Pond guardian
The ancient Sweet chestnut Petworth Park that stands near the Lower Pond
Ink, watercolour and charcoal on board framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£750 from Kevis House Gallery Petworth, Sussex
Highpoint
In Petworth Park among the ancient trees
Ink, watercolour and charcoal on board framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£750 from Kevis House Gallery Petworth, Sussex
Upwaltham path
Following a track through the just-harvested fields near Upwaltham Church. Lovely big ash tree on the right providing shade. There are 1,058 species dependent on ash trees including the Angle barred pug in the bottom left.
Ink, watercolour and charcoal on board framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£750 from Kevis House Gallery Petworth, Sussex
Summer in the lane +SOLD+
Summer in the lane near Lord's Piece, Sussex. These young oaks will support 2,300 different species over their lifetime. From bats to beetles, lichen to fungi, they are all dependant on the trees in some way. Silhouettes and names of some of the species are hidden in the painting
Ink, watercolour and charcoal on paper, framed in FSC wood
Image: 50cm x 68cm
Frame: 69cm x 87cm
SOLD from Kevis House Gallery Petworth, Sussex
Upwaltham cornfields +SOLD+
This painting is from a lovely day spent around Petworth in the heatwave of August 2020. The Upwaltham church stands among cornfields on the South Downs
Ink and watercolour on board, framed in FSC ash
Artwork: 30cm x 19cm
Framed: 39cm x 28cm
SOLD from Kevis House Gallery Petworth
Hedgeline giant
At the back of a tangled hedge near Lord's Piece, near Petworth, stands this lovely 350-year-old oak tree
Ink and watercolour on board, framed in FSC ash
Artwork: 30cm x 46cm
Framed: 39cm x 53cm
£1295 from Kevis House Gallery Petworth
Receding light
I was lucky enough to be wandering in Petworth Park and catch this winter late afternoon sunset
Ink and watercolour on board, framed in FSC ash
Artwork: 30cm x 46cm
Framed: 39cm x 53cm
£1295 from Kevis House Gallery Petworth
Path to the top
Climbing to the high point at Hesworth, Sussex among the pine are beech trees. Silhouettes and names of some of the species dependent on these trees are hidden in the painting
Ink, watercolour and charcoal on paper, framed in FSC wood
Image: 50cm x 68cm
Frame: 69cm x 87cm
£1850 from Kevis House Gallery Petworth, Sussex
Shaded oaks
Memories of a walk in the woods at Hesworth, Sussex. These young oaks will support up to 2,300 different species over their lifetime. From bats to beetles, lichen to fungi. The Heart moth in the painting is one of these dependent species
Ink, watercolour and charcoal on board framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£750 from Kevis House Gallery Petworth, Sussex
Walk in the park
Beech trees near the wall at Fountains Abbey
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 44cm x 29cm Framed: 53cm x 39cm
£1200 from
John Davies Gallery
Moreton-in-Marsh
Selected for the Royal Institute of Painters in Water Colours 209th Exhibition 2021 at Mall Galleries, London
Gate to the smallholding
The gate into John and Carol's smallholding at the highest part of French Mill Lane
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 44cm x 29cm
Framed: 53cm x 39cm
£1200 from John Davies Gallery Moreton-in-Marsh
Chastelton close cut
The Chasteleton oak has been standing for 1,000 years
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 44cm x 29cm
Framed: 53cm x 39cm
£1200 from John Davies Gallery Moreton-in-Marsh
The young oaks
These young trees are (very) slowly getting bigger. They must be around 40 years old now and would have started growing just before we started slashing the hedges with tractor trimmers. There are no younger oaks along the lane because the industrial hedge trimmers aren’t able to spot a new sapling, which would be allowed to mature and so everything in the hedge is cut. There are 2,300 different species of bats to birds, lichen to mammals dependent in some way on oak trees
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 44cm x 29cm
Framed: 53cm x 39cm
£1200 from John Davies Gallery Moreton-in-Marsh
Jürgen's view?
