Society of Women Artists : Members - Society of Women Artists 163rd Annual Open Exhibition

Sunflowers and Lemons

By patricia clements

oil on stretched canvas

h: 61 w: 76 d: 2 (cms).

£1100

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Sunflowers and Lemons

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Year of the Dragon still life

By patricia clements

Pastel on Archival paper

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

£1300

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Year of the Dragon still life

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Bryony

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OFFICE BLOCK TEMPLE

By chloe harris ASWA

Oil Painting

h: 42 w: 30 d: 1 (cms).

An Asian city center look, temples by the office block. Too cool SINGAPORE IMG 2: walkers IMG 3: Temple roof close up

£1400

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OFFICE BLOCK TEMPLE

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PORTO STREET

By chloe harris ASWA

Monoprint

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

£500

£500 (Unframed)

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PORTO STREET

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Weeping Moongold

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Seascape I

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Selah

By ali mulroy

Oil on canvas

h: 40 w: 30 d: 3 (cms).

£3400

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Selah

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Holly

By ali mulroy

Oil on board

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

£3400

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Holly

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Point to Point 1

By annabeli thornton BA, SWA, ASEA

Acrylic/oil

h: 61 w: 61 d: 5 (cms).

Point to Point 1 is based on my visit to the races. I wanted to capture speed, colour. The turn of speed and bend as the horses turn sharply for the next fence.

£800

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Point to Point 1

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Point 2 Point 2

By annabeli thornton BA, SWA, ASEA

Acrylic/oil

h: 61 w: 61 d: 5 (cms).

Point to Point 2 is based on my visit watching the races. I wanted to capture the speed, flash of colours and textures of the landscape. The horses travel fast but still with grace. You tend to just see shapes of colours.

£800

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Point 2 Point 2

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Beach Sunset

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Hilltop Village, Provence

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Aiguille du Midi II

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Bred in Captivity, Sheffield Beauties - 1

By Helen A Taylor MA. ASGFA. ASWA

Linocut with watercolour

h: 53 w: 38 d: 1 (cms).

Helen Taylor’s work is inspired by well-known botanical and architectural ‘meeting’ places and by her garden. She portrays the plants as they grow in a collection curated by the gardener, in a human-made landscape. ‘Bred in Captivity, Sheffield Beauties’ is inspired by The Palm House at Sheffield Botanical Gardens, a truly beautiful place. Initially Taylor planned only one print, but decided then to make a Triptych, although each print is a standalone artwork, they can be hung together as each image flows into the next. The Palm House is divided into sections so this arrangement echoes the actual planting. An underlying principle of Taylor’s work is ‘What do we have to lose’, with threats to our natural world from changing climate and habitat loss meaning many plants may become ‘Bred in Captivity.’

£375

£300 (Unframed)

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Bred in Captivity, Sheffield Beauties - 1

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Aiguille Verte

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Me Too

By Christine Roychowdhury

Oil on canvas

h: 180 w: 100 d: 2 (cms).

Although the majority of people that suffer from domestic or sexual abuse are women it is not only women that suffer and as with women it is something which is hidden and insidious within society something which makes the abused feel guilty.Guilty of allowing it guilty of hiding it . I was exploring the idea of abuse and decided to present an unexpected take on the subject using a masculine setting I felt emphasised the need for awareness that abuse has a hidden quality and is found where it isn’t expected.

£3000

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Me Too

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Bred in Captivity- Sheffield Beauties - 2

By Helen A Taylor MA. ASGFA. ASWA

Linocut with watercolour

h: 53 w: 38 d: 1 (cms).

