Exhibition: Battersea Decorative Fair, 4-8 May 2022

Henry shall be taking a selection of paintings, works on paper and photography to the Battersea Decorative Fair from 4-8 May 2022. The fair is held at Evolution London, Battersea Park, London SW11 4NJ.

Henry will be exhibiting on Stand A27. Online booking is required and can be done via the link below.

Below is a sample of the collection of works that Henry will have with him at the fair. Do not hesitate to get in contact, should you have any queries about any of the works in his collection.

Manfred Henniger, (German 1896-1986), Bathers, watercolour on paper, signed (lower right), 48cm x 66cm (75cm x 92cm framed), £3,000

An exile from Germany from 1933 to 1949 due to his political views, he returned to Stuttgart to the Kunstakademie. Throughout his career, he was fascinated by landscapes and the motif of bathers.

James Gleeson, (Australian 1915-2008), Figure in a Psychoscape III, c.1980s, oil on board, signed (lower right), 24.5cm x 19cm (40cm x 35cm framed), £8,500

An artist, who also served on the board of the National Gallery of Australia, was a truly original painter. By the late 60’s, many of his paintings had homoerotic undertones, something which reflected on Gleeson's own homosexuality. In keeping with the Freudian principles of surrealism, he composed works which, he said, symbolized the inner workings of the human mind.

Marcel Delmotte, (Belgium 1901-1984), Figure Study, 1930, black and red chalk on paper, signed and dated (lower right), 28cm x 20cm (47cm x 39cm framed), £1,750

Delmotte was a painter, draftsman, watercolourist and Belgian sculptor. A realist painter at first, he was influenced by Expressionism of the beginning of the century. An impressive list of gallery exhibitions of his work during his lifetime, either independently or as part of a group, indicate that he was a known and successful figure in art worlds of Belgium and Europe.

Michael Murfin, (British b.1954), Finishing Off, 2022, pastel on paper, signed (lower left), 72cm x 59cm (93cm x 78cm framed), £3,500

Murfin has exhibited widely, both in the UK and internationally. His work is contained in many regional art galleries, as well as the Government Art Collection.

Frank Brangwyn, (British 1867-1956), Men in a Bakehouse, 1908, etching, signed in pencil (lower right), 51cm x 64.5cm (plate size) (81cm x 94cm framed), £1,500

Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. His work is held in many public galleries.

Michael Leonard, Painter & Illustrator by Patrick Bade (with foreword by Sir Roy Strong, C.H.)

We are pleased to announce the release of this comprehensive text on the life and work of Michael Leonard, now available to purchase through Henry Miller Fine Art..

For over half a century Michael Leonard has proved to be one of Britain's most versatile and popular artists. Born in 1933, by the late 1960s he had come to public attention as a talented illustrator, with his images featuring prominently in the Sunday Times Colour Magazine and on book covers. By the mid-1970s he had devoted himself to fine art and since then has been regarded as one of Britain's leading photorealistic painters, especially acclaimed for his nudes, which combine precise brushwork and luminous intensity with abstract qualities of design.

Leonard has appeared in group exhibitions as well as one-man shows internationally. His series 'Portraits in Time' shows his sitters depicted in the style of the Old Masters, while in the mid-1980s he was commissioned to paint the Queen's picture to celebrate her sixtieth birthday; his portrait of her now hangs in London's National Portrait Gallery. Apart from portraiture, he has long been celebrated as a wonderfully assured painter of landscape and dynamic studies of the human form and as an illustrator and photographer. 

Patrick Bade's intimate yet comprehensive study of the artist's career reveals his artistic development in all its variety. Lavishly illustrated with paintings, drawings and photographs, this is a seminal book for admirers of his work.

The book is available in two formats: the standard edition is available via www.michaelleonardbooks. A slip-cased version, in a limited edition of 100, is only available via Henry Miller Fine Art

Open House Sunday: 27 February 2022

Henry will be opening his home gallery again for an Open House on Sunday 27 February. The collection spans many centuries and types of media, including paintings, drawings, prints and photography from the 17th Century to the present day.

Online booking is essential via the website and link below. Numbers are limited per hour to ensure that visitors are evenly spaced across the day. We hope to see you there.

