Art for the Office

Framing available

Rama at rest rather than at war — bow set aside against the rock, the forest closing in green and gold behind him. The saffron of the robe is the only high-chroma note in the composition, which is what gives the figure its stillness. A quiet, upright piece for an entryway or a study, where a single strong vertical is worth more than a busy wall.

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

A face brought right up to the picture plane and shattered into gold, olive and turquoise facets, with the eyes left almost intact so that the gaze survives the abstraction. Close-cropped and confrontational in the best sense. Give it a wall of its own and enough distance to resolve.

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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.

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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.

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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 face built from broad palette-knife strokes of white, black and a single slash of red across the cheek. Almost nothing is described literally — the features assemble themselves at viewing distance and fall apart again up close. Confident, graphic, and best given a plain wall.

Framing available

A collage-style portrait — sunglasses, roses and printed fabric layered flat against a coral ground with no attempt at depth. The most graphic and most modern piece here, closer to editorial illustration than to painting. Works well in a café, a studio, or any room that can take a high-chroma flat colour.