Hilltop path
The beautiful stand of beech, pine and ash trees in Pine Walk up in the hilltop town of Shaftesbury
Ink, watercolour and charcoal on watercolour ground
127 x 95cm
£2950
Lockdown lane walks: Up to the footpath SOLD
Downhill on French Mill Lane with the steps up to the footpath through the field on the left
Ink and watercolour on board, framed in FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
SOLD
Lockdown lane walks: The great wall
On French Mill Lane walking downhill under the shade of hazel and sycamore with the lovely old wall
Ink and watercolour on board, framed in FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
£675
Lockdown lane walks: Icy puddles
From a skiddy walk up the lane to town on a beautiful frozen morning
Ink and watercolour on paper, framed in FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
£695 from the
Mall Galleries
Selected for the Royal Institute of Painters in Water Colours 209th Exhibition 2021 at Mall Galleries, London
Lockdown lane walks: 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 paper, framed in FSC wood
44cm x 29cm artwork 53cm x 39cm framed
£1295
Lockdown lane walks: 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
£550 available from Folde
Lockdown lane walks: Past the potholes
Going downhill towards the mill just past the section of the lane has lots of potholes. They're great as they stop cars using the road
Ink and watercolour on board, framed in FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
£675
Lockdown lane walks: In the holloway
On French Mill Lane walking downhill under the shade of hazel and sycamore.
Ink and watercolour on board, framed in FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
£675
Lockdown lane walks: The sycamore I planted
Opposite our house we're lucky enough to own a bit of land. We planted an orchard there nearly 20 years ago and now make rough cider from the apples. Along the hedge that lines the lane we've planted lots of trees including this leaning sycamore
Ink and watercolour on board, framed in FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
£675
Lockdown lane walks: Spring sun
The muddy drovers lane that goes uphill to Writh
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
£550
Lockdown lane walks: 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 paper, framed in FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
£695
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
Lockdown lane walks: Steep bit down to the mill
This is French Mill, tucked away in the steep-sided valley of the River Sturkle
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
£550
Lockdown lane walks: Near the flooded ditch
Heading towards the mill, this part of the lane always has water on it. The ditch to the left can't take all the water flowing down the hill
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
£550 available from Folde
Lockdown lane walks: Val's oak
Coming down the hill with the big oak and ash on the left
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
£550
Lockdown lane walks: I'm melting, melting. Oh what a world, what a world
Quickly melting snow on the lane
Ink and watercolour on paper, framed in FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
£675 from Sea Pictures Gallery
Lockdown lane walks: Poor oak……SOLD
After standing ungrazed for over ten years the field on the left was recently rented out. The new farmer obviously loves kit and having a tidy up. The youngish (perhaps 80 years old) tangled oak in the foreground had a main limb hacked off as the new tenant wanted to be able to drive his digger beneath it. All the hedges and trees that had become lovely straggly wildlife havens could have been left or layed but were instead chainsawed back to a 'neat' box shape.
To allow stock to graze there, the whole area was cleared leaving a series of pyramids of hedge cuttings and tree branches that were eventually lit making massive bonfires that took days to burn down. The field and its funeral pyres of smouldering brush looked like the Dorset equivalent of rainforest clearance. After all this carnage and grubbing up of who-knows-what was establishing itself, the tenant has left this patch and moved to a field a little way down the valley. I know farming is tough and I'm sure he's doing his best while probably getting a small living from livestock, but this just isn’t right. I bet he'll be warming up his digger and chainsaw for another tidy up.
Ironically the hedgerows and trees he takes down all form part of the bucolic backdrop of the view from Gold Hill in nearby Shaftesbury, one of the most famous scenes in the country. Leaving aside all the environmental damage he's done, it amazes me that one man is allowed to change thousands of people's aspect with his out-of-date farming ideas.