I stayed in a hotel Liverpool FC use the night before they play a home game. The whole team, including the manager Jurgen Klopp prepare for the match and overnight there. I was lucky enough to get an upgrade to a lovely room on the top floor. I wonder if this is the view Jurgen usually has? Looking out, I could only spot a couple of trees. The centre of Liverpool had 1% tree cover in 2012. It's aiming now to get to 10%
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 from John Davies Gallery Moreton-in-Marsh
Selected for the Royal Institute of Painters in Water Colours 209th Exhibition 2021 at Mall Galleries, London
Muddy track to Writh
The lane that runs from Writh Farm to Gear's Mill
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
£575 from John Davies Gallery Moreton-in-Marsh
Hedgeline obscurity
Of the 2,300 species dependent in some way on oak trees, ranging from beetles to birds, lichens to mammals, 326 of them only live on oak trees. This is what makes every tree so important. Our once vast ancient woodlands now only cover 2% of the UK
Ink and watercolour on board, framed in waxed FSC wood
11in x 8in / 28cm x 20cm
£695 from John Davies Gallery Moreton-in-Marsh
Nearly home
From a frosty morning walk as the sun slowly warmed its way through the mist. Featured on the SGFA Drawing Together online exhibition
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 from John Davies Gallery Moreton-in-Marsh
8.4m to 1
After sketching the Barn Elms Plane tree I stayed at a hotel in London (serendipitously called the Treehouse in Marylebone). The restaurant is on the 15th floor with 360 degree views. Quite late in the evening, while looking over the London rooftops, I noticed one Plane tree silhouetted in the streetlights. From that particular view it was the only tree I could see. An amazing contrast to the other London tree I’d seen earlier in the day. There are incredibly 8.4m trees in the capital city
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 30cm x 20cm Framed: 39cm x 29cm
£695 from John Davies Gallery Moreton-in-Marsh
Foggy morning
Walking past the old oak along Gascoigne's Lane on a foggy morning
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 from John Davies Gallery Moreton-in-Marsh
Frozen fields
Snow in the fields at Asmore, the highest village in Dorset
Ink, watercolour and charcoal on board, framed in FSC wood
44cm x 29cm artwork 53cm x 39cm framed
£1200 from John Davies Gallery Moreton-in-Marsh
High summer mist
Along the lane in Ashmore with a high summer drizzle cloaking the trees
Part of The Arborealists exhibition, 'Being with trees' in Gibraltar 19 Jan -12 Mar 2021
Ink, watercolour and charcoal on paper, framed in FSC wood
Artwork: 44cm x 29cm
Framed: 53cm x 39cm
£1200 from John Davies Gallery Moreton-in-Marsh
Dock drift
Selected for exhibition at The Royal Institute of Painters in Water Colours exhibition at the Mall Galleries
The stalks of dock plants stand up to a windblown snow drift near Ashmore, the highest village in Dorset
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£2,200 from John Davies Gallery Moreton-in-Marsh
What I Have Seen (1318AD)
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. This tree near Wardour Castle began growing around 1318
Ink, charcoal and watercolour on paper framed in FSC wood
Artwork: 76cm x 121cm
Framed: 89cm x 134cm
£2,500 from John Davies Gallery Moreton-in-Marsh
Beech shade
Selected for Society of Graphic Fine Art Centenary exhibition at Mall Galleries, London 5 -10 July
Beech trees in the Cotswolds during the August 2020 heatwave
Ink, watercolour and charcoal on paper, framed in FSC wood
Artwork: 44cm x 29cm
Framed:53cm x 39cm
£1200 from John Davies Gallery Moreton-in-Marsh
Blenheim oak (1400)
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. There are 326 species that live solely on oak. This tree started growing around 1400 and stands in the Blenheim Palace estate, the wood with the most ancient oaks in Europe
Ink, charcoal and watercolour on paper framed in FSC wood
5ft x 4ft
£4,400 from John Davies Gallery Moreton-in-Marsh
Shining through
Walking in the beech woods near Cranham in the Cotswolds
Ink, watercolour and charcoal on board, framed in FSC wood
44cm x 29cm artwork 53cm x 39cm framed
£1200 from John Davies Gallery Moreton-in-Marsh
Oak in the water meadows
