barriers in architectural designs and constructs, and the ensuing economic and environmental concerns. Within this print, the same plate is printed twice – rotated at 180 degrees to create a composite. The top & bottom panels were inspired by a photo I took in New Zealand of a fire escape, scaffolding and a church spire. The same process as mentioned above was used to create variable inking methods. The phallic reference of the ‘gherkin’ as it dominates the London skyline, combined with the ‘glass’ structure references the gender disparity between male and female as the latter strives to break through the glass barrier(ceiling). Sustainable practice of recycling old plates is a feature.

£695

£595 (Unframed)

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THE CROSSES AND SCARS WE BEAR INSIDE THE GLASS BOX I

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Coast Path to the Mermaid’s Cove

By hilary jean gibson

Pen ink drawing on watercolour cp

h: 15 w: 124 d: 1 (cms).

One Sunday a mysterious, beautiful woman with long golden hair, came to hear Matthew Trewhella’s mesmerising voice as he sang in the Church of St Senara, Zennor. She came again and always sat at the back until one Sunday Matthew followed her. They were never seen again. Years later the mermaid appeared to fishermen friend’s of Matthew in Pendour Cove. She asked them to lift their anchor which was blocking the door to her underwater home where her husband and their children lived, next the fishermen saw Matthew with his Mer family swimming in the cove. But who was the mermaid, was it Matthew, who lured the woman as he sang? There is some truth to this myth, Matthew was a choir boy and lived in the Parish, but there is no record of his death. Did he drown, or commit suicide? Did he run away with a mysterious ‘foreigner’? The story blurs the symbolism of anchor, church and bible with siren, selkie and mermaid. The c.16th carved Medieaval Mermaid Seat can be seen in the Church to this day.

£225

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Coast Path to the Mermaid’s Cove

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Vanishing Peacock

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Found Feather Study

By Eve Parnell BA, MFA, ASGFA

Pencil on Tissue paper

h: 44 w: 30 d: 1 (cms).

A carefully observed study of a random feather which appeared in my path, pencil on tissue paper compliments the ephemeral lightness and inherent strength of the subject

£595

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Found Feather Study

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Parley Feather

By Eve Parnell BA, MFA, ASGFA

Pencil on Tissue paper

h: 40 w: 30 d: 1 (cms).

A random feather, spoke to me, my choice of pencil and tissue paper conveys the extraordinary strength and design of the feather while capturing its ephemeral and almost lighter than air nature

£595

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Parley Feather

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Fading Glories

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Trace

By paul newman

Graphite on Bristol Board

h: 27 w: 19 d: 1 (cms).

Winspit Quarry has never failed to hold my fascination or intrigue, returning to it repeatedly for over 30 years. The weight of the limestone and force of the sea has shaped a place which seems unyielding, permanent and fixed yet each visit reveals small, barely-imperceptible shifts. In the eighteenth century there were more than two hundred quarries in Purbeck, Dorset. ‘Purbeck marble’ was quarried from the cliff face via caves and tunnels. The stone was loaded onto boats by crane and taken to London. The return journeys brought building masonry back to the area, acting as ballast, with many architectural features from the capital re-sited in Swanage. In their new surreal seaside location, they provided inspiration for Paul Nash, who lived in Swanage for a while. Winspit was used as a stone quarry until 1940. Remnants of buildings and loading ramps remain, but the ‘absent space’ of the quarry caves and tunnels provide an enigmatic trace of activity, now home to rare bat populations.

£1150

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Trace

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Derelict new building

By Eve Parnell BA, MFA, ASGFA

Black biro on archival paper

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

Part of a series of biro on archival paper studies, this observation from our contemporary world appreciates a certain beauty while questioning the misuse of our environment

£895

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Derelict new building

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Northern Lights

By sally loughridge SGFA

Drypoint and carborundum

h: 35 w: 50 d: 1 (cms).

This print depicts a row of trees silhouetted against a twilight sky illuminated by the Northern Lights. Soft waves of green, purple, pink and yellow sweep across the fading light, creating a striking contrast with the quiet, dark, landscape below.

£300

£250 (Unframed)

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Northern Lights

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Portrait of H

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Tree of Lights

By sally loughridge SGFA

Drypoint and carborundum

h: 35 w: 50 d: 1 (cms).

