Landscape L1053 View out into the Countryside, The Chiltern Hills. Nicholas Herbert, 2017.

 

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Landscape L1053

View out into the Countryside, The Chiltern Hills 

18 x 13cm. 2017. 

Mixed media: graphite, soluble crayon, acrylic, conte crayon and pastel on white paper. 
Signed and dated on reverse.

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Landscape L1053 View out into the Countryside, The Chiltern Hills. Nicholas Herbert, 2017.

Landscape L1051 Trees Lining a Field, Late Winter, The Chiltern Hills. Nicholas Herbert, 2017.

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Landscape L1051

Trees Lining a Field, Late Winter, The Chiltern Hills 

18 x 13cm. 2017. 

Mixed media: graphite, soluble crayon, acrylic, conte crayon and pastel on white paper. 
Signed and dated on reverse.

Landscape L1051 Trees Lining a Field, Late Winter, The Chiltern Hills. Nicholas Herbert, 2017.

Landscape L1028 Escarpment View over Rolling Countryside Near Sharpenhoe, The Chiltern Hills – Nicholas Herbert 2017.

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Landscape L1028, Escarpment View over Rolling Countryside Near Sharpenhoe, The Chiltern Hills. 

18 x 13cm. 2017. Mixed media: graphite, soluble crayon, acrylic, conte crayon and pastel on white paper. Signed and dated on reverse.
Landscape L1028 Escarpment View over Rolling Countryside Near Sharpenhoe, The Chiltern Hills – Nicholas Herbert 2017.

Landscape L1026 Farmland Below the Escarpment, The Chiltern Hills – Nicholas Herbert,2017.

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Landscape L1026, Farmland Below the Escarpment, The Chiltern Hills 

24 x 13cm. 2017. Mixed media: graphite, colour pencil, soluble crayon, acrylic, conte crayon and pastel on white paper. Signed and dated on reverse.
Landscape L1026 Farmland Below the Escarpment, The Chiltern Hills – Nicholas Herbert,2017.

Landscape L1023, Sketch of Trees and Sky Looking Towards Aylesbury, The Chiltern Hills – Nicholas Herbert 2017.

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Landscape L1023, Sketch of Trees and Sky Looking Towards Aylesbury, The Chiltern Hills. 18 x 14cm. 2017. Mixed media on paper.

Landscape L1023, Sketch of Trees and Sky Looking Towards Aylesbury, The Chiltern Hills – Nicholas Herbert 2017.

Landscape L1021, Looking Out Across Farmland, The Vale of Aylesbury – Nicholas Herbert 2017.

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Landscape L1021, Looking Out Across Farmland, The Vale of Aylesbury 

18 x 14cm. 2017. Mixed media: graphite, colour pencil, soluble crayon, acrylic, conte crayon and pastel on white paper. Signed and dated on reverse.
Landscape L1021, Looking Out Across Farmland, The Vale of Aylesbury – Nicholas Herbert 2017.

Landscape L1015, Countryside near Sharpenhoe, The Chiltern Hills – Nicholas Herbert 2017.

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Landscape L1015, Countryside near Sharpenhoe, The Chiltern Hills 

18 x 15cm. 2017. Mixed media: graphite, colour pencil, soluble crayon, acrylic, conte crayon and pastel on white paper. Signed and dated on reverse.
Landscape L1015, Countryside near Sharpenhoe, The Chiltern Hills – Nicholas Herbert 2017.

Landscape L1011, View out across the English Countryside, The Chiltern Hills – Nicholas Herbert, 2017.

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Landscape L1011
View out across the English Countryside, The Chiltern Hills 

22 x 15cm. 2017. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L1011, View out across the English Countryside, The Chiltern Hills – Nicholas Herbert, 2017.

Landscape L1010 Landscape with Trees and a Wooded Hill – Nicholas Herbert, 2017.

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Landscape L1010
Landscape with Trees and a Wooded Hill 

26 x 14cm. 2017. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L1010 Landscape with Trees and a Wooded Hill – Nicholas Herbert, 2017.

