Recently discovered we are pleased to bring just one of four of my brother's works produced between 1986 and 2007.
Spaniel produced in 1986 is the first in the series.
This portrait of a spaniel-type dog uses bold, high-contrast mark-making to capture both physical presence and temperament in a compact, intimate format.
Composition and framing
The dog’s head and upper torso are tightly framed which gives the piece the feel of a classical vignette or a small etching. The figure is slightly off-centre and angled, avoiding rigid symmetry while still presenting the animal with a sense of dignity and formality. The generous white space around the dog allows the heavily worked darks of the fur to breathe and prevents the image from becoming visually claustrophobic.
Line, texture, and medium handling
The drawing relies on assertive, almost calligraphic strokes—particularly in the ears and chest—to suggest the dog’s long, wavy coat. Dense cross-hatching and layered lines create rich blacks that contrast sharply with untouched paper, giving the fur a tactile, slightly wild energy. In places, such as the chest and lower body, the artist lets lines break and taper, implying volume without over-describing every strand, which keeps the image lively rather than laboured.
Light, tone, and focal areas
The lighting is dramatic, with strong darks across much of the head and neck, interrupted by a bright white blaze running down the muzzle that immediately draws the eye. Subtle midtones in the muzzle and lower chest help model the form so the dog reads as three-dimensional despite the predominantly graphic black-and-white treatment. The relative softness around the lower body, where light seems to wash out detail, cleverly shifts attention back up to the face and character of the animal.
Character and mood
Although the eyes are partially submerged in shadow, the turn of the head and set of the mouth suggest a composed, slightly reflective temperament rather than overt playfulness. The pose feels like a moment of alert pause—perhaps the dog listening or watching just beyond the frame—which gives the portrait a quiet narrative tension. The combination of formal presentation and expressive mark-making lends the work a dignified, almost old-masterly quality, as if the dog were being commemorated rather than merely depicted.
