Society of Women Artists : MEMBERS - 164th Annual Open Exhibition

The Pre-Raphaelite Garden.

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Running Wild

By annabeli thornton BA, SWA, ASEA

Acrylic

h: 61 w: 61 d: 4 (cms).

4 horses galloping, use of paint to create movement and structure

£550

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Running Wild

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Pitfired pot with copper

By jane gibson

Clay

h: 22 w: 19 d: 19 (cms).

Pot fired outside in a pit with various compustibles.

£200

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Pitfired pot with copper

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Windsor Castle

By margaret eggleton SWA SGFA

ink and watercolour

h: 25 w: 42 d: 1 (cms).

For reference i used my photos taken when painting plein air Windsor Castle last year. 100 artists took part.

£750

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Windsor Castle

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East End Promise

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One of Your Five a Day

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Ow Much!

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Floating hellebore

By nicola stratton tyler

oil on gesso panel

h: 25 w: 20 d: 1 (cms).

painted from life. I had never heard of floating hellebore heads until this year, when someone gave me some to float. I used quite a subtle limited palette.

£425

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Floating hellebore

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Snowdrop 'Diggory' in a terracotta pot

By nicola stratton tyler

oil on gesso panel

h: 25 w: 20 d: 1 (cms).

painted from life. I love snowdrops. A gardening friend had potted some up and had them indoors. I thought it would make a great subject and painted several studies in different lights and from various angles.

£475

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Snowdrop 'Diggory' in a terracotta pot

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Young willows and cow parsley

By nicola stratton tyler

oil on gesso panel

h: 20 w: 25 d: 1 (cms).

painted from life last May, in a favourite spot near home. This is a place I have returned to at different times of year on many occasions to paint. But the clouds of cow parsley in May are my favourite.

£475

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Young willows and cow parsley

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Platform

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VENICE CARNIVALE

By sue jelley

ACRYLIC & PASTEL ON CANVAS

h: 101 w: 76 d: 3 (cms).

Life can be a masquerade and art can take you on an exhilarating journey of discovery especially at the famous VENICE Carnival with the magical costumes to celebrate Mardi Gras

£3000

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VENICE CARNIVALE

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MEMORIES

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Be gentle with yourself

By tessa jane ASWA

Paper, fabric and stitch

h: 83 w: 36 d: 4 (cms).

Recycled fabric scraps, paper and canvas, screen printed, hand stitched and free machine embroidery. The body of work immortalises a cancer journey

£1295

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Be gentle with yourself

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Waist not want not.

By tessa jane ASWA

Textiles and wood

h: 60 w: 52 d: 28 (cms).

Recycled fabric scraps, screen printed, hand stitched and free machine embroidery. The body of work immortalises a cancer journey.

£995

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Waist not want not.

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Speak your truth quietly and clearly.

By tessa jane ASWA

Textiles

h: 40 w: 52 d: 42 (cms).

Screen printed fabric fragments, embroidered and hand embellished upholstered onto a sewing box. The body of work immortalises a cancer journey.

£1295

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Speak your truth quietly and clearly.

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Torso sketch

By sara myers

Terracotta with red oxide

h: 50 w: 20 d: 21 (cms).

£1950

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Torso sketch

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Pitfired pot with ferric.

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Green Shutters, Venice

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Lagoon, Venice.

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I Am Lost

By christine roychowdhury

Oil on canvas gold leaf

h: 120 w: 80 d: 2 (cms).

This painting was created as part of my exploration into the meaning of pink . I’d always hated wearing pink and as a child growing up and disappointed my mother by refusing to wear it .I dressed my mother in pink aged 90 and had been expecting that she would look old and sad rather unexpectedly she looked vibrant and beautiful my prejudice showed.. She started loosing her memory and one by one she forgot all those things she held as part of her almost as if the rats had got in and her memories burst and she became lost .

£6000

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I Am Lost

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Shimmering Light

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Autumn Chalk Stream

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Dreaming Dreams in The Garden of Eden

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Willowy Figure Le Marais 23

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Garden Foliage and Flowers

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'By the Harbour Wall, St Ives'

By kate newington

Acrylic on gesso panel

h: 46 w: 50 d: 2 (cms).

