Bath Society of Artists : 120th Open Exhibition (Non Members Only)

Harness

By seamus moran MRSS

Cast alloy/Steel/Textile

h: 36 w: 65 d: 27 (cms).

"Harness is a metaphor for everything with which we burden ourselves as we struggle through life. It’s the comfort zone in which we feel safe and protected but it comes at a price. Self-doubt taunts us, discouraging exploration of a wider perspective, leaving us weighed down like a bird in armour and unable to fly." Winner of the 2014 Passion for Freedom prize, Harness has been shown at all of the Royal Armouries sites including a three-month residency at the Tower of London.

£19500

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Harness

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Pulse

By seamus moran MRSS

Resin/Iron

h: 33 w: 83 d: 8 (cms).

Pulse is inspired by nature's ability to reproduce itself through the generations. It is an assemblage comprising 105 separate castings of knots from decayed trees and is patinated to produce a rusty finish.

£3500

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Pulse

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Land Of Lost Content

By connor mcintyre

Oil on wood Panel

h: 84 w: 60 d: 2 (cms).

Depictions of nature are rarely mere representations of the external world. In my work, landscape serves as a kind of cartography — mapping not a geographic place, but a more nebulous terrain. I draw on traditions both Eastern and Western; the resulting works are not records of place, but reflections on dream, reality, and the other place. Deployed here, the oval vignette, once used to enshrine saints, courtly portraits, pastoral scenes, and Victorian keepsakes, offered images of perfection and memory. Deployed in this way it frames something less certain — a terrain that hovers between states, yet resists resolution.

£1800

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Land Of Lost Content

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Sense of touch

By christine reinckens 34128

Oil on canvas

h: 35 w: 60 d: 2 (cms).

"Crossing the boundary, breaking through the wall – in search of the Other. Touching, feeling, probing: Is someone there? Even if we cannot see, hear, taste or smell one another – the sense of touch remains. This image idea, executed in trompe-l’œil technique, was conceived during the Covid pandemic and realised in 2024."

£2244

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Sense of touch

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Out of the box

By christine reinckens 34128

Oil on canvas

h: 30 w: 40 d: 2 (cms).

Out of the Box: The motif of confinement is not only a symbol of the conditions of life within a social context, to which we are either subjected or which we voluntarily accept. It is also an aesthetic device that draws new possibilities of expression from body language within the narrowest of spaces. The human being, reduced in their expressions of life by the framing, appears here sheltered and protected, yet at the same time exposed in a particularly striking way.

£1985

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Out of the box

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Goats in the Gully

By cath read

Oil on canvas

h: 37 w: 54 d: 3 (cms).

Goats were introduced to the Clifton Gorge in Bristol to clear the brambles and scrub and allow the native plants to flourish. Here the goats are highlighted by the evening light.

£850

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Goats in the Gully

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Study of a Man

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Essence of Cornwall

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Circling Birds

By Charles Clover

Lino Cut

h: 18 w: 24 d: 1 (cms).

Lino print on brown paper.

£160

£70 (Unframed)

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Circling Birds

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Iota

By Charles Clover

Ceramic

h: 51 w: 11 d: 12 (cms).

Hand built Glazed Ceramic Form

£1200

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Iota

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Hold

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Flicker

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Growing Pains

By dylan andrews

Charcoal

h: 76 w: 56 d: 1 (cms).

This self-portrait is a visual exploration of self-doubt and uncertainty, capturing the struggle of self-acceptance during a period of growth. It reflects the tension of embracing identity and authenticity while navigating external expectations and pressures.

£1800

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Growing Pains

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A Portrait of David

By ros cuthbert MA RCA, RWA

oil on panel

h: 30 w: 23 d: 1 (cms).

A portrait of my husband, painted from life with the assistance of a photo for the expression.

£1800

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A Portrait of David

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Watching Bluey

By ros cuthbert MA RCA, RWA

oil on linen on panel

h: 30 w: 51 d: 1 (cms).

My grandson, enjoying a few moments of calm in the Front Room Theatre after a show. Thin line of sunlight below the blind hints at a bright day outside.

£1800

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Watching Bluey

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Georgian House

By kate westcott

Black iron and fine black copper wire

h: 89 w: 66 d: 12 (cms).

This piece can removed from the board and hung directly on the wall if wished. If hung in damp conditions, it will rust.