Chalk streams creating mist meander through the water meadows at Southrop in the Cotswolds. On an early morning walk, the sun burnt off the dampness revealing this lovely oak standing among the willows
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm, frame: 87cm x 69cm
£2200 from John Davies Gallery Moreton-in-Marsh
Wind on water
The Stour near Sturminster Newton
Ink, watercolour and charcoal on board framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£675 from The Art Stable , Child Okeford, Dorset
Cloudbreak
A stretch of the Stour near Sturminster
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£675 from The Art Stable Child Okeford, Dorset
Meander
On the River Stour near Child Okeford. Trees drooping into the river with reeds and debris caught in their branches giving away the height of the floods
Ink and watercolour on board, framed in FSC ash
Artwork: 30cm x 19cm
Framed: 39cm x 28cm
Charge Nurse Riley in the temperate rainforest
Temperate rainforests in the UK such as Horner Wood are globally rare and more threatened than tropical rainforest. This wood includes hazel, ash, birch and oak and is a diverse habitat. There are 2,300 different species of bats to mammals, lichen to fungi dependent in some way on oak.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 67cm x 50cm
Frame: 87cm x 73cm
Beech ravine
A beautiful beech ravine near Hepworth in Yorkshire. We drove up from Dorset to see our friend Sue who lives there. To stretch our legs and give Laika a walk we wandered across the fields, past the football club and down into this shaded valley with the trees gathering around a stream working its way off the moors
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
Beech stream
A beautiful beech ravine near Hepworth in Yorkshire. We drove up from Dorset to see our friend Sue who lives there. To stretch our legs and give Laika a walk we wandered across the fields, past the football club and down into this shaded valley with the trees gathering around a stream working its way off the moors
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
Lockdown lane walks: Arching hazel
Overgrown coppiced hazel now creates a lovely shaded arch on the track up to Writh Farm
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
£550 available from Sea Pictures Gallery
Foggy path
I ride up to Shaftesbury on a Sunday to buy the paper. This is part of my route through Pine Walk in Shaftesbury on a foggy morning
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
Lockdown lane walks: I'm melting, melting. Oh what a world, what a world
Quickly melting snow on the lane
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£675 from Sea Pictures Gallery
Morning in the lane
This lane near home, leads steeply down to the stream and the mill. It is just past the point in the hedgerow where, each year, glowworms meet on warm summer evenings. In the hedges young oak trees are slowly stretching their limbs and filling out. There are 2,300 different species of bats to mammals, lichen to fungi dependent in some way on oak
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1950
Antarctica. Deep water. An apology
A couple of years back I was lucky enough to go to Antarctica. After (guiltily) sailing Drake's Passage, which is the 600 miles of open sea where the Pacific and Atlantic meet, this was the first view of land. After two days of seeing dark ocean and icebergs the incredible mountains and ice appearing on the horizon are other-worldly. The massive peaks and glaciers seem so monumental and give a feeling of permanence. Sadly it’s not. These are the words written into the background of the painting:
If the predictions were right this sight, my first glimpse of frozen Antarctica, has completely changed. Even by 2020 the peninsula was 5.5˚ warmer than in the 1950s. I can't imagine what it's like now. I'm sorry, but there weren't enough of us willing to adapt our lives to prevent the planet heating up as it has. We stumbled on, voting for politicians who denied what was happening. Many of them wilfully blocked any change for decades, even though the evidence of the damage we were doing was clear. Millions of us turned a blind eye to our knowing destruction of Earth so that we could lead comfortable and profligate lives, even though we knew that you, in the future, would have to pay for our selfishness.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1850
Antarctica. Landfall. An apology
Selected for Society of Graphic Fine Art Centenary exhibition at Mall Galleries, London 5 -10 July
