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Monday 10am - 5:30pm Tuesday 10am - 5:30pm Wednesday 10am - 5:30pm Thursday 10am - 5:30pm Friday 10am - 5:30pm

Browse & Darby, 34 Bury Street, London (2026)

13/03/2026

WORKS OF THE WEEK

ANTHONY FRY (1927-2016)
‘Indian Bed’, 1994
carborundum etching, a printer’s proof aside from the edition of 30
16 1/2 x 18 in. / 41.9 x 45.7 cm.
£3,500

For this week’s Works of the Week we look at two artworks currently on show in our Anthony Fry exhibition.

Fry was a British figurative painter whose exploration of light and colour was at the heart of his practice. A prolific traveller in search of inspiration, Fry’s work was inspired by many foreign landscapes, from Italy to Morocco, Malta, and India. It was India, however, that had a very profound influence on his work, particularly Cochin, Kerala, where Fry spent the winter months from the early 1990s.

‘Indian Bed’ presents a richly decorative yet contemplative scene centred on an ornate bed illustrated in vibrant colour. The bed frame, painted in a luminous turquoise green, forms the structural anchor of the composition. Draped over the frame is an elaborate Indian textile that elevates the visual field, its surface animated by painterly, abstract patterns and marks.

ANTHONY FRY (1927-2016)
‘Nude in a Red Hat’
oil and pigment on paper
13 1/4 x 10 3/4 in 33.7 x 27.3 cm
£6,000

In ‘Nude in a Red Hat’ the composition is simple and direct. The indistinct features of the man create an ambiguity to the work which encourages the viewer to focus less on individual identity and more on the figure as a presence within the painted space. As with many of Fry’s works, the figure appears less like a portrait of a particular person and more like a symbolic inhabitant of a constructed pictorial field.

All works can be viewed on our website via link in bio.

06/03/2026

Our new exhibition of works by Anthony Fry is now open!

Throughout his life, Fry was increasingly drawn to countries with warmer climates, and was especially inspired by the culture and landscape of Italy, Morocco, Malta, and India. The artist studied the effect of sunlight and heat on the views before him, the result of which were pictures richly saturated in colour, and compositions often of a dreamlike quality.

View the full exhibition on our website - link in bio.

Included in the exhibition are this week’s works of the week.

Both works demonstrate Fry’s intense, luminous colour, expressive brushwork, and his use of warm palettes of reds, oranges, and blues to evoke heat, light, and atmosphere. Fry combines recognisable figures, animals, and landscapes with abstract colour structures, sometimes flattening space to emphasise pattern and rhythm. Often painted from memory rather than direct observation, his works create ethereal scenes with a strong sense of movement, decoration, and sensory richness, reflecting themes of nature, and human experience

Images:

Apricot Picker
oil pastel on paper
18 x 24 1/2 in. / 45.7 x 62.2 cm.
£12,000

Man with Tin Bird, Cochin, 1995-96
oil and dry pigment on canvas
13 3/4 x 17 1/4 in. / 34.9 x 43.8 cm.
£10,000

26/02/2026

✨SPOTLIGHT✨

Following Browse & Darby’s 2024 exhibition of Euan Uglow’s work, MK Gallery is currently presenting the first exhibition of Uglow’s work in a public institution for twenty years. We are delighted to be supporting the show through sponsorship and loans.

With this in mind, we shed a spotlight on two works by this true master of figurative painting.

EUAN UGLOW (1932-2000)
‘Portrait of an Italian Girl’
oil on canvas
20 x 30in./50.7 x 76.2cm
POA

‘Portrait of an Italian Girl’ (fig.1) was painted after Uglow proposed sharing the Italian model, Antoinetta Piscitelli, with friend and fellow artist Anthony Eyton. Though the motif of a seated figure by a window recalls the naturalism of the Euston Road School, Uglow’s approach is markedly analytical, reflecting the rigorous system of measurement and marking he learned at Camberwell and the Slade under William Coldstream.

The figure is constructed through clearly defined planes, tested proportions, and calibrated geometry, giving the sitter sculptural solidity and integrating her into a carefully structured pictorial space.

EUAN UGLOW (1932-2000)
‘Study for Egyptian Spearess’
pencil on paper
8 1/4 x 5 7/8 in. / 21 x 15 cm.
POA

‘Study for Egyptian Spearess’ (fig.2) exemplifies Uglow’s exceptional command of draughtsmanship. Likely conceived as a preparatory study for the Egyptian Spearess bronzes and oil painting he later completed, the drawing reveals the compositional precision that underpins his practice, with each element of the picture plane carefully articulated and measured.

Though simple in subject, it possesses a compelling sense of three-dimensional form. The angular articulation of the female figure not only strengthens its structural clarity but also offers revealing insight into Uglow’s methodical and analytical approach to constructing the human body.