Landscape L1008 Trees Edging a Field, The Chiltern Hills – Nicholas Herbert, 2017.

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Landscape L1008
Trees Edging a Field, The Chiltern Hills 

18 x 13cm. 2017. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L1008 Trees Edging a Field, The Chiltern Hills – Nicholas Herbert, 2017.

Landscape L1003 Field bordering a Wooded Slope, The Chiltern Hills – Nicholas Herbert, 2017.

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Landscape L1003
Field bordering a Wooded Slope, The Chiltern Hills 

18 x 13cm. 2017. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L1003 Field bordering a Wooded Slope, The Chiltern Hills – Nicholas Herbert, 2017.

Landscape L996 Winter Landscape near Telegraph Hill, The Chiltern Hills – Nicholas Herbert 2017.

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Landscape L996
Winter Landscape near Telegraph Hill, The Chiltern Hills. 

18 x 13cm. 2017. Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. Signed and dated on reverse.
Landscape L996 Winter Landscape near Telegraph Hill, The Chiltern Hills – Nicholas Herbert 2017.

Landscape L973 Sharpenhoe Series, Sharpenhoe from Harlington, The Chiltern Hills – Nicholas Herbert. 2016.

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Landscape L973, Sharpenhoe Series, Sharpenhoe from Harlington, The Chiltern Hills 

19 x 13.5cm. 2016. Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. Signed and dated on reverse.
Landscape L973 Sharpenhoe Series, Sharpenhoe from Harlington, The Chiltern Hills – Nicholas Herbert. 2016.

Landscape L986 Lake Garda Series, Looking North Between Malcesine and Limone to Monte Brione – Nicholas Herbert. 2016.

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Landscape L986, Lake Garda Series, Looking North Between Malcesine and Limone to Monte Brione 

26 x 16cm. 2016. Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 

Signed and dated on reverse.

Landscape L986 Lake Garda Series, Looking North Between Malcesine and Limone to Monte Brione – Nicholas Herbert. 2016.

Lake Garda Series

Delighted to have four works pre-selected for the Royal Society of British Artists Open 2017. All are from my Lake Garda Series. Fingers crossed at least one might get through final selection and into the exhibition next year!

Lake Garda Series, Bay of Salò Looking Towards Monte Livino (L931)
Lake Garda Series, The Coast Near Salò (L926)
Lake Garda Series, The Western Shoreline (L924)
Lake Garda Series, Looking North Across the Bay of Salò (L917)

Lake Garda Series

Landscape L985 Lake Garda Series, Monte Pizzocolo and Monte Castello – Nicholas Herbert 2016.

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Landscape L985, Lake Garda Series, Monte Pizzocolo and Monte Castello 

26 x 16cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L985 Lake Garda Series, Monte Pizzocolo and Monte Castello – Nicholas Herbert 2016.

Landscape L984 Lake Garda Series, Shoreline from Torbole – Nicholas Herbert 2016.

 

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Landscape L984, Lake Garda Series, Shoreline from Torbole 

26 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L984 Lake Garda Series, Shoreline from Torbole – Nicholas Herbert 2016.

Landscape L983 Lake Garda Series, Looking Across the Lake from Torbole – Nicholas Herbert 2016.

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Landscape L983, Lake Garda Series, Looking Across the Lake from Torbole 

26 x 14cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L983 Lake Garda Series, Looking Across the Lake from Torbole – Nicholas Herbert 2016.

Landscape L931 Lake Garda Series, Bay of Salò Looking Towards Monte Livino – Nicholas Herbert 2016.

 

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Landscape L931, Lake Garda Series, Bay of Salò Looking Towards Monte Livino 

26 x 14cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L931 Lake Garda Series, Bay of Salò Looking Towards Monte Livino – Nicholas Herbert 2016.

Landscape L924 Lake Garda Series, The Western Shoreline – Nicholas Herbert 2016.

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Landscape L924, Lake Garda Series, The Western Shoreline 

26 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L924 Lake Garda Series, The Western Shoreline – Nicholas Herbert 2016.