This print depicts two leafless trees standing against a moody, textured sky captured on a late October evening in Oslo. The composition combines fine, intricate line work with broad washes of tone. The right tree is dotted with bright star lights, creating a striking contrast with the dark branches. The low stone wall and strip of golden grass running along the bottom edge, grounds the scene, catching the lights and adding warmth to the cool palette.

£300

£250 (Unframed)

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Tree of Lights

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Three Pale Deer

By cynthia barlow marrs SGFA

Graphite on paper

h: 25 w: 50 d: 1 (cms).

This is the third drawing in my Pale Grey Castle series, in which I reinvent familiar scenes in Windsor and the Great Park. The two deer in the foreground have turned up in my artwork from time to time over the past 15 years. In this scene they are translucent, as if they have come and gone, leaving only an impression that appeared by degrees as I passed a pencil over the page.

£480

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Three Pale Deer

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A moment in time

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Ship of Fools

By stephen kenna

Black gesso, white gesso, charcoal, acrylic inks and paint

h: 61 w: 46 d: 2 (cms).

The title ‘The Ship of Fools’ is from the allegory in Plato’s ‘The Republic’

£850.00

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Ship of Fools

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Quick March

By Mark Howard Jones

Linocut

h: 15 w: 21 d: 1 (cms).

Handmade Linocut Print of Commander and Terrier. Step into a story of loyalty, wit, and companionship with “Quick March.” This limited edition linocut print captures a proud Commander pacing the battleship deck, his faithful terrier Quick trotting close behind. A joyful celebration of friendship, storytelling, and the timeless bond between people and their dogs, it’s more than just a print - it’s a characterful scene alive with humour and heart. Don’t be fooled by Quick’s name - he only lives up to it when there’s a football in sight, racing faster than a cannonball!

£300

£200 (Unframed)

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Quick March

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Quest

By Mark Howard Jones

Linocut

h: 15 w: 21 d: 1 (cms).

This one-of-a-kind handmade linocut artist proof captures a tender moment of childhood imagination and adventure. A child in oversized wellington boots, clutching their favourite book, runs joyfully alongside a faithful dog as it leaps over puddles in a magical, dreamlike landscape. The scene evokes the freedom of outdoor play and the boundless worlds found in books - where stories spill out into real life, and every journey becomes an adventure. The expressive marks and textured surface of the linocut give the piece a timeless, nostalgic quality, celebrating curiosity, companionship, and the simple magic of being young. A whimsical detail invites the viewer to wonder: what story is the child carrying? Perhaps it’s a tale of daring quests, secret forests, or a faraway place - left open for your imagination to decide.

£300

£200 (Unframed)

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Quest

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Autumn’s Day

By renata sosinska

Linocut, monopront

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

£270

£210 (Unframed)

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Autumn’s Day

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Dog Walkers

By Mark Howard Jones

Linocut

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

Dog Walkers is a finely detailed, limited edition linocut print that celebrates the quiet charm and gentle rhythms of forest walks shared with my dog. Hand-carved and printed using traditional relief printmaking techniques, the artwork is rendered in striking black and white, allowing texture, line, and contrast to evoke the atmosphere of nature and companionship. The composition is inspired by map-like drawings created from memory of my local suburban dog walks in Hampshire. Familiar pathways weave through a landscape of trees and neighbouring houses, blending observation with recollection. Rather than a literal depiction, the scene reflects how places are held in the mind - layered, personal, and shaped by repeated journeys. This print captures the calm intimacy of everyday moments outdoors, where routine walks become reflective experiences and shared paths tell quiet stories.

£475

£375 (Unframed)

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Dog Walkers

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Which Path to Take

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Figure in Autumn

By dawn limbert ASGFA

Soft Pastel

h: 70 w: 50 d: 1 (cms).

This painting is the first of an ongoing series of tree portraits. Working directly from observation, I am drawn to the individuality and presence of mature trees, approaching them as figures rather than landscape motifs. Gesture, structure and rhythm are used to suggest movement within stillness, allowing each tree to assert its own character.

£995

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Figure in Autumn

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The Old Dance

By dawn limbert ASGFA

Soft Pastel

h: 50 w: 70 d: 1 (cms).

This painting forms part of an ongoing series of tree portraits. Working directly from observation, I am drawn to the individuality and presence of mature trees, approaching them as figures rather than landscape motifs. Gesture, structure and rhythm are used to suggest movement within stillness, allowing each tree to assert its own character.

£995

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The Old Dance

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Quiet Defiance

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