£1850

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Georgian House

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En Pointe

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5 Mins : 10 Secs in April

By jess townsend

Polymer photogravure etching with chine collé

h: 33 w: 43 d: 1 (cms).

Pinhole photography, polymer photogravure, printed on Somerset satin and gampi

£545

£445 (Unframed)

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5 Mins : 10 Secs in April

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Camelia - 12 mins in shade

By jess townsend

Polymer photogravure etching with chine collé.

h: 33 w: 43 d: 1 (cms).

Pinhole photography, polymer photogravure, printed on Somerset satin and gampi

£545

£445 (Unframed)

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Camelia - 12 mins in shade

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Breton Coast

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Rosebed

By susan bradshaw BA((Hons)

Textiles

h: 7 w: 6 d: 4 (cms).

This small sculpture is made in needle lace using fine cotton and silk threads with glass beads, antique buttons and copper wire.

£365

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Rosebed

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The Owl and the Trees

By christine howes

Linocut

h: 29 w: 39 d: 1 (cms).

This artwork was created using the reduction method of colour printmaking. One Lino block is cut and printed repeatedly with several layers of colour. This print has six colours including a blend of two for the evening sky.

£500

£350 (Unframed)

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The Owl and the Trees

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The Flight of the Knot

By christine howes

Woodcut and Vinyl

h: 30 w: 42 d: 1 (cms).

This artwork was created using two printing blocks, one of wood and one of vinyl. A third layer of silver ink was overprinted at the end of the process to add a sheen on the birds. As they fly, they seem to change colour and reflect light.

£500

£350 (Unframed)

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The Flight of the Knot

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Sky Blue

By matthew ensor

Mixed Media - Repainted vintage paint tin, stainless steel tube, enamel paint, glass dome, Ash base.

h: 39 w: 21 d: 21 (cms).

The ladder to success is precarious.

£1850

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Sky Blue

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Stuart and the Snake

By jain mckay MA

Drypoint etching and pencil

h: 100 w: 70 d: 1 (cms).

This limited varied edition is a portrait of Stuart and one of his snakes. A drypoint etching finished with pencil to enhance the details in the face. Almost life size to tower over the viewer with his strong powerful tattooed body but with a sadness in his eyes. One of a series of drypoint portraits working towards an exhibition in 2026.

£699

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Stuart and the Snake

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Boxed in Cuba

By ruth wallace

Charcoal on wooden cigar box

h: 22 w: 14 d: 3 (cms).

In the 19th century, thriving Cuban plantations relied on labour from the slave system; over a million Africans were shipped to Cuba to spend their lives satisfying the world's insatiable demand for tobacco and sugar. This drawing, which is based on an old faded photograph of one of those slaves, is made on a box given to me over fifty years ago, which had originally held Cuban cigars.

£695

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Boxed in Cuba

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fal mur

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Portrait of a Girl Dreaming

By Lucy Harrison

Oil on board with 24ct gold leaf

h: 51 w: 51 d: 2 (cms).

I found my daughter dreaming of magical far away lands, bathed in the golden hues of early morning summer sunshine. She’s on the cusp of growing up and leaving behind her childhood innocence but she doesn’t know that yet. So for now, I’ll leave her dreaming, captured in oils and blinding gold leaf before time does its work and takes her from me. A personal portrait, painted during the long summer holidays before the start of senior school, and an attempt to record some of the magical little girl that I could keep forever. The golden hues and dazzling gold leaf petals, which sparkle and twinkle as if dancing around her frame, create the warmth of the sunny summer morning but also convey the otherworldliness of her dreams and the celestial and angelic nature of her childishness. Deep in slumber, the naturally upwards bent arm and folds of fabric were gifts of positioning that I accentuated by using square dimensions. Here we have spirals of flesh and fabric that draw the eye in.

£50000

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Portrait of a Girl Dreaming

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Beethoven

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Stone nest

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Stripy Jumpers

By rebecca holton

Oil on board

h: 40 w: 50 d: 2 (cms).

