Alistair Michie was the son of Anne Redpath, the famous Scottish colourist working in the first half of the 20th century. He was obviously very influenced by her works and 1962 he went to the Venice Biennale and saw the works of Mark Rothko and other influential and important 20th century Abstract Expressionists. From that point on he purely painted abstracts. He was a member of the Royal West of England Academy and a fine painter whose work is recognised as being some of the best produced in the 20th century. 

​This is one of the earliest works by the collaborative artists Cornford & Cross.

​I firmly believe that artists produce some of their finest work at Art School when their mind can range freely without the need to impress or be commercial.

​This fascinating piece from their time studying shows all of these facets.

​There was an awful lot of rubbish produced in the 60's and 70's that sold itself as Pop Art. It lacked structure and form and were basically blocks of colour.

​At Kempton Park last week I saw a fabulous water colour by Charles Whymper. The picture was small, of a family group in fine un-faded condition from the last quarter of the 19th century. It was not a typical subject matter but a delight. Twenty years ago this picture would have been selling for at least £1000 pounds. In today's market the dealer wanted £200 and would probably have taken less. This has been the face of Victorian art over the past 2 decades

​I purchased this large, atmospheric landscape painting from John O'Conner in the late 1980's. It then moved half way around the world to Australia where it hung for nearly 30 years until I bought it back from my clients on their return to England!

This oil on board by Italian artist Bruno Paoli pay homage to Matisee and the strong design quality of the Fauvism, with the horizontal and vertical forms, which draw the viewer into the picture and through the window to the outside world. ​The centre of attention is not the two figures depicted, but rather the bowl of fish on the floor echoing the converging points of the golden section.