Landscape L919 Lake Garda Series, North Towards Riva del Garda – Nicholas Herbert 2016

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Landscape L919, Lake Garda Series, North Towards Riva del Garda 

26 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L919 Lake Garda Series, North Towards Riva del Garda – Nicholas Herbert 2016

Landscape L917 Lake Garda Series, Looking North across the Bay of Salò – Nicholas Herbert 2016

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Landscape L917, Lake Garda Series, Looking North across the Bay of Salò 

26 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. 
Signed and dated on reverse.

Landscape L917 Lake Garda Series, Looking North across the Bay of Salò – Nicholas Herbert 2016

Nicholas Herbert – Landscape L978 Sharpenhoe Series, Field Edged with Trees Near Telegraph Hill, The Chiltern Hills

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Landscape L978
Sharpenhoe Series, Field Edged with Trees Near Telegraph Hill, The Chiltern Hills

18 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Nicholas Herbert – Landscape L978 Sharpenhoe Series, Field Edged with Trees Near Telegraph Hill, The Chiltern Hills

Landscape L972 Sharpenhoe Series, Cornfields South Bedfordshire, The Chiltern Hills – Nicholas Herbert, 2016.

 

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Landscape L972
Sharpenhoe Series, Cornfields South Bedfordshire, The Chiltern Hills

20 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L972 Sharpenhoe Series, Cornfields South Bedfordshire, The Chiltern Hills – Nicholas Herbert, 2016.

Landscape L971 Sharpenhoe Series, From Markham Hill, The Chiltern Hills – Nicholas Herbert, 2016

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Landscape L971
Sharpenhoe Series, From Markham Hill, The Chiltern Hills

18 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L971 Sharpenhoe Series, From Markham Hill, The Chiltern Hills – Nicholas Herbert, 2016

Landscape L970 Sharpenhoe Series, Beneath the Escarpment, The Chiltern Hills – Nicholas Herbert, 2016

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Landscape L970
Sharpenhoe Series, Beneath the Escarpment, The Chiltern Hills

22 x 14.9cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L970 Sharpenhoe Series, Beneath the Escarpment, The Chiltern Hills – Nicholas Herbert, 2016

Landscape L968 Sharpenhoe Series, Looking Across the Bedfordshire Countryside, The Chiltern Hills

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Landscape L968

Sharpenhoe Series, Looking Across the Bedfordshire Countryside, The Chiltern Hills

20 x 15cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L968 Sharpenhoe Series, Looking Across the Bedfordshire Countryside, The Chiltern Hills

Landscape L966 Sharpenhoe Series, The Chiltern Hills

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Landscape L966

Sharpenhoe Series, The Chiltern Hills

22 x 17cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L966 Sharpenhoe Series, The Chiltern Hills

Landscape L965 Sharpenhoe Series, Cornfield Below the Sundon Hills Escarpment, The Chiltern Hills

 

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Landscape L965
Sharpenhoe Series, Cornfield Below the Sundon Hills Escarpment, The Chiltern Hills

20 x 15cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L965 Sharpenhoe Series, Cornfield Below the Sundon Hills Escarpment, The Chiltern Hills

Landscape L964 Sharpenhoe Series, View From the Escarpment, The Chiltern Hills

 

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Landscape L964
Sharpenhoe Series, View From the Escarpment, The Chiltern Hills

18 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L964 Sharpenhoe Series, View From the Escarpment, The Chiltern Hills

Landscape L963 Sharpenhoe Series, Cornfield, The Chiltern Hills

 

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Landscape L963
Sharpenhoe Series, Cornfield, The Chiltern Hills

26 x 15.5cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L963 Sharpenhoe Series, Cornfield, The Chiltern Hills

Landscape L962 Sharpenhoe Series, A group of Trees and Fields, The Chiltern Hills

 

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Landscape L962
Sharpenhoe Series, A group of Trees and Fields, The Chiltern Hills

24 x 18cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L962 Sharpenhoe Series, A group of Trees and Fields, The Chiltern Hills

Landscape L961 Sharpenhoe Series, Below the Escarpment, The Chiltern Hills

 

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Landscape L961
Sharpenhoe Series, Below the Escarpment, The Chiltern Hills