I spotted these two ladies drinking tea in my local café in Bath last October. I was drawn to their obvious intimacy, and that they were both wearing stripy jumpers. Anne and Sheila are close friends and neighbours. They meet in this café every Saturday morning and ‘put the world to rights’ over a pot of tea (Anne’s words). I wanted to capture this close friendship, but I did not want to disturb their intimacy – the viewer plays no part in the scene but takes the role of an onlooker; we are outside of the café, outside their relationship, and outside of their moment. Our ‘outsideness’ is further emphasised by the reflections on the window and closed door. When I asked Anne and Sheila to sit for me, they were very keen. Anne said, ‘it’s not often you are asked to model at the age of 87"

£4250.00

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Stripy Jumpers

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Easter eggs and stripes

By rebecca holton

Oil on board

h: 40 w: 30 d: 1 (cms).

I met Anne and Sheila in ‘Dexters’ café in Bath in April this year so that they could see the final oil painting of themselves in “Stripy Jumpers”. The café had beautiful light that morning and was delicately decorated with Easter-themed window decoration. As they retook their ‘Stripy Jumpers’ positions, I couldn't resist capturing them once again. But this time from the inside of the café, and Spring rather than Winter light. This oil study only uses raw umber and titanium white which gives the painting a softer feel relative to black and white – this seemed to suit the mood of the piece. It is a study rather than full painting and hence I used a looser brushstroke, focussing on shapes of light and shadow.

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Easter eggs and stripes

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The Dispute

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EVENING SWIM

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Towards the Church, Twerton

By rosie clark

Watercolour and white gouache

h: 13 w: 23 d: 1 (cms).

Observing this view which may soon be obscured due to new development, I thought the scene captures a certain ‘romanticism’ which is not often present in today’s reality.

£425

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Towards the Church, Twerton

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Dreamer

By anna kelleher

Textile (wool and felt)

h: 40 w: 31 d: 1 (cms).

I was delighted with my son's angelic look on my nightly check and had to capture the bliss of child's dreaming.

£320

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Dreamer

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Inner World 3

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The Watchers

By victoria leigh

Watercolour

h: 13 w: 17 d: 1 (cms).

Swaledale sheep are one of my favourite subjects to paint. These, in particular, comprise a compilation of images selected from a number of photographs taken over several months. I have a fascination with them and wanted them to be seen to reciprocate. I stare at them and they stare back. The landscape behind is one of my favourite views of the Landsdowne Monument and associated Cherhill white horse, a subject I have painted on countless occasions.

£450.00

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The Watchers

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Winter At Avebury

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'The Heavy Weight of the Empty Offering'

By emma fisher

Oil on Canvas

h: 75 w: 165 d: 3 (cms).

£950.00

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'The Heavy Weight of the Empty Offering'

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Mill

By orla tann BA

acrylic and water based oils on a canvas

h: 24 w: 30 d: 3 (cms).

While making this painting, I was navigating a period of illness that left me feeling both fragile and raw. I became drawn to the contrast between delicacy and brutality, and how these two forces can exist side by side. Growing up, the South West’s industrial landscape, with its many old mills, lingered in my memory. I also spent time in Gloucester at my grandparents’ house, where I absorbed a sense of place shaped by both history and endurance. These experiences fed into the work, where fragility and resilience met.

£1000

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Mill

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Tilting my hat to Mrs Godwin

By Martin MARTIN

Photogravure etching

h: 38 w: 28 d: 1 (cms).

An early morning January walk after snow-fall and frost to Dungeon Hill; one of Dorset’s many Iron Age hill forts. A tribute to Fay Godwin, the photographer who changed how we see the landscape.

£225

£200 (Unframed)

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Tilting my hat to Mrs Godwin

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Rise and Fall

By tom watson

Industrial Steel and Bronze

h: 46 w: 46 d: 20 (cms).

The steel section has been left to the elements for 18 months and then textured before a further period outside. The two bronze elements have been hand textured with a small round head hammer.

£1200

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Rise and Fall

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the priest the housekeeper and their dog

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Angular

By paul acton

Portland Stone on Kilkenny stone base

h: 16 w: 14 d: 11 (cms).

The piece may be seen as an architectural form or, from some angles, as an abstract representation of a dynamic human form.

£475

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Angular

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Sheep at Shottesbrooke

By sarah luton

charcoal

h: 19 w: 53 d: 1 (cms).

I was immediately inspired by this scene when I first saw it with its strong contrast of tones. I loved the effect of a few sheep in silhouette in the shade whilst others were standing out in the bright light with the dark shadow behind them. The sheep have eaten the underside of the trees creating a visible horizontal line which plays against the vertical lines of the tree trunks. I was compelled to go back and draw this en plein air.

