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| Field | Search term | Example |
| Asset title | title: | title:pony |
| Asset title and keywords | ~ | ~pony |
| Asset description text | description: | description:london |
| Agency prefix | prfx: or $ | prfx:lal or $LAL |
| Asset id | imageid: or # | imageid:250297 or imageid:[2500 TO 4000] or #1551 |
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| Year | year: | year:1850 or year:[1700 TO 1800] |
(1892-1982)<br> Allan Gwynne-Jones’ paintings, which graduate from soft naturalism to staged naivete, possess innocent charm. His vision is observant yet unobtrusive. Even his simplest still life appears fresh. Gwynne-Jones’ oeuvre encompasses still life, portraiture and landscape – sometimes of a surreal aspect. His work is represented by London dealers such as The Maas Gallery, and hangs in the National Gallery and the Tate. Numbered amongst those at the Tate is a self-portrait, which is both candid and sober, and the memorable Peaches in a Basket (1948).<br> <br> Nocturnal scenes fascin (1892-1982)<br> Allan Gwynne-Jones’ paintings, which graduate from soft naturalism to staged naivete, possess innocent charm. His vision is observant yet unobtrusive. Even his simplest still life appears fresh. Gwynne-Jones’ oeuvre encompasses still life, portraiture and landscape – sometimes of a surreal aspect. His work is represented by London dealers such as The Maas Gallery, and hangs in the National Gallery and the Tate. Numbered amongst those at the Tate is a self-portrait, which is both candid and sober, and the memorable Peaches in a Basket (1948).<br> <br> Nocturnal scenes fascinated Gwynne-Jones, and he did a series depicting a fairground. His pictures share a decorative appeal, evoking the gentler face and unassuming values of rural England in the first half of the twentieth century.<br> ...
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