A couple of years back I was lucky enough to go to Antarctica. After (guiltily) sailing Drake's Passage, which is the 600 miles of open sea where the Pacific and Atlantic meet, this was the first view of land. After two days of seeing dark ocean and icebergs the incredible mountains and ice appearing on the horizon are other-worldly. The massive peaks and glaciers seem so monumental and give a feeling of permanence. Sadly it’s not. These are the words written into the background of the painting:
If the predictions were right this sight, my first glimpse of frozen Antarctica, has completely changed. Even by 2020 the peninsula was 5.5˚ warmer than in the 1950s. I can't imagine what it's like now. I'm sorry, but there weren't enough of us willing to adapt our lives to prevent the planet heating up as it has. We stumbled on, voting for politicians who denied what was happening. Many of them wilfully blocked any change for decades, even though the evidence of the damage we were doing was clear. Millions of us turned a blind eye to our knowing destruction of Earth so that we could lead comfortable and profligate lives, even though we knew that you, in the future, would have to pay for our selfishness.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1850
Antarctica. First glimpse. An apology
I was lucky enough to go to Antartica. After sailing for two days without seeing land this was my first sight of the continent. These are the words written into the background of the painting
If the predictions were right this sight, my first glimpse of frozen Antarctica, has completely changed. Even by 2020 the peninsula was 5.5˚ warmer than in the 1950s. I can't imagine what it's like now. I'm sorry, but there weren't enough of us willing to adapt our lives to prevent the planet heating up as it has. We stumbled on, voting for politicians who denied what was happening. Many of them wilfully blocked any change for decades, even though the evidence of the damage we were doing was clear. Millions of us turned a blind eye to our knowing destruction of Earth so that we could lead comfortable and profligate lives, even though we knew that you, in the future, would have to pay for our selfishness.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1825
Antarctica. Waiting. An apology
BEST IN SHOW
At Society of Graphic Fine Art Centenary exhibition at Mall Galleries, London 5 -10 July
I was lucky enough to go to Antartica. This view shows moulting juvenile penguins waiting for their parents to return and feed them just-caught krill. In recent years penguins that wouldn't have been suited to breeding on the Antarctica Peninsula are now nesting in large numbers due to warming temperatures.
The year before I visited more than a third of penguin chicks on the islands died of starvation. In the same area trawlers were ‘suction' harvesting krill, a tiny crustacean, for our increasing demand for omega 3 food supplements and fish farm food. Scientists believe that with less krill in the area, less food was available to the birds. Fewer surviving penguins means less prey for seals and orca.
These are the words written into the background of the painting:
If the predictions were right this sight, my first glimpse of frozen Antarctica, has completely changed. Even by 2020 the peninsula was 5.5˚ warmer than in the 1950s. I can't imagine what it's like now. I'm sorry, but there weren't enough of us willing to adapt our lives to prevent the planet heating up as it has. We stumbled on, voting for politicians who denied what was happening. Many of them wilfully blocked any change for decades, even though the evidence of the damage we were doing was clear. Millions of us turned a blind eye to our knowing destruction of Earth so that we could lead comfortable and profligate lives, even though we knew that you, in the future, would have to pay for our selfishness.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 69cm x 93cm
Frame: 90cm x 120m
£2350
Shardow
There are 8.4m trees in London. I find this an incredible thought, especially when you view the city from high up. Besides looking nice and all the other benefits of trees, that equates to 2.4m tonnes of carbon safely stored away. In 2015 I was lucky to have stayed in the Shangri-La Hotel on the 45th floor of The Shard and captured this scene. From that viewpoint I could see only around ten of the 8.4m.