24/02/2026

WORKS OF THE WEEK

KATE CORBETT-WINDER
‘The Yellow Chair’
oil on board
15 x 29 7/8 in. / 38 x 76 cm.
£5,500

Our final Works of the Week for Kate Corbett-Winder’s exhibition ‘From the Garden’, closing this week on the Friday 27th February.

‘The Yellow Chair’ immerses the viewer in a orchestration of tone and texture. Foliage verges on abstraction, leaves become strokes, clay pots become tonal anchors, and space oscillates between flatness and depth. The bright yellow chair punctuates the foreground, its saturated warmth sharply contrasting with the subtler surrounding hues and draws the eye forward.

KATE CORBETT-WINDER
‘Willow’s Vase’
oil on board
15 x 9 7/8 in. / 38 x 25 cm.
£2,500

Corbett-Winder’s layered brushwork in ‘Willow’s Vase’ breathes life into the various greens, from cool olive to deeper verdant tones, suggesting leaves that twist and reach outward in different directions. Among this rich tangle, varying shades of pink provide vivid counterpoints, their tones echoing the artist’s fascination with the “intensity and temperature of colour.” The composition balances this lively botanical energy with quietness, through the controlled simplicity of the vase, grounding the scene and giving space for the eye to move between shapes and hues.

All works can be viewed and purchased on our website via link in bio.

14/01/2026

INTERSECTIONS

An Exhibition of Photography by Harriet Challis and James Lindsay

16 - 29 January 2026

Browse & Darby is delighted to present our upcoming exhibition of photographs by Harriet Challis and James Lindsay.

James Lindsay

Photography is my medium for self-expression. I am most at ease behind the lens when, for an instant, there is a connection between myself and my subject; a moment of intimacy where the energy and colours of a place and the person I photograph, combine to create a memory caught.

I have always travelled. Be it Borneo, Papua New Guinea, Africa or India, I observe the world and embrace new cultures with a mind that is ever inquisitive and eager to see more.

I am recently drawn to experimenting with shadows and how they can strengthen an image. Bride and Groom in Istanbul under the Galata Bridge uses light and dark to draw the eye to bride and groom and shadow to make the viewer curious as to what is playing out in front of me.

This exhibition includes a ‘Travel Photographer of the Year 2025’ finalist image in the ‘Travel in Monochrome’ category along with many winning images of mine from the international ‘Black & White Spider Awards 2025’

Images:

James Lindsay, Crawford Wholesale Fish Market in Mumbai
Giclée print, from the edition of 12, printed on Fine Art Baryta Hahnemühle 325gsm., 19 1/8 x 28 1/2 in. / 48.6 x 72.4 cm.

14/01/2026

INTERSECTIONS

An Exhibition of Photography by Harriet Challis and James Lindsay

16 - 29 January 2026

Browse & Darby is delighted to present our upcoming exhibition of photographs by Harriet Challis and James Lindsay.

Harriet Challis:

I am a London-based Fine Art photographer. Self-taught, through continual practice I have honed my technical skills whilst also developing a keen eye for colour, drama and opportunity.

Portrait photography is my absolute passion, but my curiosity extends to every genre. No matter the subject, the approach is the same; through compositional, environmental and in-camera techniques, I try hard to imbue my photographs with intention, beauty and soul.

My work has earned significant recognition having been shortlisted for Portrait of Britain (2025), the Taylor Wessing Photo Portrait Prize (2025, 2024) and the Royal Academy Summer Exhibition (2025)

I mostly use analogue systems, but not exclusively so.

This exhibition includes the winning image for Portrait of Britain Vol. 8, 2026 and a work shortlisted for the Taylor Wessing Photo Portrait Prize, 2025.

Image:

Harriet Challis, By Porthcothan, Cornwall (2022), Digital file, from the edition of 15, printed on Hahnemühle Photo Rag 308 gsm.,15 1/4 x 22 7/8 in. / 38.7 x 58.1 cm.

08/01/2026

WORK OF THE WEEK

LINDA HEATHCOAT-AMORY
b.1950
Peonies, Out for a Little While
oil on canvas
17 3/4 x 10 5/8 in. / 45 x 27 cm.
£1,800

Linda Heathcoat-Amory studied at Camberwell College of Arts and the Royal College of Art before taking up a career as a paper restorer. Heathcoat-Amory later returned to painting, harnessing her passion as a gardener, working between her studios in Devon and London.

Peonies, Out for a Little While encapsulates the artist's love and understanding of botany, while incorporating her typical delicate handling of colour and pigment. The mingled cream and yellows of the blooms sit beautifully amongst the varied greens of the landscape behind.

contemporaryart contemporarybritishart stilllife flowerpainting

30/12/2025

WORK OF THE WEEK

CLAUDIA CARR
b.1965
Fiato
oil on canvas board
11 3/4 x 11 3/4 in. / 30 x 30 cm.
£4,500

Claudia Carr's compositions explore the connection between perception and reality. Carr creates compositions from found and often recognisable objects, which fall somewhere between landscape and still-life, creating a sense of mystery and challenging the viewer's understanding of what they are seeing.

