Art for the Bedroom

Framing available

Krishna leans into his flute in the last blue light of evening, a single peacock feather catching what remains of the sun. The palette holds to deep indigo and slate, with gold used sparingly at the jewellery and the rim of the horn — restraint that makes the piece read as devotional rather than decorative. Suits a living room wall that already has warm wood or brass to answer the gold.

Framing available

A monochrome study of Shiva with Nandi, worked entirely in graphite tones against carved temple stone. Stripping the colour out pushes everything onto line and weight — the fall of the bull's shoulder, the tension in the seated figure. Reads as drawing rather than painting, which makes it an easy piece to live with in a room that is already colourful.

Framing available

Sita seated alone beneath a broad tree, the yellow of her sari the single warm point in a composition otherwise given over to green shadow. The wide format leaves a great deal of empty space to her left, and that emptiness is the subject as much as the figure is. A contemplative horizontal piece, well suited above a low console or a bed.

Framing available

A second reading of the same grove, warmer and closer than the first — the light has moved, the greens have gone golden, and the figure sits nearer the picture plane. Hung as a pair with Waiting Under the Ashoka it reads as a passage of time; hung alone it is simply a very quiet landscape with a figure in it.

Framing available

A sleeping figure assembled from slate-blue rectangles, with one deep red rose placed low in the frame as the only warm note. The restraint is the point — nearly the whole canvas sits in a narrow band of blues, so the rose reads as loudly as it does. A calm horizontal piece that works particularly well above a bed.

Framing available

The companion to Rose and Slate: the same blue architecture, the same downturned profile, but two roses now instead of one and the geometry opened up around the shoulder. Bought together the pair reads as a diptych; bought alone this is the warmer and more forgiving of the two.

Framing available

A study in the manner of Picasso's blue period: a woman resting her head on one hand, drawn almost entirely in tone rather than line. The whole canvas sits within a single colour, which throws all the weight onto the modelling of the face and hand. An honest exercise in restraint, and a quiet piece for a reading corner.

Framing available

A seated woman with hands folded, worked in the same narrow blue register but with more resolved modelling than the first study — the light on the face and knuckles is doing real work here. The background stays deliberately unfinished, which keeps the attention on the figure. Sold as an individual study, not as part of a set.

Framing available

The third and most loosely handled of the blue studies — the same seated pose, but the brushwork left open and the edges allowed to break down into the ground. Where the second study resolves, this one stays provisional, and some collectors prefer it for exactly that reason.

Framing available

Yellow and violet blossoms lit as though from within, floating against a ground dark enough to read as night. The light is the subject rather than the flowers. Because the background is so deep, it holds its own on a dark or richly painted wall where a paler floral would disappear.

Framing available

Magenta wildflowers shot through with streaks of backlight, painted with enough motion blur that the whole thing hums. Closer to a photograph of movement than a botanical study. A good choice for a hallway or a bedroom wall that needs colour without needing a focal point.

Framing available

Mountains, river and sun reduced to flat cut-paper shapes in coral, cream and teal — no shading anywhere, just layered silhouettes. The most graphic piece in the catalog and the easiest to place: it will sit happily in a child's room, a home office, or a café without competing with anything.

Framing available

A tropical shoreline at the moment the sun has gone but the sky has not caught up — palms in silhouette, a thin crescent moon, and the last orange band sitting on the water. Warm and cool in almost equal measure, which is what stops it from tipping into postcard territory.

Framing available

The same coast an hour later, given over almost entirely to violet — cloud, water and sand all pulled toward the same register, with the white of the breaking surf as the only relief. Hung beside Crescent Over the Cove it extends the evening; hung alone it is a study in how far one colour can carry a landscape.

Framing available

A woman in a pale yellow dress seated in long grass, the whole scene dissolved into soft impressionist light with a single tree anchoring the left of the frame. The wide format and low contrast make it unusually restful. Suits a bedroom, or a long horizontal wall where a busier piece would feel like too much.