Thinking back to 2015 gives me painful memories as I struggled to even get to the hotel. Two months before I slipped a disc which made walking or standing excruciating after a couple of minutes. For nine months I tried a succession of exercises and physiotherapies to cure the problem. Sadly none worked and I eventually had an operation that thankfully had me standing pain free instantly. Looking back makes me very grateful
Ink and watercolour on board, framed in FSC ash
Artwork: 30cm x 46cm
Framed: 39cm x 53cm
£1295
Dunwich lane
Along a lane near Dunwich beach. I loved visiting here, just to remind me of the Brian Eno Ambient 4: On Land track, Dunwich Beach, Autumn, 1960
Ink, watercolour and charcoal on paper, framed in FSC wood
44cm x 29cm artwork, 53cm x 39cm framed
£1250 from Sea Pictures Gallery
Suffolk skies
Lucky to see a great sky while driving around the lanes of Suffolk
Ink, watercolour and charcoal on board, framed in FSC wood
Image: 29 x 20cm
Frame: 39 x 28cm
£675 from Sea Pictures Gallery
Ground Cloud II
Selected for the SGFA Draw20 exhibition at Mall Galleries
Of the 2,300 species dependent in some way on oak trees, ranging from beetles to birds, lichens to mammals, 326 of them only live on oak trees. This is what makes every tree so important. Our once vast ancient woodlands now only cover 2% of the UK
Ink and watercolour on paper, framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1950 from Sea Pictures Gallery
High path
There is evidence that people lived on Hambledon Hill 5,000 years ago, 1,000 years before Stonehenge was built. The worlwide human population in 3,000BC was around 7m. In 1964 it was 3,250m, today there are 7,710m of us
Ink, watercolour and charcoal on paper, framed in FSC wood
30in x 41in / 77cm x 103cm
33in x 45in / 85cm x 115cm framed
£2,350
Off the hill
There is evidence that people lived on Hambledon Hill 5,000 years ago, 1,000 years before Stonehenge was built. The worlwide human population in 3,000BC was around 7m. In 1964 it was 3,250m, today there are 7,710m of us
Ink, watercolour and charcoal on paper, framed in FSC wood
11in x 8in / 28cm x 20cm 15in x 9in / 39cm x 29cm framed
£675 from Mandell's Gallery , Norwich
Earthwork edge
There is evidence that people lived on Hambledon Hill 5,000 years ago, 1,000 years before Stonehenge was built. The worlwide human population in 3,000BC was around 7m. In 1964 it was 3,250m, today there are 7,710m of us
Ink, watercolour and charcoal on paper, framed in FSC wood
11in x 8in / 28cm x 20cm 15in x 9in / 39cm x 29cm framed
£675 from Mandell's Gallery , Norwich
Sezincote (1370AD)
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. This giant tree in the grounds of Sezincote House may have started growing around 1370
Ink, charcoal and watercolour on paper framed in FSC wood
5ft x 4ft
£,4,400 from John Davies Gallery Moreton-in-Marsh
326: Moonlit Chastleton oak (1020)
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. There are 326 species that live solely on oak. This tree in Chastleton may have started growing around 1020
Ink, charcoal and watercolour on paper framed in FSC wood
5ft x 4ft
£3,850
Bourton on the water oak No2
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. This giant tree is 10m around
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£2200 from John Davies Gallery
West Melbury oak (1825)
2,200 species, from birds to beetles, fungi to lichens are dependent on oak trees. This acorn was sown around 1825
Ink, charcoal and watercolour on paper framed in FSC wood
88cm x 73cm
£1200 from The Arborealists Gustavo Bacarisas Gallery
West Melbury oak (1856)
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. This acorn was sown around 1856
Ink, charcoal and watercolour on paper framed in FSC wood:
88cm x 73cm
£2200 from the John Davies Gallery Moreton-in-Marsh
Silton oak (1018)
This incredible tree at Silton, Dorset could be 1,000 years old. It's trunk is 9.75m around and is also known as Wyndham's Oak. It is a boundary oak marking the border between the Selwood and Gillingham forests. During a revolt in 1685 it was also used as a hanging tree.
Ink, charcoal and watercolour on paper framed in FSC wood:
88cm x 73cm
£1200
1058: Wardour Castle No3
There are 1,058 UK species associated with ash trees, ranging from beetles to birds, lichens to mammals. All will be affected when we lose up to 90% of the UKs 70m ash trees from dieback disease. Research is ongoing into replanting these trees with ash bred with tolerance to the infection
Ink and watercolour on board, framed in waxed FSC ash
11in x 8in / 28cm x 20cm
£675 from John Davies Gallery
1058: Melbury Beacon No6
There are 1,058 UK species associated with ash trees, ranging from beetles to birds, lichens to mammals. All will be affected when we lose up to 90% of the UKs 70m ash trees from dieback disease. Research is ongoing into replanting these trees with ash bred with tolerance to the infection
Watercolour on board, framed in FSC ash
11in x 8in / 39cm x 28cm
£675 from John Davies Gallery
Shaftesbury sketches
Scribbles of the local patch from the sketchbook
Framed in FSC ash
Artwork: 20x13cm
Framed: 25x20cm
£100-£125 from Folde Dorset