Helen Taylor’s work is inspired by well-known botanical and architectural ‘meeting’ places and by her garden. She portrays the plants as they grow in a collection curated by the gardener, in a human-made landscape. ‘Bred in Captivity, Sheffield Beauties’ is inspired by The Palm House at Sheffield Botanical Gardens, a truly beautiful place. Initially Taylor planned only one print, but decided then to make a Triptych, although each print is a standalone artwork, they can be hung together as each image flows into the next. The Palm House is divided into sections so this arrangement echoes the actual planting. An underlying principle of Taylor’s work is ‘What do we have to lose’, with threats to our natural world from changing climate and habitat loss meaning many plants may become ‘Bred in Captivity.’

£375

£300 (Unframed)

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Bred in Captivity- Sheffield Beauties - 2

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Bred in Captivity, Sheffield Beauties - 3

By Helen A Taylor MA. ASGFA. ASWA

Linocut with watercolour

h: 53 w: 38 d: 1 (cms).

Helen Taylor’s work is inspired by well-known botanical and architectural ‘meeting’ places and by her garden. She portrays the plants as they grow in a collection curated by the gardener, in a human-made landscape. ‘Bred in Captivity, Sheffield Beauties’ is inspired by The Palm House at Sheffield Botanical Gardens, a truly beautiful place. Initially Taylor planned only one print, but decided then to make a Triptych, although each print is a standalone artwork, they can be hung together as each image flows into the next. The Palm House is divided into sections so this arrangement echoes the actual planting. An underlying principle of Taylor’s work is ‘What do we have to lose’, with threats to our natural world from changing climate and habitat loss meaning many plants may become ‘Bred in Captivity.’

£375

£300 (Unframed)

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Bred in Captivity, Sheffield Beauties - 3

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Construction with blue bottle

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Construction near Rye refinery

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Construction at Rye Harbour

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City lights

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Highlighs

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View of Darent Valley

By rachel arif

Oil on Canvas

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

This painting was done mainly en plein air, which is quite unusual for me as I am predominantly studio based. I spent several days in and around the area, the weather was particularly clement so I ended up painting it mostly there and then with few changes in the studio. The clouds had a beautiful pale yellow hue from the sun. It’s one of my slightly ‘sunnier’ works.

£625

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View of Darent Valley

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Hope

By rachel arif

Oil on Board

h: 25 w: 20 d: 2 (cms).

The inspiration for this semi abstract piece was taken from a very recent trip to Cap Breton in France. I called it hope as I painted it at the beginning of Spring and the whole of the Landes Coast was starting to show signs of life as was the sun that was trying very hard to appear. The light was wonderful, yet the surf was heavy. It’s very textured and energetic.

£595

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Hope

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Angel

By arabella brooke

bronze

h: 95 w: 35 d: 20 (cms).

£6000

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Angel

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Five A day

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St Paul's in Perspective

By margaret eggleton SWA SGFA

Watercolour

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

this was painted using my own photo reference from Sky Garden on a rainy day.

£525

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St Paul's in Perspective

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LLoyds in Perspective

By margaret eggleton SWA SGFA

watercolour

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

This was painted from my own photo reference taken from Sky Garden on a rainy day

£525

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LLoyds in Perspective

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Young leopard

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JARDIN DO PALACIO

By chloe harris ASWA

Monoprint

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

Porto Jardins do Palacio amongst orange trees

£350

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JARDIN DO PALACIO

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Fear of War 1

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March 2020

By jane morgan

Bronze Painted

h: 10 w: 21 d: 11 (cms).

Bronze painted in oils, matt lacquer.

£12500

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March 2020

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Temptation

By jane morgan

Bronze - Painted in oils, matt lacquer.

h: 1 w: 15 d: 12 (cms).

This works considers global consumerism. The artist playfully juxtaposes expectation and representation, in a society where the boundaries of truth and fact become ever more blurred.

£3300

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Temptation

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Fear of War 2

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Red Rip

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Strawberry Sunday

By jane morgan

Bronze Painted in oils, lacquered.

h: 8 w: 12 d: 8 (cms).