20 x 15cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L961 Sharpenhoe Series, Below the Escarpment, The Chiltern Hills

Landscape L959 Sharpenhoe Series, View Across a Field to Trees, The Chiltern Hills

 

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Landscape L959
Sharpenhoe Series, View Across a Field to Trees, The Chiltern Hills

18 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L959 Sharpenhoe Series, View Across a Field to Trees, The Chiltern Hills

Landscape L956 Sharpenhoe Series, View From the Path to Sharpenhoe, The Chiltern Hills

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Landscape L956
Sharpenhoe Series, View From the Path to Sharpenhoe, The Chiltern Hills

18 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L956 Sharpenhoe Series, View From the Path to Sharpenhoe, The Chiltern Hills

Landscape L943 Sharpenhoe Series, View to a Wooded Hilltop, The Chiltern Hills

 

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Landscape L943
Sharpenhoe Series, View to a Wooded Hilltop, The Chiltern Hills

24 x 14cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L943 Sharpenhoe Series, View to a Wooded Hilltop, The Chiltern Hills

Landscape L939 Sharpenhoe Series, Early Evening, The Chiltern Hills

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Landscape L939
Sharpenhoe Series, Early Evening, The Chiltern Hills

24 x 13cm. 2016. 

Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L939 Sharpenhoe Series, Early Evening, The Chiltern Hills

Landscape L934 Sharpenhoe Series, The West Flank of Sharpenhoe, The Chiltern Hills

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Landscape L934
Sharpenhoe Series, The West Flank of Sharpenhoe, The Chiltern Hills

22 x 15cm. 2016. Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper. Signed and dated on reverse.
Landscape L934 Sharpenhoe Series, The West Flank of Sharpenhoe, The Chiltern Hills

Landscape L954 Sharpenhoe Series, The Sundon Hills Escarpment, The Chiltern Hills

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22 x 16cm. 2016.
Mixed media: graphite, colour pencil, soluble crayon, acrylic and pastel on white paper.
Signed and dated on reverse.

Landscape L954 Sharpenhoe Series, The Sundon Hills Escarpment, The Chiltern Hills

Revised Website Now Live

I have just put my revised website live. The design is simple and there are selected new mixed media works for the Sharpenhoe Series and Lake Garda Series. It is at http://www.nicholasherbert-drawings.co.uk I hope it will be seen as an improvement and easier to navigate! Thank you to all who follow me and support my work. I appreciate it very much. Best, Nicholas.

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mixed-media-landscapes-page-from-selected-works-2016Best, Nicholas.

Revised Website Now Live

An Unexpected Discovery in the Depths of Northumberland

My wife and I have just spent a few days with four friends from the Lake District in Northumberland. While there one of our friends found a book on bastle houses, which are centuries-old fortified houses in the border country, built to give farmers protection from marauding robbers, known then as Reivers. In the book, there was a reference to a small company that made soft pastels located in the middle of deepest Northumbria near Kielder, in the Tarset area. I had never heard of the company and had no idea why it should be mentioned in a book about houses built several centuries ago, but it turned out that the book was written by the husband of one of the ladies who worked there. On their website, no less than Sean Scully says they are the very best pastels you can buy – in the world. He should know. Anyway, we spent a day looking at the bastle houses in the Tarset area or at least the remains of them. The next day, as I use some soft pastel in my mixed-media landscapes, three of us went back to visit Unison Colour at Thorneyburn, which occupies an idyllic property in a truly beautiful area just down the road from Kielder. They were very welcoming and took the time to show us around and talk about how the soft artists’ pastels are hand-made. It was fascinating. I also got to try the range and bought a selection of 15 mostly lightish colours.

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There are several outbuildings in use for the production of these superb soft pastels. This is the coach house. It is set in the grounds of a beautiful period house and behind is the church of St Aidan, Thorneyburn and its tranquil churchyard 

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I got to try out the range. The originator of these pastels was an artist called John Hersey and instead of graduating the colour range tonally, he developed a system of colours that associate together visually by group, and it gives the whole spectrum an individual look and a more purposeful organisation.