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
SOLD
Lockdown lane walks: Just past the smallholding……SOLD
Along the lane, just past John and Carol's smallholding
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
SOLD
Lockdown lane walks: Near the gate SOLD
Along Gascoigne's Lane near the gate to the field that was cleared, grazed and is now empty
Ink and watercolour on board, framed in FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
SOLD
Lockdown lane walks: Warming through the mist…SOLD
The sun just warming its way through the valley mist
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
SOLD
Snow on the track SOLD
This hazel shaded track in West Melbury was at one time the main route for driving cattle up to Shaftesbury. There are still patches of cobbles on the lane and towards the bottom is a field called Halfpenny. This was the land drovers would overnight their cattle in, which cost half a penny. The next day they would herd them up Gold Hill to the market
Framed in waxed and stained black FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
SOLD
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. Waiting. An apology
Selected for 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
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
Twin oaks
These two magnificent oaks stand in Petworth Park. As they get older their lower branches are easing down to the ground forming their own walking sticks to lean on. There are 2,300 different species of birds to beetles, lichen to mammals dependent on oak trees. Some of the 2,300 are silhouetted and written into the background of the painting
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
NFS
Chastelton close cut
The Chasteleton oak has been standing for 1,000 years
Ink, watercolour and charcoal on paper, framed in FSC wood
44cm x 29cm artwork, 53cm x 39cm framed
£1295 from John Davies Gallery , Moreton-in-Marsh
Muddy 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
£1850 from the
Mall Galleries
Selected for the Royal Institute of Painters in Water Colours 209th Exhibition 2021 at Mall Galleries, London
Walk in the park
Beech trees near the wall at Fountains Abbey
Ink, watercolour and charcoal on paper, framed in FSC wood
44cm x 29cm artwork 53cm x 39cm framed
£1295 from the
Mall Galleries
Selected for the Royal Institute of Painters in Water Colours 209th Exhibition 2021 at Mall Galleries, London
Hidden ancient
Tucked away in the hedges next to Lord's Piece near Petworth, Sussex stand this lovely 350-year-old oak tree
Ink and watercolour on board, framed in FSC ash
Artwork: 30cm x 19cm
Framed: 39cm x 28cm
£750 from Kevis House Gallery Petworth
Lord's Piece heatwave
On the heath of Lord's Piece, Sussex during the heatwave of August 2020
Ink, watercolour and charcoal on paper, framed in FSC wood
44cm x 29cm artwork, 53cm x 39cm framed
£1295 from Kevis House Gallery Petworth
Puddles in the lane
Longlisted on the Jackson's Painting Prize 2021
There are 1,058 species of birds to bats, fungi to mammals that are dependant in some way on ash trees
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm, frame: 87cm x 69cm
NFS
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
NFS
Jurgen'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 paper, framed in FSC wood
Artwork: 28cm x 20cm
Framed: 39cm x 29cm
£695 from the
Mall Galleries
Selected for the Royal Institute of Painters in Water Colours 209th Exhibition 2021 at Mall Galleries, London
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 paper, framed in FSC wood
11in x 8in / 28cm x 20cm 15in x 9in / 39cm x 29cm framed
£650 from Bermondsey Project Space
Embankment winter
There are incredibly 8.4m trees in London. Every plane tree in the city is pruned, but I liked the interweaving branches of this one silhouetted against the low winter sun in the gardens next to the Victoria Embankment
Ink, watercolour and charcoal on paper, framed in FSC wood
11in x 8in / 28cm x 20cm 15in x 9in / 39cm x 29cm framed
£650 from Bermondsey Project Space
Barn Elms Copse
The Barn Elms Plane tree is the largest in London. Its trunk is 8.23m around and was planted in 1680. It is over 35m tall.
Ink, watercolour and charcoal on paper, framed in FSC wood
11in x 8in / 28cm x 20cm 15in x 9in / 39cm x 29cm framed
£650 from Bermondsey Project Space
326: Gascoigne oak SOLD
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
SOLD from Bermondsey Project Space
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
£1950 from John Davies Gallery Moreton-in-Marsh
Gathered in
I do love a barn. This old one stands near Adlestrop in the Cotswolds
Ink, watercolour and charcoal on board, framed in FSC wood
31cm x 20cm artwork 39cm x 28cm framed
£675 from John Davies Gallery Moreton-in-Marsh
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
Beech mist
Selected for the SGFA Draw20 exhibition at Mall Galleries
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 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
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
£1295 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
£1295 from John Davies Gallery Moreton-in-Marsh
Boundary sentinel
Oak trees spend 300 years growing, 300 years resting and 300 years gracefully declining. This younger, but declining tree has thankfully been left standing in the hedge line near Adlestrop in the Cotswolds
Ink, watercolour and charcoal on board, framed in FSC wood
31cm x 20cm artwork 39cm x 28cm framed
£675 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
£1950 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
Hill mist
Selected for Society of Graphic Fine Art Centenary exhibition at Mall Galleries, London 5 -10 July
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
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1750
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
Upwaltham cornfields
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
£750 from Kevis House Gallery Petworth
Park nocturne
In relentless rain I spent a few hours in Petworth Park, Sussex one day. It was a terrible day for sketching and the skies were so dark it made me wonder what the parklands would look like at night. Here's the result
Ink and watercolour on board, framed in FSC ash
Artwork: 30cm x 19cm
Framed: 39cm x 28cm
£750 from Kevis House Gallery Petworth
Wardour Castle oak (1318)
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
£2,350
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 from the Arts Stable
326: 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
£650 from Kelly Ross Fine Art
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
£650 from the Arts Stable
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
£650 from the Arts Stable
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
44cm x 29cm artwork53cm x 39cm framed
£1295
The path
This painting is from a lovely walk in the back of Ashmore Woods, Dorset. Featured on the SGFA Drawing Together online exhibition
Ink and watercolour on board, framed in FSC ash
11in x 8in / 28cm x 20cm15in x 9in / 39cm x 29cm framed
£650
Moonlit Donhead oak (1588)
This boundary tree near in Donhead began growing around 1588. 2,200 species, from birds to beetles, fungi to lichens are dependent on oak trees
Ink, charcoal and watercolour on paper framed in FSC wood
30in x 48in, 76cm x 121cm
£2,350
326: Sezincote (1370)
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
£3,850 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
£1950 from John Davies Gallery
High summer mist
Along the lane in Ashmore with a high summer drizzle cloaking the trees
On exhibition with The Arborealists at '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
£995 from The Arborealists Gustavo Bacarisas 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
£1950 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