I have spent a good amount of time gazing out at and sketching the harbour at St Ives. The black harbour wall and often choppy waves around it are very familiar to me. This painting grew out of many collage and mixed media sketches that I made of the harbour and surrounding areas. I regularly spend time in St Ives and much of my inspiration comes from the vistas, textures, light and visual culture around me when I’m there. I also love painting patterning and texture and wanted to absorb some of these elements into the composition. I wanted to give the feeling of objects on a ledge or window sill, but also didn’t want the image to be too literal. I like working with acrylic on gesso panel because you can get wonderful crisp lines against the resistant white, slightly powdery gesso base.

£700

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'By the Harbour Wall, St Ives'

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General Dame Sharon Nesmith

By caroline de peyrecave SWA

Oil on canvas

h: 75 w: 60 d: 5 (cms).

Caroline was commissioned by the Royal Military Academy Sandhurst to paint a portrait of its first 4 star general, General Dame Sharon Nesmith DCB ADC; this painting was unveiled at The Royal Military Academy Sandhurst. Widely recognised throughout the military for her achievements, General Sharon has recently been promoted to Vice Chief of the Defence Staff (2nd in command of the UK Armed Forces) and has been appointed a Dame Commander of the Most Excellent Order of Bath (DCB). The unveiling of General Sharon’s portrait feels significant at a time when it has now been over 100 years of women in the Army and importantly since 2018 with the widening of roles available to include Combat as well as the more traditional roles in Intelligence, Signals and Administration. General Sharon is a huge inspiration to Servicewomen; her successes, borne in embodying authenticity and compassionate leadership, all whilst being a mother, demonstrate the value of change. General Dame Sharon Nesmith DCB ADC is the Vice Chief of the Defence Staff and in that pivotal role deputises for the Chief of the Defence Staff and has responsibility for running the armed forces aspects of defence business. The General commissioned from the Royal Military Academy into the Royal Corps of Signals in 1992, spending the majority of her early years serving in Germany, the Balkans and Iraq. Her service has been marked over those years by seismic change in the way the military has levelled the playing field for female officers and soldiers and General Sharon has been a beacon throughout that change.

£200000000000000

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General Dame Sharon Nesmith

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Hamamia

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Les Drus in the Clouds

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Mont Blanc Massif

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Evian

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Campbell's Soup

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'The Test Tube Vase'

By kate newington

Acrylic and mixed media on canvas

h: 46 w: 21 d: 2 (cms).

I was given a test tube vase as a present which then sat at the back of a cupboard for far too long. I recently got it out of the cupboard and put in it a single bloom. I used collage, acrylic and mixed media to make a long test tube shaped painting of this simple composition.

£380

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'The Test Tube Vase'

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Exploring the estuary walk

By janette summerfield RBSA SWA

Soft Pastel

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

This painting depicts a scene in Yarmouth, Isle of Wight. It is drawn using Unison soft pastels onto coloured Pastelmat. The image size is 27 x 27 cm; I find a square format very pleasing to work with. I’m always drawn to scenes that have colour, texture and pattern in them, I like to explore ways to depict these qualities in my work and this landscape gave me the opportunity to do just that. The stand out element in this scene was the water snaking across the landscape in a very powerful diagonal that pulls you from the bottom right hand corner towards the coloured shapes in the distance. My preferred medium of pastel allowed me to experiment with different mark making, allowing me to build up and create textures. This painting shows more blending than I usually employ, dictated by the water and the flatness of the land surrounding it. I applied vertical chunks of colour in the foreground, achieved by using the pastel on its side. I then layered more of these directional blocks of colour on top, some were the same colour, some tonal, while others were contrasting colours, again using random marks to add more depth. I like to create a crisp, clear line by carefully placing a piece of masking tape where I want this line to appear, then applying and blending the pastel right to the edge of the tape. Carefully removing the tape reveals a beautifully crisp line, which can be seen in various areas of this painting.

£625

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Exploring the estuary walk

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The diversity of an unspoilt landscape

By janette summerfield RBSA SWA

Soft Pastel

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

This painting depicts a landscape in Yarmouth, Isle of Wight. It is drawn using Unison soft pastels onto coloured Pastelmat. The velvet surface is made from a fine coating of cellulose fibres which allows multiple layers of pastel to adhere to its surface without using fixative. The image size is 27 x 27 cm; I find a square format very pleasing, though I’m not sure why. What attracted me to this scene were the grasses in the foreground, the way they clump together, the way some have been bent into interesting shapes by the wind. I love the structure of grasses and their tactile qualities. I was keen to explore ways of depicting them. My preferred medium of pastel allows me to experiment with different mark making, to build up and create textures. I began with applying chunks of colour in different directions, achieved by using the pastel on its side. I then layered more blocks of colour on top, some the same colour, some contrasting, some tonal, again using random marks to add more depth. After that I used the pastel on its side and ‘slid’ it across the layers making quick, random marks to depict the grasses. I like to create a crisp, clear line to my work; I place a piece of masking tape to where I want that line to appear, then apply pastel, making sure to blend it right to the edge of that tape. Carefully removing the tape reveals a beautifully crisp line.

