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Click here to subscribeJane Soeder (British, born 1934)Original painting of figure in the sea- details to the reverse side. Together with two other paintings. An original painting depicting a half moon and rocket. Signed to the moon- illegible. Jenny Richardson- Still life watercolour titled "Nasturtiums" dated 1989.
Sue Warburton (Contemporary)A cottage garden in full bloomSigned, mixed media, 41cm by 51cm; together with a still life mixed media by R* Donald; a further still life in pencil and watercolour depicting a jug of flowers; and one other indistinctly signed still life of a daffodil in a vase (4)
Liberty Puzzles classic wooden jigsaw puzzle featuring Italian Intermezzo, a still life composition by Sharon O'Connor, originally used as a 2000 Menus and Music Book cover. The intricate puzzle consists of 440 laser-cut wooden pieces, including unique whimsy shapes characteristic of Liberty Puzzles. The artwork presents a rich and warm composition of a mandolin, fruit, and various still life elements. The puzzle comes in its original blue Liberty Puzzles box, with the design label intact. Issued: 20th centuryDimensions: 8.25"L x 2.5"W x 10"HCountry of Origin: United StatesCondition: Age related wear.
LILIAN NEILSON (SCOTTISH 1938-1998) STILL LIFE WITH OIL LAMP AND GRATER Signed and indistinctly dated ('69?) lower left, oil on board 29cm x 59cm (11.5in x 23.25in) Neilson scrapes thick buttery pigment across her compositions, leaving ridges and furrows so pronounced that the painting’s surface itself becomes a landscape of sorts. This impression is only enhanced by the irregular, curved or slanted edges of Neilson’s boards, suggesting that she cut them down to a form she felt was satisfactory. Certain paintings are markedly small, enhancing their portability for the artist as she travelled around the wild Catterline coast in pursuit of a good spot to work for the day. Neilson arrived in Catterline in the early 1960s on the invitation of Joan Eardley, who had recently established a studio in the remote village, and the pair became lovers and artistic companions. Neilson assimilated technical lessons from Eardley’s landscape style and responded to the dramatic and changeability of the sea and sky. Her Catterline paintings are characterised by frenetic expression and an atmosphere of brooding intensity. Upon Eardley’s untimely death in August 1963 Neilson purchased No. 2 South Side, Catterline, using one half of the cottage as a living space and the other as a studio. Here, she continued to develop her energetic landscape practice. She lived between Norfolk and Catterline, observing the human impact on the respective coastlines, which precipitated an increasing interest in ecological conservation. Neilson’s paintings express her conflicting frustration with, and devotion to, the land.