The subjects of her scrutiny are usually natural forms, found during the course of day to day life, these are transplanted to the studio to 'ripen' until they form a composition both abstract and recognisable.

British painter Claudia Carr (b. 1965) trained at the Slade School of Art (BA and MA). She has held teaching positions at the Slade School of Art, the Royal College of Art, and the Royal Drawing School. Carr currently lectures at the Royal Drawing school, Heatherleys School of Fine Art, and the Royal College of Art.

stilllife oilpainting wintershow

18/12/2025

PAUL DELANCE

1848-1924

Near Jouars-Pontchartrain

oil on panel

5 3/4 x 8 1/8 in. / 14.6 x 20.7 cm.

£1,500

The tranquil landscape illustrated by Delance in Near Jouars-Pontchartrain showcases his precise yet emotive brushwork, evoking a sense of rural calm and solitude. This work reflects a quiet introspection and an appreciation for the subtle beauty of the natural world.

Delance’s academic training was shaped under Gérôme and Bonnat at the École des Beaux-Arts of Paris. Gérôme and Bonnat were renowned for capturing the soft play of light and texture with sensitivity which is reflected in Delance's works. In the 1870's Delance joined the French army, carrying out his service in the Franco-Prussian War (1870–1871). He then travelled extensively through Europe, eventually returning to France. His artistic career thrived during the French Third Republic, and he earned accolades such as a mention honourable at the Salon of 1880, a third-class medal for Le Retour du drapeau, and a prestigious first-class medal for La Légende de Saint Denis in 1888.

Also visible are two wonderful works by
And Jane Patterson plus three additional works by Paul Delance.

oilpainting landscapepainting browseanddarby londonartgallery modernbritishart contemporarybritishart thewintershow newexhibition stjamesartgallery oilpainting architecture

18/12/2025

WORKS OF THE WEEK

ROBERT POLHILL BEVAN
1865-1925
The White House, 1921
lithograph
7 3/4 x 9 in. / 19.7 x 22.9 cm.
£2,000

Our two works of the week are by Robert Polhill Bevan and Paul Delance.

Born in Hove near Brighton, Bevan studied at the Westminster School of Art before moving to Paris to study at the Académie Julian. He continued to live abroad, moving to Pont-Aven in Brittany in 1893. It was there that he met Paul Gauguin who was a great influence on the young artist.

After marrying the Polish painter Stanislawa de Karlowska, he settled in London in 1900. He was introduced to the Fitzroy Street circle of artists by Spencer Gore and Harold Gilman, and went on to become a founding member of the Camden Town Group and the London Group, as well as becoming a member of the New English Art Club in 1922.

Bevan was a skilled lithographer, producing a number of lithographs during his lifetime predominantly focused on pastoral scenes, and those depicting the hustle and bustle of the London horse sales. The present work is a re-imagining of a painting the artist completed of Gould's Farm Luppitt in Devon, where the artist worked in 1920. Though simple in design, this lithograph carries the artist's signature deconstruction of pictorial elements into flat geometric shapes and offers a tranquil and beautifully crafted vision of the Devonshire homestead.

londongroup newenglishartclub devon gouldsfarm browseanddarby londonartgallery modernbritishart contemporarybritishart thewintershow newexhibition stjamesartgallery oilpainting architecture

10/12/2025

ANTHONY EYTON
b.1923
Spitalfields, circa 1980
oil on canvas
59 7/8 x 45 5/8 in. / 152 x 116 cm.
POA

During the 80s, Anthony Eyton had only recently joined William Darby, and subsequently Browse & Darby, his first exhibition taking place in 1975. Having travelled extensively - and living abroad for years at a time both in Italy, and Canada - Eyton's love of London began to show as he portrayed the city around him.

From his Spitalfields studio window, he was presented with a jumble of roofs and edifices, with the pinnacle of Christ Church Spitalfields at its centre. In these views, Eyton's grasp and dextrous handling of 'light' becomes evident, along with the influence of his trips to warmer climates. In Spitalfields we see the quality of sunlight that seemingly reflects from every surface, drenching the picture in an almost Mediterranean haze.

'The house in which I had a studio was built in 1705. There were equally old houses opposite, the backs of Princelet Street. Further to the right was a view of Christchurch, Spitalfields and I painted several views of this through the window frame... I painted at least four fairly large versions mostly through the glazing bars of the windows in various sorts of light... It seems that this picture [Open Window, Spitalfields] is a culmination of pictures from nature to do with buildings that I painted in Italy'. - Anthony Eyton quoted in Eyton's Eye, Jenny Pery

spitalfields spitalfieldslondon christchurchspitalfields browseanddarby londonartgallery modernbritishart contemporarybritishart thewintershow newexhibition stjamesartgallery oilpainting architecture

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Monday	10am - 5:30pm
Tuesday	10am - 5:30pm
Wednesday	10am - 5:30pm
Thursday	10am - 5:30pm
Friday	10am - 5:30pm