Graphite pencil on paper, signed and dated (middle right), 22cm x 20cm, (51cm x 46cm framed), £18,000. (This work was kept by the artist for his personal collection. This was the only tonal drawing that remained in his collection at the time of his death in July 2023.)
The nude in a state of transition is a theme which Michael repeatedly returned to throughout his career. “I am fascinated by the subtle interactions of muscle, bone and sinew that come into play as a body moves…”
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Graphite pencil on paper, 18.5cm x 19cm, (framed 50cm x 42cm), £8,000
Leonard is probably best known for his portrait of HM Queen Elizabeth, in the National Portrait Gallery, London. The nude in a state of transition is a theme which he repeatedly returns to throughout his career. Although mainly known for his male nudes, he painted and drew this model on a number of occasions.
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Graphite pencil on paper, initialled (lower left), signed and dated (lower right), 15cm x 14cm, (35cm x 32cm framed), £4,500
This work, along with Chimera II, relates to his paintings the following year, Sneakers Englouties I & II.
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Pencil on paper, signed and dated (upper right), 30cm x 24.5cm (59cm x 51cm framed), £7,000 (This work was kept by the artist for his personal collection. It remained in his collection until his death in July 2023.)
Lucie-Smith and Michael were old friends who lived close to each other in West Kensington. Edward Lucie-Smith, is a Jamaican-born English writer, poet, art critic, curator, broadcaster and photographer. He has been highly prolific in these fields, writing or editing over a hundred books, his subjects gradually shifting around the late 1960s from mostly literature to mostly art.
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Watercolour and gouache on paper, signed (lower left), 50cm x 42cm, (68cm x 58cm framed), £8,000. (This work was kept by the artist for his personal collection. It remained in his collection until his death in July 2023.)
This is the original artwork for an illustration work appeared in the Sunday Times Colour Supplement. Michael produced seven of the ten illustrations for their Guide to Shakespeare Characters. The model for Othello is Desmond Heeley, (British 1931-2016), the set and constume designer and friend of Michael’s.
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Indian Ink and Gouache, 54cm x 46cm, (60cm x 52cm framed), £5,000
Although his painting of HM Queen Elizabeth came much later in his career, Michael painted a large number of portraits throughout his career. His extraordinary ability to capture the essence of a sitter was fully formed even in his early work, such as here.
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Pen and ink and ink wash, 26cm x 20cm, (41cm x 34cm framed), £3,000
This work was created when Michael was studying at Central St. Martins. Drawn during a life drawing class, his ability to expertly capture the essence of the model, was evident early in his career.
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Pen and ink and ink wash, 26cm x 20cm, (40cm x 34cm framed), £3,000
This work was created when Michael was studying at Central St. Martins. Probably drawn during a life drawing class, his ability to expertly capture the essence of the sitter, was evident early in his career.
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Conté on paper, dated ‘26 Aug 1990’ (middle left), 18cm x 19cm, (41cm x 47cm framed), £2,500. (This work was kept by the artist for his personal collection. It remained in his collection until his death in July 2023.)
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Graphite pencil on paper, initialled and dated (middle right), 28.5cm x 19.5cm, (49cm x 39cm framed), £2,500 (This work was kept by the artist for his personal collection. It remained in his collection until his death in July 2023.)
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Pencil on paper, dated ‘Oct 22’ (lower right), 28cm x 20cm, (44cm x 35cm framed), £4,750
This is an early work by Michael in which he is exploring a repeated motif in his work, dressing and undressing.
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Pencil on paper, dated (upper right), 22cm x 28cm, (33cm x 37cm framed), £3,500
The nude, particularly the male nude, has been a recurring theme in Leonard’s work. Here is an early example of Leonard repeated motif of men dressing and undressing.
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Pencil on paper, 28cm x 22cm, (32cm x 30cm framed), £3,000
The nude, particularly the male nude, has been a recurring theme in Leonard’s work. Here is an early example of Leonard repeated motif of men dressing and undressing.
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Conté on coloured paper, signed, titled 'Barry' & dated '21 Jan ‘74’ (middle left), 26cm x 42cm, (52cm x 38cm framed), £2,500 (This work was kept by the artist for his personal collection. It remained in his collection until his death in July 2023.)
The nude, particularly the male nude, has been a recurring theme in Leonard’s work. “I am fascinated by the subtle interactions of muscle, bone and sinew that come into play as a body moves…” (Michael Leonard).
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Conté on coloured paper, signed and dated 'Aug '74', 50cm x 30cm, (59cm x 40cm framed), £2,500
The nude, particularly the male nude, has been a recurring theme in Leonard’s work. “I am fascinated by the subtle interactions of muscle, bone and sinew that come into play as a body moves…”
To enquire about this work, click HERE
Conté on coloured paper, signed and titled 'Barry' & dated '19 June 73’, (lower right), 42cm x 30cm, (53cm x 38cm framed), SOLD
The nude, particularly the male nude, has been a recurring theme in Leonard’s work. This work relates to a series of paintings entitled ‘The Red Chair’ from 1973-74.
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Conté on coloured paper, signed and titled 'Barry' & dated '19 June 73’, (lower right), 42cm x 30cm, (57cm x 42cm framed), £1,950.
The nude, particularly the male nude, has been a recurring theme in Leonard’s work. This work relates to a series of paintings entitled ‘The Red Chair’ from 1973-74.
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Conté on coloured paper, titled 'Barry' & dated 'Nov 20', '72’. 43cm x 31.5cm, (49cm x 39cm framed), £1,950
The nude, particularly the male nude, has been a recurring theme in Leonard’s work. “I am fascinated by the subtle interactions of muscle, bone and sinew that come into play as a body moves…” (Michael Leonard).