If you are unable to make it, and would like to know about any of the pictures in the collection, do not hesitate to get in contact with Henry

Exhibition: Battersea Decorative Fair: 25-30 January 2022

Henry shall be taking a selection of paintings, works on paper and photography to the Battersea Decorative Fair from 25-30 January 2022. The fair is held at Evolution London, Battersea Park, London SW11 4NJ.

Henry will be exhibiting on Stand A30. Online booking is required and can be done via the link below.

Below is a sample of the collection of works that Henry will have with him at the fair. Do not hesitate to get in contact, should you have any queries about any of the works in his collection.

Walter Stuempfig, (American 1914-1970), Bathers at Cape May, c.1943, oil on canvas, signed (lower right), 81cm x 89cm (100cm x 110cm framed), £9,500

One of Philadelphia’s most highly regarded painters of the mid-twentieth century, Stuempfig maintained a resolutely realistic style firmly based in the academic tradition. Purchasers from his first solo show in New York in 1943 included the Whitney Museum and the Museum of Modern Art. The painting in MOMA’s collection is titled ‘Cape May’, painted in 1943.

Brian Stonehouse, M.B.E., (British 1918-1998), Striped Shirt and Cap, c.1970s, charcoal, watercolour, gouache and ink on pink paper, 62cm x 48cm (83cm x 66cm framed), (Provenance: the Artist’s estate), £1,750

Following a career in Special Operations during the war, Stonehouse went to the US and continued his career as a fashion artist painting for magazines like Vogue, Harper's Bazaar and Elizabeth Arden. He was also an accomplished portraitist.

There will be a selection of works by Stonehouse at the fair.

Francis West, (British 1936-2015), Ennui, 2009, charcoal on paper, 69cm x 98cm (79cm x 107cm framed). £5,000

Difficult to categorise in any particular style or movement, his work is steeped in the knowledge of the great traditions of figurative art. An extraordinary draftsmen, his work exudes an inimitable style of its own, full of wondrous people, mythical creatures and performing animals.

French School, Academic Study, 1857, pencil on paper, dated (lower right), 55cm x 44cm (76cm x 64cm framed). £3,000

Drawings and paintings of the nude, called "académies", were central to academic art training in France from the 16th century onwards. Only after acquiring enough skill were artists permitted to draw a posed live model.

Grigori Minski, (Ukrainian 1912-2011), Naval Cadet, c.1960s, oil on board, signed (lower right), 33cm x 43cm (42cm x 52cm framed), £1,250

A hugely successful Soviet/Ukrainian artist, who was awarded a solo exhibition of his work in the National Museum of Ukraine, Kiev in 1998.

Open House Sunday: 5 December

Henry will be showing works from his large collection on Sunday 5 December. The collection spans many centuries and types of media, including paintings, drawings, prints and photography from the 17th Century to the present day.

There are still a few places left. Online booking is essential via the website and link below. Numbers are limited per hour to ensure that visitors are evenly spaced across the weekend. We hope to see you there.

Exhibition: Coningsby Gallery, 5-11 September 2021

We shall be taking our collection of paintings, prints, photography and works on paper to the Coningsby Gallery, 30 Tottenham Street, London, W1T 4RJ from 5-11 September 2021. Things remain a little different; there is no private view and no printed catalogue. However, there is no need to book and all are welcome. We very much hope to see you there.

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Open House Weekend: 31 July | 1 August

Henry will be showing works from his large collection across the weekend of 31 July | 1 August. The collection spans many centuries and types of media, including paintings, drawings, prints and photography from the 17th Century to the present day.

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Online booking is essential via the website and link below. Numbers are limited per hour to ensure that visitors are evenly spaced across the weekend. We hope to see you there.

Open House Weekend: 26|27 June 2021

Henry will be showing works from his large collection across this coming weekend. The collection spans many centuries and types of media, including paintings, drawings, prints and photography from the 17th Century to the present day.

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If you haven’t booked already, there are still a few places left. Numbers are limited to 6 people per hour to ensure social distancing and to remain covid compliant. We hope to see you there.