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The ultimate room of delight for an artist. Wall-to-wall pastels stored in little cardboard boxes that each shout ‘buy me’. There are apparently more than 300 colours to choose from. Some of the colours we saw here were unbelievably intense and saturated. Really, a visual sweet shop.

It is no exaggeration to say I could happily have bought all 300 plus colours they produce. The pigments used are all natural, which means the finished product is very lightfast and the pigment to binder ratio is excellent, giving very good coloration and the pastels themselves are lovely and soft to use. I have attached here some images of our visit. Naturally, they don’t capture the excellence of the actual product, which now I am back home, I am using in my work and I have to say I should have known about this company and their products because I think they are better than the Rembrandt soft pastels I use at the moment. They just feel and work well for me. There are several buildings used, including a lovely coach house. I particularly loved the room where all the pastels are racked. It’s like a sweet shop for artists! Everything is done by just a few skilled craftsmen and women, one of whom told us she travelled 30 miles there and back every day, a round trip of 60 miles. Guess where she lived – in the village by Hadrian’s Wall that we were staying in and had just come from. When we got back we bumped into her walking her lovely retriever in the lane leading up to our cottage. So, the moral of this is simple; who would have guessed that in a book on a subject that not many people know about nor care about, is a reference to a place we had never heard of and a company we didn’t know existed, but because the reference was there, because we got interested in the admittedly arcane subject matter, and because we eventually looked up the company on the web, eventually we visited and found out about a material that, in my opinion as an artist, is superb. We know social media is all about connections etc but we should never forget that all communication works in a similar way, even a book, that old hat, old-fashioned, thing that we think might have had its day. As it happens I don’t think books are obsolete, I rather value them more. Don’t bother with the book, but do try the pastels……

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The pigments are all completely natural rather than synthetics with the result that apparently the resultant product is light fast and the colour more durable. To me, as a selling artist, this was a very important point, as I want my collectors to be buying work that will stand the test of time.

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Above: I’d love to work in a space like this!  Below: the mixture of clay, pigment, water and any ingredients that are secret to the recipe ( I’m sure they didn’t tell me everything!) is portioned out by hand like little meringues. This takes experience and the skills of someone like a Michelin chef or a master baker making 200 or more items all perfectly identical.

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This lady was expertly hand rolling two types of green pastels. It was fascinating how deceptively easy she made it look. She was doing I think 200 of each. The process takes time do, rolling and cutting, rolling and cutting.

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More pigment jars (because I love them) and more meringues starting out on their journey to becoming as Sean Scully says ‘The best soft pastels in the world’.

 

For more information go to unisoncolour.com

An Unexpected Discovery in the Depths of Northumberland

Landscape L947, Sharpenhoe Series, View Across Fields, The Chiltern Hills.

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18 x 13cm. 2016. Mixed media: graphite, soluble crayon, pastel and acrylic on white paper. Signed and dated on reverse.

Landscape L947, Sharpenhoe Series, View Across Fields, The Chiltern Hills.

Landscape L946, Sharpenhoe Series, Looking Out Along the Escarpment Past Markham Hill, The Chiltern Hills.

l946-web20 x 15 cm. Mixed media: graphite, soluble crayon, pastel and acrylic on white paper. Signed and dated on reverse. 2016.

Landscape L946, Sharpenhoe Series, Looking Out Along the Escarpment Past Markham Hill, The Chiltern Hills.

Landscape L940, Sharpenhoe Series, The Chiltern Hills.

l940-web19.9 x 14.9cm. Mixed media: graphite, soluble crayon, pastel and acrylic on white paper. Signed and dated on reverse. 2016.

Landscape L940, Sharpenhoe Series, The Chiltern Hills.

Landscape L938, Sharpenhoe Series, Looking Past the Sundon Hills Escarpment. The Chiltern Hills.

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19.9 x 14.9cm. Mixed media: graphite, soluble crayon, pastel and acrylic on white paper. Signed and dated on reverse. 2016.

Landscape L938, Sharpenhoe Series, Looking Past the Sundon Hills Escarpment. The Chiltern Hills.