£625

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The diversity of an unspoilt landscape

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An evening walk, Monday

By janette summerfield RBSA SWA

Soft Pastel

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

This painting depicts a landscape in the village of La Buxerette, a commune in the Indre department in Central France. It is drawn using Unison soft pastels onto a dark coloured Pastelmat. The velvet surface of the Pastelmat is made from a fine coating of cellulose fibres which allows multiple layers of pastel to adhere to its surface without using fixative. The image size is 27 x 27 cm; I find a square format very pleasing, though I’m not sure why. What made me want to paint this landscape was the rich ribbon of colour meandering through the scene. Pastel is a very versatile medium: it allows for experimenting with different mark making, allowing me to explore ways to depict the structural and tactile qualities of grasses and foliage, creating and building up textures. Blocks of colour were randomly applied, using the pastel on its side. Layers are built up by either using the same colour, or a range of colours. I like to create a crisp, clear line by carefully place a piece of masking tape to where I want that line to appear, then apply pastel up to the masking tape, blending it right to the edge of that tape. Carefully removing the tape reveals a beautifully crisp line. I applied this technique to several areas of the painting.

£625

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An evening walk, Monday

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Cloisters

By Laura Howarth SWA SWA

oil and cold wax medium on board

h: 24 w: 19 d: 1 (cms).

£595

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Cloisters

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Byway

By Laura Howarth SWA SWA

oil and cold wax medium on board

h: 24 w: 19 d: 1 (cms).

£595

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Byway

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Another Door Opens

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From Here to Eternity

By helen sinclair MRSS, PSWA

Bronze

h: 167 w: 86 d: 28 (cms).

£22500

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From Here to Eternity

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Still Life

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Sitting Figure

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Gratitude

By rachel ducker

Wire, plaster, ink, liquid gold

h: 45 w: 25 d: 17 (cms).

£1500

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Gratitude

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Stormy Skies

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Across the Fields

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Autumn Fields

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Yellow Crested Cockatoo (Critically Endangered)

By dr. linda smith PPSWA

Egg Tempera and 24 ct Gold Leaf on Canvas

h: 50 w: 40 d: 2 (cms).

The artwork was created to highlight the human impact on the animal kingdom. 46,300 species are threatened with extinction. This critically endangered cockatoo lives in Indonesia, Timor-Leste, China, Hong Kong and Singapore. They dwell in large trees and only 1200-2000 remain in the wild after a dramatic decline due to deforestation and illegal trapping for the cage bird trade and as a food source. Numbers are still decreasing. 10% of sales will go to the WWF.

£1250

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Yellow Crested Cockatoo (Critically Endangered)

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Flower Girl

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Grey Crowned Crane (Endangered)

By dr. linda smith PPSWA

Egg Tempera with 24 ct Gold Leaf on Canvas

h: 50 w: 40 d: 2 (cms).

The artwork was created to highlight the human impact on the animal kingdom. 46,300 (28%) species are threatened with extinction. This endangered crane dwells in African wetlands and forests and only 20,100-24,600 remain in the wild after a dramatic decline due to loss of habitat, pesticides, trapping, hunting and egg collecting for the pet trade. Numbers are still decreasing. 10% of sales will go to the WWF.

£1250

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Grey Crowned Crane (Endangered)

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Strike a Pose

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Mother and Child

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After The Feast

By liz watts SWA

Porcelain, glazed and unglazed, with gold, platinum, mother of pearl and bronze lustres

h: 32 w: 40 d: 50 (cms).

£4950

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After The Feast

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Pair of Dancing Tulip Vases

By liz watts SWA

Porcelain with gold lustre

h: 24 w: 21 d: 21 (cms).

Dimensions are approximate dimensions for each vase. Weight is combined weight of both vases

£1950

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Pair of Dancing Tulip Vases

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Uplifted

By kathy prest Prest

marble resin

h: 60 w: 28 d: 27 (cms).

Uplifted in form and spirit, this marble resin sculpture captures the elegance of human connection through dance.