£350

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Sheep at Shottesbrooke

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Behind closed doors- St Ives

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Caroline Buildings

By fran cave B.Ed (Hons)

Copper Plate Etching

h: 15 w: 11 d: 1 (cms).

This etching, printed on Somerset paper, shows the view of my neighbour's garden at Caroline Buildings in Bath. I don't have access to the garden from my flat and so the views of the neighbouring gardens and the allotments from my window, have become an enriching part of my everyday life. The lavender path has now grown and flowered since I created this print. Beyond the neighbour's summer house, the Kennet and Avon canal flows, like the seasons.

£175

£145 (Unframed)

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Caroline Buildings

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Sab 1

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Contrary to expectations

By wendy rhodes PhD

Hand drawn etching, using soap ground open bite, hard ground, and aquatint mezzotint

h: 30 w: 40 d: 1 (cms).

Things are not always what they appear, and life can throw gentle curveballs that bring a wry smile. I was amused by the positioning of the sign suggesting a left turn, when the lane clearly veered right. Local people recognise the place in the moment they take in the road sign. I hope the image and the title have a wider appeal, and resonate on many levels, beyond the literal application to this particular place.

£375

£220 (Unframed)

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Contrary to expectations

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Possibilities

By wendy rhodes PhD

Graphite and water soluble graphite on Sauders Waterford paper 640gsm

h: 56 w: 76 d: 1 (cms).

Image created in monochrome to throw the shadows and textures into focus, drawing attention to atypical details, rather than a 'picture-postcard' view, This is a junction between two lanes in rural Gloucestershire, the road leads towards more major road networks. This is a place that holds the potential of travel, a change of direction and possibilities for rural repair, management or restoration to a more natural state. Possibilities to see a vision of moving onwards.

£1350

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Possibilities

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Slab 2

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Exodus

By svetlana kornilova

Oil, acrylic, canvas

h: 50 w: 50 d: 3 (cms).

Exodus- the way out. The Bible plot we know that is much too popular nowadays. People leaving the past, leaving home, leaving all well known and all they got used to. Amidst this journey one can’t help but wonder if there exists a place in the future that can truly be called home.

£6000

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Exodus

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Washing the Edges

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Interior 8

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Morning metro

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On a Mission from Dog

By fiona stevens

Cardboard

h: 80 w: 95 d: 35 (cms).

Recycled art made from old cardboard boxes

£950.00

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On a Mission from Dog

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'Red Tulips'

By kate newington

Acrylic on gesso panel

h: 60 w: 50 d: 2 (cms).

I used sections from some of my small collage still lifes as reference for this painting. I wanted to paint on gesso board as I like the crisp edges that you can achieve with paint on gesso – it has a very graphic quality and is also a resistant surface (which I prefer). I have for some years made collages that are so detailed that they look like paintings and with this picture I wanted to reverse that idea by making a painting that looks, in some areas, like a collage. I particularly relate to the still life work of West Country artists, past and present, who flatten shapes and experiment with textures, colour and the drawn line in a way that combines abstraction with figuration. I wanted to take those ideas further while reflecting my appreciation of West Country still lifes past and present.

£700

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'Red Tulips'

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MELINDUNGI PUNA

By Min Reid

Foundry Bronze

h: 27 w: 20 d: 24 (cms).

Melindungi Puna - Melindungi (Indonesian for “Protect”) is a foundry bronze sculpture of a Sumatran tiger, one of the world’s most critically endangered big cats, with fewer than 400 remaining in the wild. These rare and majestic animals face relentless threats from poaching and habitat loss due to deforestation, placing them on the IUCN Red List as critically endangered. This sculpture captures their powerful presence, a symbol of strength, fragility, and the urgent need for conservation. On the back, the word 'Melindungi' is embedded alongside sculpted hands gently cradling a tiger paw, a poignant reminder of our shared responsibility to protect what remains. Through this work, I hope to raise awareness and inspire action to safeguard the Sumatran tigers from extinction, before it’s too late.

£3800

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MELINDUNGI PUNA

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"Two for Joy Magpies'

By alma boyes BN2 9SE

Ceramic

h: 40 w: 26 d: 26 (cms).

Ceramic Agateware. Lidded Vessel thrown, turned and hand-modelled porcelain.

