top of page

SELECTED WORK

oil on canvas

Image of the baroque-style oil painting titled the sleeping draught. It depicts a large topless man falling asleep. He is held in a standing position by a smaller imp-like person who is looking over their shoulder at the viewer with a sinister expression. The man is holding a container of wine that is spilling. They appear to be in a rocky alcove surrounded by vines. The scene appears as a moment from a bachas revelry.

The Sleeping Draught / Giclée Print - available

Image of the portrait oil painting titled This Wine. In the painting, a bearded white man holds a small cup to his chest whilst looking up to his right with his eyes. The blue and white ceramic cup is held in the palm of his left hand whilst his right hand rests limply underneath. He is seated facing the viewer front on and wares a flowing powder blue robe that opens at his chest; his leg are not in the frame. His long hair flows behind his shoulders as he sits deep in thought. The scene is lit by a soft light that pours in from above by a small aperture in the wall in top right of the painting.

This wine

master studies

The Abduction of Ganymede - After Peter Paul Rubens

Anna Alma-Tadema - After Tadema

Study of Hands - After William-Adolphe Bouguereau

oil sketches

Image of an oil sketch of the statue L'Amour et Psyché debout by Antonio Canova. The oil sketch shows the back view of cupid leaning on Psyché. She is not visible, only her arm and dress can be seen behind cupid. He is nude and the light source from the right casts sharp shadows across the contours of the male figure. His right leg is bent and his heel lifted from the floor, standing in traditional contrapposto. His back curls and head is dipped, indicating the hidden figure he is leaning on. Cupid looks youthful and soft. In contrast to the life-like qualities of the figure, the stone colouration connotes the original statue the painting depicts.

L'Amour et Psyché - oil sketch

male torso - After Reni

At His window - Colour study

study of lips

Charcoal and Graphite

Image of a charcoal drawing of the statue Une Baigneuse by Joseph Charles Marin, displayed in the Louvre. It depicts a single nude female figure from the back. Her arms are raised up to her head in the act of washing her hair. She is leaning slightly to the right and her hips rest in contrapposto. The figure is shown in three-quarters, with only the top of her legs visible. The lighting casts striking shadows that demonstrate the smooth form of her muscles.

The Bather

Image of a charcoal drawing of the statue Cheval retenu par un palefrenier by Guillaume Coustou, displayed in the Louvre. The drawing depicts a groom attempting to restrain an horse that is not depicted, but suggested by the pose of the figure. The nude male figure has his back to the viewer with both arms outstretched in opposite directions. His right hand reaches up to take hold the horses reins whilst his left hand reaches down to the saddle. His left arm is model less than the right. His face looks up to his right hand, showing a glimpse of his facial features. In excellent detail, his macular back twists and stains against the implied strength of the horse. His left leg steps forward, towards his right hand, and right leg back, exaggerating the twist. A quiver attached to the horse is pushing against the groom buttocks.

Groom restraining a horse

Image of graphite drawing of the statue L'Amour et Psyché debout by Antonio Canova, displayed in the Louvre. The drawing shows the back view of cupid leaning on Psyché. She is not visible, only cupid stands in the frame. He is nude and the light source from the right casts sharp shadows across the contours of the male figure. His right leg is bent and his heel lifted from the floor, standing in traditional contrapposto. His back curls and head is dipped, indicating the hidden figure he is leaning on. Cupid looks youthful and soft.

L'Amour et Psyché / Giclée Print - available

bottom of page