£2850

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Uplifted

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Windswept Trees

By liz watts SWA

Porcelain with gold and mother of pearl lustres

h: 19 w: 30 d: 25 (cms).

£525

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Windswept Trees

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Dans Le Bois Mousseron

By liz watts SWA

Bronze

h: 31 w: 34 d: 50 (cms).

Sonnet written about the making of this piece., made after I had spent 8 years living in a deer forest in France. Sonnet To a Friend Ear antennae, Eyes Alert, muscles tight, Guard galleon stag, prize weighted on his head. On springboard hooves dust earth with spindle slight, Amorphous light shot body that you led. Day by day, by week. By pace. By month, by Yard by year, we closed the gap. Both froze heart, And held each other’s breath. Eye fixed to eye, With each in fear to move. Three steps apart. I strove to carve you from this clay. Pull rich Memories from clumsy hands. Slice legs fine, Slippered in the hooves. Form ears’ velvet twitch. Then, disbelieving, whittle down limb’s line But my dull hand and wit will always lack The skill, to bring you, breath from touching, back.

£7500

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Dans Le Bois Mousseron

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Manta ray Tug

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Composition with amphisbaena

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Composition with entwined form

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When web of night weaves its spell

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In memory of tree and fragile land

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The tapestry through rosehip hedge

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The patchwork of a country walk

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Treasure

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Renaissance

By ali mulroy

Oil on canvas

h: 103 w: 76 d: 3 (cms).

£3800

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Renaissance

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Hospital Days II

By sally ward

Oil on canvas

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

The second in a series of narrative paintings based on sketches of my son while in hospital. I have had the opportunity to sketch William for many hours during his regular treatments. This visual diary has created interesting compositional possibilities for paintings, allowing me to move away from traditional portrait formats and explore poses which reflect the intimacy of our time together in hospital.

£3000

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Hospital Days II

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Hospital Days

By sally ward

Oil on canvas

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

This is the first of a series of narrative paintings based on sketches made of my eldest son while he receives regular treatment for a chronic illness in hospital. I wanted this painting to convey the complex emotions we both feel and which I observe during our hospital days together: sadness, resignation, bravery, pride, strength.

£10000

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Hospital Days

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Wild Grapes

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Porthcothan Bay

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Spirit of the Race

By cathy read SWA

Watercolour and Acrylic Ink

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

Spirit of the Race – Towcester Race Course. Galloping Ghosts of the Landscape What do you see, first? The glorious gates or the hunched over horseback riders? Impressive, comes to mind, dramatic and elegant. I’m not a horse person, but I’ve been to a few race courses, and I can’t think of another with such impressive gates. A conversation with a friend had me revise my initial plan for this painting, and I’m so glad I did. The transient nature of the race is captured in the spirit nature of the horses and riders. So many metaphors in one painting. The transient nature of life and competition, the portal to a new dimension represented by the gates. What else does it evoke? Situated on the A5 or the Roman road of Watling Street near Towcester Town. The gates catch the eye. A combination of sturdy stonework and iron work, they appears flimsy but exude strength. The central gates remind me of my Nan’s lace doilies, a thing rarely seen in modern times. Fantastic, man made structures that seem to be fighting nature. Lines of construction against organic painting which describes a scene of weathering and decay. Blooms of paint mix haphazardly and spill outwards into the sky. Three horses are bursting out of the gates, but they also seem to be fighting to break free, along with their riders. Parts of the gateway are merged with the outlines of the horses. One long, confused mess of man, horse, stone and railings. The horses and riders depict the spirit of the venue, as ghosts of past race horses and riders that remain. They have come and gone in the long and noble history of horse racing in the UK. Gold and yellow dominates in parts. I’m reminded of a pot of gold at the end of the rainbow or a race, in this case. The winners takings, but there’s nothing for the “Also rans”, except next time things might change. Origins and Horse Racing History Racing at the Towcester course dates to the 18th Century., but had ceased to occur after 1798. The first meeting over the modern course took place in 1928. The Towcester Racecourse Company was formed under the direction of Sir Thomas Fermor-Hesketh, later 1st Lord Hesketh, and it was there on his estate of Easton Neston, that the course was sited, and the first grandstand built. Towcester was popular among the racing fraternity, mostly because of the sharp bends in the course, and the final gallop to the finishing post was uphill, which tested the horses and results in some unexpected finishes. Sadly it closed to horse racing as of 2024 but is still in use as a Greyhound Course. Evolution of the Title I confess I’m not a sports fan and the spirit of the race eludes me. That said, I can see the appeal of horse racing. The magnificent beasts, the thrill off the race as they pass. At first, I’d planned on calling this First Out the Gate – Towcester Race Course. After a while I felt the Spirit of the Race was more fitting, the horse and riders are lost in the scene. Among the confusion of lines and paint, echoes of long past rider and animals remain, free to race wherever they may. The spirit of the race continues.