£2100

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"Two for Joy Magpies'

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Matrix

By Jess Skelton Ceramics MA

Ceramic

h: 47 w: 23 d: 17 (cms).

‘Matrix’ was constructed over several weeks from dropped remnants of wheel throwing demonstrations, and completed with a handbuilt base inspired by graffiti'd remnants of coastal defences. Garish slips were poured and splattered onto the works and dried chunks of coloured clay were flung at the wet surfaces rather than being placed, the idea being to see what sticks rather than directing the end result. Relinquishing control reflects my dialogic relationship with clay and the desire for humanity to shift from a controlling relationship with the earth to a collaborative one. My process takes place at the intersection of intention and intuition, a dialogue between myself and material and between head and heart. I link this with Carl Jung’s term ‘The Transcendent Function’ which expresses the idea something authentic will occur if we can suspend thought, and allow the felt urge to arise from the unconscious.

£1200

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Matrix

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Walking around Houlma Water

By janette kerr

oil on gesso panel

h: 26 w: 26 d: 2 (cms).

Houlma Water is a loch in Shetland

£600

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Walking around Houlma Water

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Burrow

By luke tupper BA(Hons)

Mild steel

h: 20 w: 20 d: 20 (cms).

Burrow is made of 20 steel plates welded together into a single block. Each layer is cut by hand via a plasma cutter and layered in order to create a flowing pathway through the solid block of material. The work is inspired by mining heritage of the area I grew up in Derbyshire, as well as a fascination with deep spaces within the earth and geological formations. Burrow is left as raw untreated steel, celebrating the materials natural beauty.

£1600

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Burrow

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Drawing the Impossible; Hexeract

By ben rowe

Wood

h: 97 w: 84 d: 75 (cms).

A 3D represntation of a 6D cube

£3200

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Drawing the Impossible; Hexeract

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The Girls With The Amazing Hair

By michael tugby

Serpentine on a Limestone Base

h: 63 w: 30 d: 23 (cms).

£650

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The Girls With The Amazing Hair

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Towards the Tor II

By tina dodd

Monotype

h: 16 w: 23 d: 1 (cms).

A one off monotype from a series I have created in response to the Mendip Hills and Somerset Levels landscapes where I live. I am particularly interested in the play of light across these landscapes, which is why I like to work in monochrome mixing my own 'black' from Prussian Blue and Raw Umber oil based printmaking inks. These are printed on Somerset Paper.

£225

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Towards the Tor II

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Lavender Fields

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Brean Down II

By tina dodd

Monotype

h: 20 w: 25 d: 1 (cms).

A one off monotype from a series I have created in response to the Mendip Hills and Somerset Levels landscapes where I live. I am particularly interested in the play of light across these landscapes, which is why I like to work in monochrome mixing my own 'black' from Prussian Blue and Raw Umber oil based printmaking inks. These are printed on Somerset Paper.

£235

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Brean Down II

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Autumn Carnival

By moira ladd

acrylic

h: 79 w: 79 d: 4 (cms).

acrylic on canvas, depicting the changing colours of the blackberry leaves in autumn.

£1800

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Autumn Carnival

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sunlit ferns

By moira ladd

acrylic

h: 51 w: 76 d: 4 (cms).

acrylic on canvas, depicting the deepest parts of the woodland.

£1250

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sunlit ferns

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Hetty

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Umbrella Pines

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Alice

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Cool Shade Under The Acer

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Net Shops Hastings

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Mary's-View.

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Paros

By claire chandler

Acrylic on wood panel

h: 15 w: 15 d: 2 (cms).

Feeling the warmth of the sun setting, feeling that light upon my skin, fills me with hope for the future. I see the natural world as a catalyst for my work, these elements of nature are what continue to energise and inspire me.

£290

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Paros

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Self Portrait with Dougal

By esme janson

Mixed paper collage, including recycled print material

h: 42 w: 46 d: 1 (cms).

This collage captures a moment between myself and my dog, Dougal. I enjoy constructing an image from fragments, and I like how the discrete inconsequential shapes come together to hold a complete, living moment. Using cuttings from magazines, leaflets, paper and card, I layered textures and colours to depict Dougal catching me off guard, with me giggling in response. The work reflects the warmth and spontaneity of our bond.

£750

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Self Portrait with Dougal

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Ghoul

By michelle dash

Mixed media

h: 36 w: 37 d: 14 (cms).