£5600

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Strawberry Sunday

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Desiderata

By tessa jane ASWA

Hand painted, screen and block printed papers stitched and pieced together. Poetry typed and written placate and comfort. Acrylic, ink, watercolour, collage and appliqué on found, sourced maps and recycled papers.

h: 49 w: 19 d: 8 (cms).

Part of a series of works. ‘Don’t air your laundry in public’ The miniature dresses celebrate the healing power of nature when dealing with mental health issues. Alzheimers, Multiple Sclerosis and Cancer devastate families.

£425

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Desiderata

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Conway

By tessa jane ASWA

Hand painted, screen and block printed papers stitched and pieced together. Poetry typed and written placate and comfort. Acrylic, ink, watercolour, collage and appliqué on found, sourced maps and recycled papers.

h: 62 w: 24 d: 14 (cms).

Part of a series of works. ‘Don’t air your laundry in public’ The miniature dresses celebrate the healing power of nature when dealing with mental health issues. Alzheimers, Multiple Sclerosis and Cancer devastate families.

£475

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Conway

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It will shine out

By tessa jane ASWA

Hand painted, screen and block printed papers stitched and pieced together. Poetry typed and written placate and comfort. Acrylic, ink, watercolour, collage and appliqué on found, sourced maps and recycled papers.

h: 42 w: 18 d: 16 (cms).

Part of a series of works. ‘Don’t air your laundry in public’ The miniature dresses celebrate the healing power of nature when dealing with mental health issues. Alzheimers, Multiple Sclerosis and Cancer devastate families.

£395

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It will shine out

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Bathroom Mirror

By harriet merry ASWA

Tetrapak print on Ivory Fabriano

h: 30 w: 24 d: 1 (cms).

As I approach my fifties, I find myself drawing my self portrait more and more, perhaps as a way to preserve what I am, or to scrutinise what I am becoming, or even inject a little humour into the frequently alarming ageing process. In doing so I recently turned to to printing with recycled materials such as tetrapak - which breaks up and changes with each print - and found perspex, as an appropriate method to represent a deteriorating self. These prints are taken from observational drawings in front of the mirror; I never use photographs as I am also interested in presenting the picture of myself that I see, and are influenced by artists such as Hockney, Kollwitz and Rembrandt, all of whom I greatly admire and regularly drew themselves from life.

£275

£225 (Unframed)

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Bathroom Mirror

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WTF! Yuck. Whatevs

By harriet merry ASWA

Drypoint on ivory Fabriano paper

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

As I approach my fifties, I find myself drawing my self portrait more and more, perhaps as a way to preserve what I am, or to scrutinise what I am becoming, or even inject a little humour into the frequently alarming ageing process. In doing so I recently turned to recycled materials such as tetrapak - which breaks up and changes with each print - and found perspex, as an appropriate method to represent a deteriorating self. These prints are taken from observational drawings in front of the mirror; I never use photographs as I am also interested in presenting the picture of myself that I see, and are influenced by artists such as Hockney, Kollwitz and Rembrandt, all of whom I greatly admire and regularly drew themselves from life.

£345

£295 (Unframed)

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WTF! Yuck. Whatevs

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Self Portrait with Tetrapak in Blue

By harriet merry ASWA

Tetrapak print on Fabriano paper

h: 25 w: 27 d: 1 (cms).

As I approach my fifties, I find myself drawing my self portrait more and more, perhaps as a way to preserve what I am, or to scrutinise what I am becoming, or even inject a little humour into the frequently alarming ageing process. In doing so I recently turned to recycled materials such as tetrapak - which breaks up and changes with each print - and found perspex, as an appropriate method to represent a deteriorating self. These prints are taken from observational drawings in front of the mirror; I never use photographs as I am also interested in presenting the picture of myself that I see, and are influenced by artists such as Hockney, Kollwitz and Rembrandt, all of whom I greatly admire and regularly drew themselves from life.