£1350

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Spirit of the Race

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Still Life With Apples

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Visiting the Museums

By cathy read SWA

Watercolour and Acrylic Ink

h: 41 w: 51 d: 1 (cms).

Visiting the Museums During the school holidays, this tunnel is always busy. It's the route to Museum Road in London. This is how you get to the Natural History Museum, Science Museum, the Victoria and Albert Museum from South Kensington Station when visiting the museums. This is one of the exits, photographed in passing, as I went with my family to the Natural History Museum. The resulting painting is lighter than I'd imagined a feature of the process, and one I've learned to embrace. The golden brickwork partially responsible for this glow. The contrasting light is what drew me to the image. That and the fabulous Iron Gates. Circle inspired, it's a great eye watching over the visitors and travellers. I wonder if it was intentional? So much of the architecture in this area is brimming with details. It's hard to discover what any of the creators had in mind. The depth of creative expression is so strong, it spills over into every tiny detail, no matter how insignificant a role it might have in the structure and use of the building. I find this attention to detail fascinating and also reassuring for, no matter how I might view it aesthetically, I'm sure this attention to detail is behind its survival for so many years. And will continue to contribute to its ongoing survival. Such structures are more than a repository or a tunnel. They are the backdrop of collective memories of childhood and family experiences too numerous to mention. Like the group at the bottom of the stairs. I think they are together? The figure bending and listening to the small child as the mother or the child is with a partner or friend or carer and I wonder what she's saying to him. They're obviously returning home after a visit to the museums. I wonder what they saw? My figures tend to merge into the scene and the process of painting renders a degree of anonymity, which I like to preserve. We can't even see facial details or gauge their mood. You'll have to figure that one out for yourself.

£740

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Visiting the Museums

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Still Life With Lantern

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Great Northern Railway Station

By cathy read SWA

Watercolour and Acrylic Ink

h: 40 w: 50 d: 1 (cms).

Great Northern Railway Company. What is it that appeals to you about your favourite place? I have many favourite places, but there are some things that they have in common. Great lighting makes a painting. I’m attracted to many types of lighting, for this one it’s the night light. The city at night takes on the charm, sometimes lacking in the daytime. Even the most drab of scenes can appear magical with the right lighting. In the Great Northern Railway Company, we see a building on fire with light. The colour so vibrant, rich hues, from Red through orange to gold and then white. Five round orbs of light mark street lights, then the column of light rising up in the apartment/office/hotel building beyond. There are even a few lights in the Windows. The light is reflected in the wet paving of the square and even on the metal handrails leading up dark steps. Atmosphere in a painting teases out curiosity. What's going on here? The scene appears deserted but is it? I fancy that I can see figures in the distance, between the bright lights, reflections and hidden shadows. I could look at the original photograph to find out, but part of me wants to maintain the mystery though. Should I tell you? Or would you rather speculate as well? Great Architecture is my artistic inspiration I held off creating this painting for a while but I’m glad I finally painted it. So much has worked out better in real life, than had in my imagination. My only regret is that it should have been bigger. Maybe I’ll revisit it, only time will tell? I must research the building and share my findings. That it’s a landmark in Manchester, is a given. It’s close to Central Station. And there are lots of railway buildings in that area.

£740

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Great Northern Railway Station

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Orange Jam

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Crown of Thorns

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The Blue Pitcher

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Porcelain Girl

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The Dancer

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Man of The Sea

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Obolo

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Autumn turns to winter

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Winter light

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Across the meadow

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Sunday on the downs

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Along the River, Syon Park

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Aurora

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Shima's Toys

By anastasia shimshilashvili

Oil on Canvas

h: 120 w: 100 d: 6 (cms).

Self-portrait

£4000

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Shima's Toys

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Adam

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A Bitter Wind

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Waters Edge

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Kerbside

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Beyond the Wall

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Opaque Vapour Light

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A Long Glance

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Wings of the Wind

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Violet Harvest

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Memories of the Golden Hind

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