My initial inspiration was the old drainpipe. I made the ceramic figure to fit. The platform is fashioned from scrap wood, and finished with vintage castors, paint and wax

£1200

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Ghoul

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In the Library

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Cloacina

By michelle dash

Mixed media

h: 57 w: 28 d: 20 (cms).

This started with an old drain pipe. I made the ceramic figure to fit, then constructed the 'house' out of scrap wood and found objects. I painted wallpaper and finished the outside with paint and varnish

£875

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Cloacina

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A Moment Shared

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Isabella

By peter nava

Stone: Ancaster weatherbed blue limestone on Oak base

h: 54 w: 33 d: 26 (cms).

Sculpture of a stylised figure of a woman of an unknown era, ethnicity and place in bas-relief on an Ancaster Weatherbed Blue, limestone, discarded slab on an English Oak Base

£2400

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Isabella

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Something in this heat

By verity powell BSc(Hons)

Oil on canvas

h: 25 w: 20 d: 1 (cms).

£225

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Something in this heat

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The enlightened Mountain

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Kennall Vale Study I

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Midday fields in Warwickshire

By alexander j hall BA(Hons)

Oil on panel

h: 21 w: 29 d: 1 (cms).

Plein air, oil on panel summer landscape in Warwickshire. Broad, loose textured brushstrokes capture the play of light and shadow, while the composition leads the eye from the cool shade into the warmth of the open countryside. The work emphasises natural color relationships and the balance between structure and atmosphere while drawing inspiration from contemporary plein air painters such as Marc Dalessio, emphasising direct observation, natural light, and a love nature.

£450

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Midday fields in Warwickshire

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A child's Dream of Summer

By lindy elliott BA(Hons)

Acrylic paint and ink

h: 51 w: 40 d: 2 (cms).

£900

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A child's Dream of Summer

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Segmented Vessels

By Louis Stevenson

Porcelain

h: 26 w: 15 d: 15 (cms).

Slip-cast porcelain vessels made with recycled plaster moulds and fired to 1200 degrees centigrade. The inside of each vessel is coated with a leadless (food-safe) clear glossy glaze.

£1000

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Segmented Vessels

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Metempsychosis

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Ladder Tree

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'Cornish View from the Window'

By kate newington

Acrylic on gesso panel

h: 47 w: 47 d: 2 (cms).

I have favourite places, flowers and pieces of pottery. Putting some of these together I made this still life in four sections, on four square cradled gesso panels. I did this because it was easier to physically work on the painting that way and interesting to work on each square in rotation, and also because I felt the sectioning of the picture somehow lent itself to the idea of a window. I like working with acrylic on gesso panel because you get these wonderful crisp lines against the hard white, slightly powdery gesso base. I regularly spend time in St Ives and much of my inspiration comes from the vistas, textures, light and visual culture around me when I’m there.

£800

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'Cornish View from the Window'

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Portland Square

By helen ward

Paper collage

h: 22 w: 44 d: 5 (cms).

This artwork depicts a Georgian terrace in Portland Square, Bristol. The composition highlights a striking transition along the row – from well-maintained and occupied on the left to a state of complete disrepair on the right. Created using layered paper collage, with acetate and watercolour details, the piece explores both the elegance of Georgian architecture and the visible impact of neglect and time.

£3950

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Portland Square

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Branching Out

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Adrift

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Beach Bouquet in a Gluggle Vase

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Stairs II

By aga kubish ARE

Linocut Print

h: 100 w: 70 d: 1 (cms).

Medium: Hand-carved linocut print, black ink on paper Size: 100 x 70 cm Edition: Limited edition of 50 Technique: Printed entirely by hand, without a press Year: 2025 This linocut is a continuation of my celebrated print Stairs, exhibited and sold out at the Royal Academy Summer Exhibition 2025. The work expands my ongoing exploration of botanical architecture and the dialogue between organic abundance and human structure. Built through meticulous hatching, stippling, and hand-printed ink layers, the print reflects a meditative engagement with detail. Printed manually on heavyweight paper, it captures the quiet stillness of overgrown garden enclosures, where natural chaos collides with architectural order, holding a delicate balance between containment and growth.

£780

£440 (Unframed)

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Stairs II

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Ghost

By hamish young

Porcelain

h: 10 w: 15 d: 15 (cms).

A nest made from extruded porcelain.

£550

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Ghost

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The Road Not Taken

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