£275

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Self Portrait with Tetrapak in Blue

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Colour Code Red

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Origin: Green Apple

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Klimt's Red Apple

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Lemon Blosson Moon Jar

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Orange Blossom Shards Vessel

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Miniature self portrait in studio

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Angel of Forgotten Dreams

By helen sinclair MRSS, PSWA

Bronze

h: 125 w: 18 d: 14 (cms).

£6750

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Angel of Forgotten Dreams

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Still Sitting

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Solo

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A Song That Echoes

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Across the Fields,September Evening

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CASA RURAL

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200 Years of the RNLI

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Embroidered In Time

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Colourful Saris

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Harmony

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Cyclamen fusion

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Broken Tulips

By ginny page SWA

Oil on panel

h: 28 w: 35 d: 1 (cms).

A recent painting I did during a traumatic time caring for my dear friend who had just been diagnosed with stage 4 cancer. We had several trips to the hospital and in the car park there they had planted the most beautiful tulips! My favourite Rembrandt tulips or "Broken tulips" as they are more commonly known due to their stripey colour mutation .The tulips were fading fast and losing their petals but still incredibly beautiful with their bold stripes and delicate white transparency. I knew i had to paint them so i persuaded my friend to drive back so I could pick just 2 fading blooms. Painting the broken tulips whilst my friend was sleeping gave me some joy in a time of extreme sorrow . These are for her.

£4000

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Broken Tulips

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Market day

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My Crown

By olivia dunn

Oil Paint

h: 28 w: 28 d: 1 (cms).

£1150

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My Crown

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Red hot Tulips on Indian cloth

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Broken Tulip on Gold

By ginny page SWA

Oil on panel and 24 carat gold leaf

h: 27 w: 20 d: 1 (cms).

Study in oils of my favorite tulip commonly known as the Rembrandt or broken tulip - the stripes and subtle colour shifts combined with the unusual curling of the petals is in fact caused by a mutation. These particular tulips symbolised great wealth and beauty as far back as the 15th century and have been a popular motif for many great masters of realism.I painted it on a gilded background to bring out the contrasting colours.

£3200

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Broken Tulip on Gold

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Rescue Mouse

By ginny page SWA

Oil on Panel

h: 17 w: 23 d: 1 (cms).

I rescued this poor little mouse from my cat's jaws! It sat so long gaining its strength that I managed to do a quick sketch of him and then later on a study in oils. After a feast of delicious crumbs It eventually ran happily away back into the woods :-)

£2100

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Rescue Mouse

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'Orla and Red Tulips'

By kate newington

Acrylic on gesso board

h: 60 w: 50 d: 3 (cms).

I used sections from some of my small collage still lifes as reference for this painting. I wanted to paint on gesso board as I like the crisp edges that you can get with paint on gesso – you can achieve a graphic quality and it is also a resistant hard surface (which I prefer to canvas). I have for some years made collages that are so detailed that they look like paintings and with this picture I wanted to reverse that idea by making a painting that looks, in some areas, like collage. I particularly relate to the still life work of West Country artists, past and present, who flatten shapes and experiment with textures, colour, shape and the drawn line (often in still lifes) in a way that combines abstraction with figuration.

£650

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'Orla and Red Tulips'

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'Blown Away Blooms'

By kate newington

Acrylic on gesso board

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

I used sections from some of my small collage still lifes as reference for this painting. I wanted to paint on gesso board as I like the crisp edges that you can get with paint on gesso – you can achieve a graphic quality and it is also a resistant hard surface (which I prefer to canvas). I have for some years made collages that are so detailed that they look like paintings and with this picture I wanted to reverse that idea by making a painting that looks, in some areas, like collage. I particularly relate to the still life work of West Country artists, past and present, who flatten shapes and experiment with textures, colour, shape and the drawn line (often in still lifes) in a way that combines abstraction with figuration.

£650

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'Blown Away Blooms'

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'Birdland'

By kate newington

Acrylic on gesso board

h: 26 w: 26 d: 3 (cms).