To enquire about this work, click HERE
Conté on coloured paper, signed, titled 'Barry' & dated 'Nov 20 ‘72’ (upper left), 48cm x 31cm, (57cm x 40cm framed), £1,950
The nude, particularly the male nude, has been a recurring theme in Leonard’s work. “I am fascinated by the subtle interactions of muscle, bone and sinew that come into play as a body moves…” (Michael Leonard).
To enquire about this work, click HERE
Pencil on paper (double-sided), titled with artist’s note (recto) and with another image of the Minotaur (verso), 28cm x 20cm, (44cm x 34cm framed), £5,000
The theme of Theseus and the Minotaur is something that Michael was particularly fascinated with, and a something which he repeatedly explored and returned to in his career, especially in the 1960s.
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Graphite pencil on tracing paper, titled (lower right), 22cm x 19cm, (40cm x 37cm framed), £5,000
This figures comes from a series of drawings Michael created, depicting figures and characters from Mozart’s Magic Flute.
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Graphite pencil on tracing paper, 21cm x 21cm, (39cm x 39cm framed), £3,500
This work draws on Michael’s fascination and interest in the classical - particularly vase painting of ancient Greece - and ‘the world of myth’.
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Pen and ink and gouache on paper, titled (middle right), 26cm x 20cm, (36cm x 32cm framed), £4,750
Created during Michael’s time at Central St. Martins, he was so accomplished as an illustrator and designer, that he was professionally commissioned to work, prior to finishing his time at art school. It is not known whether this was a commission for the book ‘My Crowded Solitude’, as sometimes he would create work in expectation of getting work.
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Pen and ink, wash and gouache, titled (upper right) and inscribed with notes from the artist, 3 sheets - 25cm x 20cm (each), (32cm x 67cm framed), £5,000
Devised when still at Central St. Martins, Michael proposed a book jacket for a proposed book by his Uncle George.. “The tiger stalking his terrified prey was a book jacket idea I had for a collection of jungle tales by my uncle George. After retiring from an exciting life as a game warden in Malaya, he recounted his tales on BBC Radio to great effect. Alas, he failed to get around to making a book out of them so, in the end, my book jacket idea was never realised.” (Michael Leonard).
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Pen and ink wash, and gouache, 26cm x 20cm, (38cm x 34cm framed), £3,500
This work was created when Michael was studying at Central St. Martins. Probably painted during a life drawing class, his ability to expertly capture the essence of the sitter, was evident early in his career.
To enquire about this work, click HERE
Pen and ink paper, titled (lower right), 25cm x 40cm, (33cm x 48cm framed), £4,000
“When I was a student there in the fifties, the Art School was located in Charing Cross Road… I only had to step into the street to find plenty to sketch: shop fronts, ornamental street lamps, wrought iron railings and red telephone boxes - all were full of London character and a challenge to draw. I drew on building sites, in barbers shops, in parks and squares. I stood on street corners and outside tube stations recording the life of the street.” (Michael Leonard)
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Pen and ink paper, titled (middle right), 25cm x 40cm, (33cm x 48cm framed), £4,000
“When I was a student there in the fifties, the Art School was located in Charing Cross Road… I only had to step into the street to find plenty to sketch: shop fronts, ornamental street lamps, wrought iron railings and red telephone boxes - all were full of London character and a challenge to draw. I drew on building sites, in barbers shops, in parks and squares. I stood on street corners and outside tube stations recording the life of the street.” (Michael Leonard)
To enquire about this work, click HERE
Pencil on paper, titled (middle right), 25cm x 40cm, (33cm x 48cm framed), £4,000
“When I was a student there in the fifties, the Art School was located in Charing Cross Road… I only had to step into the street to find plenty to sketch: shop fronts, ornamental street lamps, wrought iron railings and red telephone boxes - all were full of London character and a challenge to draw. I drew on building sites, in barbers shops, in parks and squares. I stood on street corners and outside tube stations recording the life of the street.” (Michael Leonard)
To enquire about this work, click HERE
Pencil on paper, titled (lower left), 25cm x 40cm, (33cm x 48cm framed), £4,000
“When I was a student there in the fifties, the Art School was located in Charing Cross Road… I only had to step into the street to find plenty to sketch: shop fronts, ornamental street lamps, wrought iron railings and red telephone boxes - all were full of London character and a challenge to draw. I drew on building sites, in barbers shops, in parks and squares. I stood on street corners and outside tube stations recording the life of the street.” (Michael Leonard)
To enquire about this work, click HERE
Pencil on paper, titled (lower left) and inscribed with artist’s notes (upper right), 25cm x 40cm, (33cm x 48cm framed), £4,000
“When I was a student there in the fifties, the Art School was located in Charing Cross Road… I only had to step into the street to find plenty to sketch: shop fronts, ornamental street lamps, wrought iron railings and red telephone boxes - all were full of London character and a challenge to draw. I drew on building sites, in barbers shops, in parks and squares. I stood on street corners and outside tube stations recording the life of the street.” (Michael Leonard)
To enquire about this work, click HERE
Pencil on paper, signed and dated (lower left), 30.5cm x 24cm, (60cm x 51cm framed), SOLD. (This work was originally gifted by the the artist to Sewell, who was a friend. When Sewell died in 2015, it was returned to Michael and remained in his collection until his death in July 2023.)
“Every now and again I encounter a face that seems to be straight out of a portrait by one of the great artists of the past such as Holbein, Van Dyck or John Singer Sargent. To recapture this haunting sensation, I devised ‘Portraits in Time’, a set of drawings that pitches contemporary faces back through time to a period that better matches their facial characteristics. Adopting the style of an artist of the day, I use the illusionist technique of trompe-l’oeil to present my portrait as a reproduction, torn from the pages of a catalogue.” (Michael Leonard)
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