The Male Form at Bonhams, a collaboration with Henry Miller Fine Art: 16 June 2021

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The Male Form at Bonhams, to be held on 16 June 2021, is a cross-disciplinary sale celebrating the myriad representations of the male form throughout history. Held at New Bond Street, London, and assembled in collaboration with Henry Miller Fine Art, this auction will bring together artefacts and artworks from different cultures and eras, all concerned with the depiction of masculinity and male beauty.

The full catalogue is now available online, with extended commentaries for each lot, as well as curated selections by Henry and the artist and designer, Luke Edward Hall.

Exhibition: Coningsby Gallery, 19-25 April 2021

Following the planned opening up of non-essential retail in April, we can announce that we shall be taking our collection of paintings, prints, photography and works on paper to the Coningsby Gallery, 30 Tottenham Street, London, W1T 4RJ from 19-25 April 2021. Things remain a little different, due to the ongoing restrictions; there is no private view and no printed catalogue. However, there is no need to book and all are welcome. We very much hope to see you there. (PLEASE NOTE THE EXHIBITION HAS BEEN EXTENDED UNTIL 25/4)

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Welcome to 2021! Some new additions to the collection....

Happy New Year to everyone. We hope you have had the best Christmas possible during these extraordinary times.

Thank you to all those who came to our December exhibition at the Coningsby Gallery. It was wonderful to see people in person for the first time for a year. Covid permitting, we are hoping to be back in Fitzrovia in April. Henry’s home galllery remains closed to visitors, although please do not hesitate to get in contact should you have any queries about pictures. High resolutions photos can be provided, and international and domestic shipping is working as normal. Free delivery is available in the London area.

Despite everything that is going on, Henry continues to update his collection of works for sale. Below are some new additions.

(N.B. If you are reading this in your email feed, the piece reads better on the website. Just click the title and it will take you to the blog.)

Claudio Bravo, (Chilean 1936-2011), Fur Coat (Front and Back), 1976.

Lithograph, signed and dated (lower right), and marked 66/75 (lower left), each work 56cm x 49cm (79cm x 60cm framed), £4,000 for the pair.

Bravo was a hyperrealist artist of extraordinary talents. Leaving Chile aged 21, after spells living in Spain and New York, Bravo settled in Tangiers in 1972. Despite exhibiting internationally throughout his highly successful career, he resided in Morocco for the remainder of his life. He had found the colours and light he was searching for, away from (as he put it) the drabness and cement of cities. His work, although retaining its destinctive character, became infused with Morocco culture and the people around him. Most of his models were workers in his houses, their friends and even the telephone repair man. He was known mainly for his paintings and drawings of still lifes, portraits and packages, but he also produced series of prints. This print is after a pencil drawing of the same name, also from 1976.

His work is included in many public collections, including the Metropolitan Museum of Art, New York, the Museum of Modern Art (MOMA), New York, and the Museum of Fine Art, Boston, to name but a few.

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Jean-Marc Prouveur, (French b.1956), The Portugese Man.

Cibachrome print, five works to be displayed as one, overall size, approx 101cm x 160cm, framed, £1,950.

A French artist and filmmaker who, after moving to London in 1976, collaborated with Derek Jarman. He was involved in the making of Jarman’s cult film Jubilee in 1977. This Cibachrome print (a process which reproduces film transparancies onto photographic paper), recreates fragments from a wall mural; five separately framed pictures combine together to make a striking, perhaps revolutionary, image. Prouveur exhibited widely in New York, London, Paris, Amsterdam and Rome.

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Harold Kitner, (American 1921-2004), Male Figure, 1958.

Oil on paper, signed and dated (upper left), 58cm x 45cm (77cm x 61cm framed), £1,250.

Kitner had a successful career as an artist, alongside his tenure at Kent State University, Ohio for 38 years. He exhibited widely in the US. This work is clearly influenced by the artists of the Bay Area movement, such as David Park (American 1911-1960).

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Valentin Stepanovich Tereschenko (Russian b.1941), Academic Study, c.1960s.

Charcoal on paper, signed (lower left), 74cm x 49cm (83cm 57cm framed), £1,250.

A Russian artist who has exhibited widely both in Russia and abroad. Drawings of the nude, called academic studies, were central to academic art training in Europe from the 16th century onwards. With the decline of academic art in the Western art tradition, the practice declined in importance. However, in Russia the practice still continues today.

