Exhibition - Open House 20 September 2025

Below is a small selection of works that will be on show. If you are unable to attend, or would like information about any of the works here or on the website, do not hesitate to get in contact with Henry.

Walter Stuempfig, (American 1914-1970), The Harvest, c.1940, oil on canvas, 51cm × 46cm, (74cm × 68cm framed), £6,000

Stuempfig was a highly esteemed painter of landscapes and figurative compositions working in the Philadelphia area during 20th century. He grew up in Germantown, a residential section of Philadelphia. He attended the Pennsylvania Academy of the Fine Arts from 1931 to 1935 and won its Cresson European Traveling Scholarship in 1934. His first solo exhibition was held at the Philadelphia Art Alliance in 1942. Solo exhibitions of his work were also held in New York, from 1943 to 1961, encountering immediate success. Beginning in the late 1940s he received numerous honors for his work. Stuempfig was a faculty member of the Pennsylvania Academy from 1948 until his death in 1970. He often summered in Europe. He was equally successful with his still-life, landscape, and figure paintings. In a great deal of Stuempfig’s work, there is an underlying flavour of homoeroticism. Here the alibi is the ‘Harvest’, with the real focus of the picture, being the four labourers.

Pascal Valu, (French b.1965), Untitled, 1997, silver print, signed, dated, numbered ‘1/3’ with copyright stamp (verso), 49cm x 49cm (image size) (58cm x 59cm framed), £1,000

A French artist who explores themes of masculinity, identity, and form through his photography. Valu’s work has been featured in numerous exhibitions across Europe, including collective and solo shows in Paris, Berlin, Madrid, Barcelona, and Geneva, demonstrating his ongoing commitment to pushing the boundaries of photographic art.

Hywel Pratley, (British, b.1972), Vincent, 2010, bronze, edition of 9, 29cm × 18cm × 16cm (incl. base), £3,500

Pratley is a Sculptor working from life models in his West London studio. His inspirations range from ancient Greek masterpieces to the simplicity of Brancusi, via his training at The Florence Academy of Art. Pratley teaches occasional workshops in London and Florence. In February 2025, Hywel was featured on the BBC programme ‘Extraordinary Portraits’, (Ep4. 28/2/25).

Luis Caballero, (Colombian, 1943-1995), Untitled (Two Figures), 1980, lithograph, signed and dated (lower right) and numbered ‘XXXII/XL’ (lower left), 74cm × 59cm (sheet size), (89cm × 67cm framed), £1,750

A Colombian painter, draughtsman and lithographer, known for his depictions of the male nude, with figures often in highly erotic, if not tortured, poses. He was one of the few Latin American artists of his time to be open about his sexuality, both before and after his relocation to Paris. From 1968 to his untimely death from AIDS in 1995, Caballero lived and worked in Paris. Caballero's pictures are exclusively devoted to the human body. 'In my paintings,' he wrote 'one is dos not know whether the figures are dying or having an orgasm'. (lit.p.121 Luis Caballero, Homenaje, Villegas Editores, 2007)

Arthur Tress, (American b.1940), Don’t Call Me Mary, NY’ 1979, silver print, signed, titled, dated and numbered ‘2/50’ (in margin), 18cm x 18cm (print size), (38.5cm x 36.5cm framed), £2,450

Tress is one of the most renowned and innovative photographers of his generation. Citing his influences as Hokusai, Frank Lloyd Wright, Picasso, El Lissitzky, Duane Michaels and W Eugene Smith, his work is often staged, directing work and repurposing found materials or scenes in an inventively subjective manner, Tress’s work is rich with implication and fantasy. Impeccably composed, the photographs constantly explore the world around him. He is one of photography’s most singular and consistently original practitioners. Tress has exhibited widely and published numerous books of his work. In 'Theater of the Mind' (1976) Tress explored adult fantasies and began a period of overtly erotic work. In Facing Up (1980), Tress moved to openly gay photographic fantasies. Large sections of his archive have now been accepted into the Stamford University archive.