Skymeadow Gallery

14/10/2026

We love the contemporary landscape paintings of Simon Carter, such as this one titled ‘Decoy’.

Simon paints the Essex and Suffolk coastline often, as in this case, from the sea wall.

His process is iterative, starting with multiple drawings and sketches before eventually arriving at a finished painting.

His paintings lie somewhere between figurative and abstract and invite a personal response to the landscape observed.

Simon Carter
‘Decoy’
Framed dimensions: 73 x 85 cm
For price information please contact the gallery

08/10/2026

Glyn Morgan, coastal scene. Morgan was a pupil at Benton End.

Morgan said “Benton End was a world apart where painting was the most important thing in life”.

As recounted in Hugh St Clair magnificently researched book ‘A Lesson in Art & Life’ which vividly brings out what life at Benton End was like.

Glyn Morgan
‘A house by the sea’
Framed dimensions: 63 x 74 cm
Price: £1,500
* Skymeadow will cover the ARR (artist’s resale rights) and the cost of shipping to a UK address on a complimentary basis.

05/10/2026

The Thames at Henley with a view to St Mary’s church painted by Ronald Ossory Dunlop.

Dunlop’s 1950s paintings executed almost entirely with a palette knife, layering paint stroke by stroke, have an incredibly pleasing quality.

This painting captures the quality of the evening light spilling accross the river perfectly.

Dunlop has captured just the right amount of the view he is painting (his composition) framed by the trees on the right and with the sense of the river flowing out of the painting and carrying on past us, the viewer.

Ronald Ossory Dunlop
‘The Thames at Henley with St Mary’s Church’
Framed dimensions: 86 x 98 cm
For price enquiries please contact the gallery

02/10/2026

Painted by Lucy Harwood in 1963, this still life was aquired originally by Arther Lett- Haines and then entered the collection of the portraitist and flower painter Mary Millar Watt.

Harwood gathered together everyday items (in this case a porcelain Staffordshire spaniel, a gluggle jug and a vase of flowers) and gave them an almost jewel like quality.

Harwood originally dreamt of a life as a professional pianist but a botched operation on her right arm in her late teens put paid to this ambition and she turned up on the doorstep of Benton End seeking painting lessons.

Unlike the other pupils (Lucien Freud among them) who grew wings and went off to plough their own furrows Lucy would remain a part of the Benton End community for the rest of her life.

She considered herself a ‘dedicated Post-Imoressionist’ with an affinity for Van Gough and Gauguin. Sir Matthew Smith admired her bold palette and flamboyant impasto as well he might because her work does have a sort of vivid ‘fauve’ quality to it.

I once happened upon a painting she made in her mid teens before the failed operation and whilst it displayed a definite sensitivity I believe her work also reflects a sort of freedom and courage she found as a result of using her non dominant hand.

She worked tirelessly and displayed courage in other areas of her life, travelling to far distant lands entirely on her own.

This painting was exhibited at Lucy Harwood’s retrospective exhibition held at The Minories, Colchester in July 1975.

Lucy Harwood
‘Still life with Staffordshire spaniel’
Framed dimensions: 82 x 72 cm
For price enquiries please contact gallery

01/10/2026

30/09/2026

An artist whose work almost never comes up in auction ‘The Rainbow’ by Harry Hambling is a perfect example of his powerful use of colour and his intimate yet bold design.

Harry Hambling (father of Maggi Hambling) had a series of sell out exhibitions and was collected by George Melly, Delia Smith and Sir Cedric Morris himself.

Harry Hambling (British 1902 - 1998)
‘The Rainbow’
Framed dimensions: 58 x 69.5 cm
Exhibited: The Minories, Colchester ‘My family and other artists’ June 2025
Please contact the gallery for price enquiries

29/09/2026

Small objects that cause an outsized amount of pleasure, next up a cream jug from 1739.
Art dealers handle a ‘succession’ of beautiful objects. Aren’t we lucky!

24/09/2026

Sir Alfred Munnings? An enigma.

This Bacchanalian procession bears the hallowed initials A.J.M.

Purchased originally from a Cornish Country House auction could it herald from the great painters ‘Cornish’ period?

Between 1910 and 1914 he certainly lived in Newlyn alongside Harold and Laura Knight, Lamorna Birch, Dod and Earnest Procter, in an artist’s colony.

We can rest assured there was plenty of drinking, but what about nudity?

Munnings frequently attended the notoriously scandalous Chelsea Arts Ball.

In 1925 he painted a massive oil canvas titled ‘Sun Worship’ as a drop cloth for the event, which contains splendidly large n**e figures (swipe to slide five).

The ball had a reputation for nudity sufficient that by 1936 they themed the party ‘The Naked Truth’ rather underlining the point!

So what of our baccanalian dance?

Could it have been a sketch, a sort of loose plan for a work intended by the artists commune in Newlyn to promote the Chelsea Arts Ball? A drop cloth never made or made and now lost?

Is it the work of several hands? An artist’s colony in motion, so to speak? It feels to me there may be something of this to it, the tiger, certainly, sits somehow apart from the rest of the work.

Was Munnings a dauber among a succession of daubers? Might he have loosely started something others finished or never touched the canvas at all?

For various reasons I think these questions will likely remain forever shrouded. The painting is an enigma, but it is a happy one. A mystery but a strangely satisfying one.

Circle of Sir Alfred Munnings
‘Baccanalian Procession’
Framed dimensions: 65 x 75 cm
For price enquiries please contact the gallery

23/09/2026

This magnificent early Munnings ‘Sunset on the river, Hoxne’ sold this afternoon at Bonhams for £152,800 (inc premium) against a guide of £40,000 - £60,0000.
Well done whoever bought it, a cracking painting 💫

22/09/2026

After decades hidden in an East Anglian private collection the ‘Scarecrow’ by Great Bardfield artist Michael Rothenstein is now back on the market for the first time in half a century.

Rothenstein moved to Great Bardfield in 1941 originally living with the artist John Aldridge and alongside Paul Nash and Graham Sutherland.

Great Bardfield soon became an artistic powerhouse, building on the legacy initiated by Eric Ravilious and Tirzah Garwood.

Michael Rothenstein
‘The Scarecrow’
Framed dimensions: 60 x 71 cm
For price enquiries contact gallery