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Patrick Hennessy, R.H.A, (Irish 1915-1980), Bound Figure.

Pastel on paper (fixed to board), signed (lower right), 110cm x 77cm, (120cm x 89cm framed), £5,000.

Throughout his career, but especially in the early years, Hennessy made a living from flower paintings, still-lives and portrait commissions. However, alongside this conventional output, he also created a body of work which was far more personal and, for its time, ground-breaking. He addressed issues of masculinity, sexual identity and homosexuality, which, for post-war Ireland where it was still illegal and considered morally repugnant, was highly extraordinary and extremely brave. A major retrospective of Hennessy’s work was held at the IMMA Dublin in 2016. Discovered in Paris, this work is possibly from the period immediately prior to WWII, when Hennessy was briefly resident there.

For further information about Patrick Hennessy, please click HERE

ART FOR £1,000 or LESS

In addition to the wider collection, the catalogue of works for sale at £1,000 or less remains online, with free domestic shipping for unframed works, and the remainder of shipping at cost.

Please do not hesitate to get in contact, should you have any queries.

Exhibition: Coningsby Gallery, 14-20 December 2020.

It is with great pleasure that we can announce, that we shall be taking our collection of paintings, prints, photography and works on paper to the Coningsby Gallery, 30 Tottenham Street, London, W1T 4RJ from 14-20 December 2020. It is our first exhibition in a public space in 2020! There is no need to book and all are welcome. We very much hope to see you there.

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Exhibition: Open House Weekend: 31st Oct / 1st Nov, 11am - 6pm

Henry will be opening his home gallery again over the weekend of 31st October / 1st November. With advance bookings and limited numbers of people every hour, previous Open Houses have been a real success, being fully booked on every occasion. Everyone has been very respectful of social distancing and mask wearing, and we offer hand sanitizer throughout the gallery, so the whole experience is easy and enjoyable.

Henry will be showing works from his large collection, including some recent acquisitions in the catalogue linked below. The collection spans many centuries and types of media, including paintings, drawings, prints and photography from the 17th Century to the present day.

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Due to the ongoing covid-19 situation, attendance is by appointment. To ensure safe social distancing, places are limited to 4 people per hour. Booking can be made online via the link below. Once the booking is made, you will receive a confirmation email. Please check your spam, if it does not arrive! If you have difficulties with booking online, do not hesitate to contact Henry. We hope to see you across the weekend.

Artist Focus: Sascha Schneider, (German 1870-1927)

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Sascha Schneider in his studio in front of his painting “Um die Warheit’ (The Truth), c.1902

Born in Saint Petersburg in 1870, Sascha Schneider grew up in Zürich and moved to Dresden in 1889 where he studied at the Academy of Fine Arts. He started exhibiting in 1894 and opened his first studio in 1900 where he created works that optimised and glorified the male body as an object of desire, as depicted in his large scale masterpiece “The Truth” (Um Die Warheit) from 1902. 

An enfant terrible of the German symbolist movement, his work rejected a realistic depiction of the natural world, in favour of imaginary dream worlds populated with mysterious figures from literature, the bible, and Greek mythology. What set him apart from other symbolist artists of the time was the overriding homoeroticism which permeated most of his work, perhaps explaining why, although highly successful, he never actually received proper recognition from the art establishment (one of his sculptures was rejected for “incitement to unnatural fornication”).

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images below: Der Anarchist, c.1896-1900, wood engraving on paper mounted on card, Henry Miller Fine Art; Das Gefühl der Abhängigkeit, (The Feeling of Dependence), c.1896-1900, wood engraving on paper mounted on card, Henry Miller Fine Art

In 1903, he met the best-selling author Karl May who commissioned Schneider to create a series of new book covers for his popular novels and travel stories.  May was one of Germany’s most famous novelists, his Western adventures sold millions of copies and brought Schneider’s work to a vast audience. May knew of, and accepted, Schneider’s homosexuality and what started as a unique creative relationship and a visionary friendship between two artists, became the basis for the reinterpretation of May's novels as a complete work of art.  The classically inspired works on the covers though bore hardly any relation to the content of May’s stories and at the end the publisher, unhappy with the ambivalent nature of these pictures, had them replaced in later editions. (These original books are still available through websites such as ebay, and are a great way into collecting his work.)