I used sections from some of my small collage still lifes as reference for this painting. I wanted to paint on gesso board as I like the crisp edges that you can get with paint on gesso – you can achieve a graphic quality, and it is also a resistant hard surface (which I prefer to canvas). I have for some years made collages that are so detailed that they look like paintings and with this picture I wanted to reverse that idea by making a painting that looks, in some areas, like collage. I particularly relate to the still life work of West Country artists, past and present, who flatten shapes and experiment with textures, colour, shape and the drawn line (often in still lifes) in a way that combines abstraction with figuration.

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'Birdland'

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Raindrops Whisper

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Selvedge

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Tip Top

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Mirror of Soul

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Rockface

By luisa holden SWA

Mixed Media

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

Acrylic, watersoluble pencils, charcoal and oil pastel on panel, mounted in an off white wooden tray frame.

£575

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Rockface

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Windy Dune

By luisa holden SWA

Mixed Media

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

Acrylic, watersoluble pencils, charcoal and oil pastel on panel, mouted in an off white wooden tray frame.

£575

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Windy Dune

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Daisy Chained - Hybrid

By helen merrigan colfer

Resin clay, steel, aluminium, Ink pigments

h: 61 w: 33 d: 24 (cms).

unique hand modeled mixed media sculpture standing on a stainless steel base.

£5800

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Daisy Chained - Hybrid

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Dartington Bowl II

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It must be Spring

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Shikomi (Preparation).

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'When you're a Girl'.

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Kimono Robe by Mother Nature.

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A Pot Full of Cherries

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Pansies with Sloes

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AN AUDIENCE WITH SLASH - GUNS N` ROSES

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On the Vine

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Creation Stories II

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Pit-Fired Jug with Apples

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Warrior I

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Somber Haze

By julie oldfield

Burnt and weathered copper sheet with oxidation and oil based paint.

h: 49 w: 41 d: 2 (cms).

This painting was created outside in changing weather conditions. Then dried out to form chemical reactions. Then oil based paint, pastel and pen and ink.

£890

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Somber Haze

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GREEK ODYSSEY II

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TUILERIES GARDENS

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Oxidised fragmented blue

By julie oldfield

Mixed media on oxidised brass sheet using chemical reaction with oil and water based paints, pastel and charcoal

h: 100 w: 151 d: 20 (cms).

This painting was influenced by the light and colour when travelling in Asia and Mexico. The effects of the weathing in brass gives a textural finish which I work into with material's.

£5800

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Oxidised fragmented blue

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Scorched trees

By julie oldfield

Burnt copper sheet with a build up of chemicals and paint to form texture

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

This painting was created in my log burner. The trees came through at the top of the painting. I added a texture for ground.

£580

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Scorched trees

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Keep calm, drink milk I

By Sharon Low | Liu Guo Fei SWA

linocut on Awagami unryu washi

h: 15 w: 18 d: 1 (cms).

a playful series about drinking milk, an important daily task for most young children

£300

£240 (Unframed)

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Keep calm, drink milk I

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Keep calm, drink milk II

By Sharon Low | Liu Guo Fei SWA

linocut on Awagami unryu washi

h: 15 w: 18 d: 1 (cms).

a playful series about drinking milk, an important daily task for most young children

£300

£240 (Unframed)

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Keep calm, drink milk II

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Keep calm, drink milk III

By Sharon Low | Liu Guo Fei SWA

linocut on Awagami unryu washi

h: 15 w: 18 d: 1 (cms).

a playful series about drinking milk, an important daily task for most young children

£300

£240 (Unframed)

Please Note: If you are overseas and interested in a purchase, please note that there will be additional costs for postage and packaging added to this price. Feel free to enquire about this using the button below.

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Keep calm, drink milk III

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Socially Enterprising i

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Socially Enterprising ii

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Serene Saxophone

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