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images below; Karl May: Old Surehand, 1904; Karl May, Am Rio de la Plata, 1904; Karl May, Peace on Earth, 1904.

In 1904, Schneider was appointed professor at Weimar’s Grand Ducal Art School, a post previously offered to Gustav Klimt who had turned it down. As an artist, Schneider focused on the beauty of the male nude and while he never hid the fact that he was homosexual, he considered himself a social outsider – both as an artist and as a gay man (homosexuality was illegal in Germany at the time) and never fitted in within the local art scene.

At the time he lived with the painter Hellmuth Jahn. Jahn however subsequently blackmailed him, and threatened to expose his homosexuality. As a result in 1908, Schneider fled to Itlay where he started developing new ideas of how to change society through art. He lived in Florence until 1914 and moved back to Germany at the start of WW1.

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images below: Der Gram (The Grief), c.1896-1900, wood engraving on paper mounted on card, Henry Miller Fine Art; Mammon and his Slave, c.1896-1900, wood engraving on paper mounted on card, Henry Miller Fine Art.

In 1919 he founded the Kraft-Kunst Institut in Dresden. It was basically a gym with artistic aspirations in which Schneider’s sculptures and paintings could be displayed alongside exercise equipment, mirrors and actual body builders whom he used as models.

He regarded the beautiful naked male physique as art in its own right. The creation of the institute also corresponded with the emergence of a fresh approach towards the human body and new interpretations of physical beauty. Rooted in classical antiquity and working with the ideal image of man, his work was groundbreaking as it sought to conceptualise and celebrate homosexuality through art; something quite extraordinary 100 years ago.

The Kraft-Kunst Institut, Dresden, c.1920s.

As a sculptor Schneider didn’t want to limit himself to clay and bronze. He wanted to shape the human flesh itself by means of strength training and body building. He could see beauty (and art) in a well shaped musculature so he started working with real people, presenting his ‘ideal bodies’ on stage in a performance at the Dresden Albert Theatre that included choreographies with titles such as ‘Ancient Wrestling Matches’ and ‘Exercises and Games from Ancient Physical Culture’.

Sonnenanbeter (The Sun Worshipper), Schloss Eckberg, Dresden.

Sonnenanbeter (The Sun Worshipper), Schloss Eckberg, Dresden.

Sascha Schneider died in 1927. In recent years he has being rediscovered as one of the first openly gay artists, and a leading light in the health and body culture movement at the turn of the 20th century. In 2013, a major retropsective of his work was held at the Kunsthalle, Weimar, which then transferred to the Leslie Lohman Museum in New York. The exhibition catalogue, Sascha Schneider, Visualising Ideas Through the Human Body, is extremely good, if you are able to find one online.

Exhibition: Open House Sunday: 27 September 2020; 11am - 6pm

Following last month’s Open House Weekend, Henry will be opening his home gallery again on Sunday 27 September for another Open House. With restrictions and rules getting clearer, we decided to see how we could make it work, and with advance bookings and limited numbers of people every hour, the Open House Weekend was a real success. Everyone was very respectful of social distancing and mask wearing, and we offer hand sanitizer throughout the gallery, so the whole experience was easy and enjoyable.

Henry will be showing works contained in his Summer 2020 Catalogue, as well as others from the collection. The collection spans many centuries and types of media, including paintings, drawings, prints and photography from the 17th Century to the present day.

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Due to the ongoing covid-19 situation, attendance is by appointment. To ensure safe social distancing, places are limited to 4 people per hour. Booking can be made online via the link below. Once the booking is made, you will receive a confirmation email. Please check your spam, if it does not arrive! If you have difficulties with booking online, do not hesitate to contact Henry. We hope to see you across the weekend.

Exhibition: Open House Weekend: 22 & 23 August 2020

It is with great pleasure that we can announce that Henry will be opening his home gallery again for an open house weekend on 22 & 23 August. Henry will be showing works contained in his Summer 2020 Catalogue, as well as others from the collection. The collection spans many centuries and types of media, including paintings, drawings, prints and photography from the 17th Century to the present day.

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Due to the ongoing covid-19 situation, attendance is by appointment. To ensure safe social distancing, places are limited to 4 people per hour. Booking can be made online via the link below. Once the booking is made, you will receive a confirmation email. Please check your spam, if it does not arrive! If you have difficulties with booking online, do not hesitate to contact Henry. We hope to see you across the weekend.

Collection Highlight: Peter de Francia (British 1921-2012)

(N.B. If you are reading this in your email feed, the piece reads better on the website. Just click the title and it will take you to the blog.)

Peter de Francia was a British artist, born in France in 1921. He grew up in Paris, studied first at the Brussels Academy, and then, after fleeing the German invasion and joining the British army during the war, at the Slade School of Art in London. For a brief but formative period he lived in post-war Italy, before returning to London in the late 1940s.

Renowned in Britain and Europe as an artist of great integrity, de Francia established his reputation in the 1950s with his distinctly powerful paintings and drawings, often influenced by social realism and as relevant today as they were half a century ago.

The Bombing of Sakiet, 1959, oil on canvas, Tate Gallery, London (on long term long from Tunisian Embassy).

Like many of his post-war contemporaries, de Francia used his art as a means of social commentary, although he did suggest that he only ever made two actual political paintings: The Bombing of Saskiet (in the Tate Modern collection) and African Prison (in Sheffield Museums collection), both from 1959.

African Prison, 1959, oil on canvas, Sheffield Museums Collection.

African Prison exposes the horror of man's treatment of his fellow man. The highly finished study for the painting in our collection, a pen and ink wash drawing, is exceptionally powerful whilst retaining a level of sensitivity found throughout de Francia’s work. The figures despite clearly living in desperate conditions, are bound together in their humanity and common cause. De Francia himself once reflected that he could convey more emotions in his drawings than his paintings.

Study for African Prison, 1959, pen and ink and wash on paper, 45cm x 63cm, (61cm x 83cm framed), Henry Miller Fine Art, £2,000

While some of de Francia’s subject matter has aligned him with the so-called 'Kitchen Sink' artists of 50s and 60s Britain, his work also explored other less gritty topics. In Picnic in the Quarry at Lacoste (in our collection), a group of workers in Provence take a break from their labours. De Francia beautifully captures their camaraderie and simple pleasures whilst sheltering from the sun, in this highly atmospheric picture. In 1957, he had bought a house in the village of Lacoste in Provence and used to spend his long summer vacations there, painting. (We would like to thank de Francia’s widow, Alix MacSweeney, for her assistance in cataloguing this picture.)

Picnic in the Quarry at Lacoste, 1958, oil on board, signed and dated (lower right), 44cm x 97cm (64cm x 120cm framed), Henry Miller Fine Art, £9,500

From 1972-1986, de Francia was a Professor of Painting at London’s Royal College of Art. During this time he commanded such loyalty and respect, that when in 1980 the newly appointed rector, Dickie Guyatt, tried to remove him from his post, the painting school rose up and passed a motion of no confidence in Guyatt and the administration, thereby remaining in position.

Man Carrying Child, 1962, charcoal on paper, Tate Collection.

In rightful recognition of his exceptional draftting abilities, in 2004, the Tate Collection acquired several of de Francia’s works from the 1950’s and 60’s. Dockers, (in our collection) features a group of men resting and smoking, and is a wonderful example of de Francia’s work in this period. As in the Tate drawings (see Man Carrying a Child), de Francia’s confident and expressive drafting realistically captures the lives of the Dockers, with empathy and sensitivity. It is also impossible to look at these works, or indeed any of his work, without feeling the respect and warmth that de Francia clearly had for the subjects in his pictures.

Dockers, 1960, charcoal on paper, signed and dated (lower left), 46cm x 58cm (54cm x 76cm framed), Henry Miller Fine Art, £2,000

De Francia, throughout his career, both as an artist and teacher, had a distinctly personal vision. “His work remained combative and brilliant. He was an agile draughtsman and beautiful colourist, but the clincher is the poignancy of his imagery even as it comments excoriatingly on human frailty…” (Michael McNay, The Guardian, 23 January 2012).  

Henry will be preparing a catalogue of new works shortly, which will be available to view online on the website. Throughout the summer, his home gallery space is open by appointment, where the three works by de Francia will be on view. Please do not hesitate to contact Henry should you require any further information about these works, or others in the collection.