Archive for the 'Richmond' Category


Winter ’17 New Paintings & Gift Vouchers

Gift Vouchers:

Redeemable against one to one Art Lessons or Art work (either prints or original paintings from my studio or commission a bespoke peice.

The value need not be shown as I will keep a record.

Can be paid for by Pay Pal or BACS and delivered within 3 days.

Commissions Welcome:

Send me a photo of your favorite place and the required dimensions and I will send you a quote for an original oil on canvas painting designed to suite your particular colour scheme.

Recent commission completed from client’s photos:

                                               ‘Lily Tarn’ oil on canvas – Lee Campbell

                                        ‘Concerto’ oil on canvas 100cm x 190cm – Lee Campbell

                             ‘Red Sails’ – Thames Barge oil on linen 12″ x 16″ – Lee Campbell

‘High Country Jade’ 30″ x 40″ oil on canvas – Lee Campbell

                                          ‘Cascade’ oil on canvas 24″ x 30″ –  Lee Campbell


Winter Open Studios Eel Pie Island – 2 -3 December 2017 – Many thanks to all our visitors over the weekend – the event goes from strength to strength and we look forward to repeating this over 2 weekends in the summer.

Latest Oil Paintings

The following 4 paintings are currently on display in the dining room at The Albany, 1 Queens Rd. Twickenham. Tel: 0208 8911777

                                      ‘Autumn Glow’ oil on canvas 32″ x 32″ – Lee Campbell

                        ‘East” & ‘West’ oil on canvas 31″ x 12″ x 2 oil on canvas – Lee Campbell

                                            ‘First Frost’ oil on canvas 31.5″ x 12″ – Lee Campbell

                       ‘Autumn Drift’ oil on canvas 28″ x 36″ Lee Campbell SOLD

                                        ‘Rhapsody’ oil on canvas  28″ x 56″ – Lee Campbell

                    ‘September View’ oil on canvas 20″ x 28″ – Lee Campbell  SOLD

                             ‘City View – Richmond Park’ oil on linen 20″ x 28″ – Lee Campbell

                                         ‘First Light’ oil on canvas 24″ x 24″ – Lee Campbell SOLD

                                    ‘Autumn Glow’ 12″ x 12″ oil on canvas – Lee Campbell

‘Roi Soleil’  oil on canvas 32″ x 32″ – Lee Campbell SOLD

‘Morning Mist’ oil on canvas 24″ x 32″ – Lee Campbell

                               ‘New Day’ oil on canvas 12″ x 16″ – Lee Campbell

‘Misty Blue’ oil on canvas 32″ x 32″ – Lee Campbell SOLD

                                              ‘Sonata’ oil on canvas 12″ x 16″ – Lee Campbell

                                                 ‘Stratum’ 30″ x 40″ oil on canvas Lee Campbell

The above painting is a return to a subject used during my residency at NLP in 2008 inspired by images of metal fatigue and similar highly magnified cross section images.

                ‘Cosmos I & II’ oil on canvas 2 x panels 28″ x 28″ – Lee Campbell    SOLD




‘Eel Pie Summer ’17’ – Studio visitors welcome

Delighted to see my work on display in the restaurant at The Albany here in Twickenham:

                        ‘Homecoming’ oil on canvas  32″ x 32″ – Lee Campbell

River Mist oil on canvas
32″ x 12″ – Lee Campbell

They do the best homemade ice cream too.

Many thanks to all our visitors who made both Open Studio weekends a great success.

I welcome visitors and am usually working in the weekends but best to call first to be sure : 07900242997      I currently have a wide range of work from tiny miniatures 4″ x 4″ to a three – panel hinged room screen 5′ x 5′.

As well as medium sized oil on canvas paintings I have the following oil paintings of local scenes on paper which are ready to frame – prices range from £9 to £120 :

‘Twickenham Rowing Club’  – Lee Campbell

‘Twickenham Riverside’ – Lee Campbell

‘Orleans Spring’ – Lee Campbell

‘Richmond Bridge’ – Lee Campbell

‘October Light’ – Lee Campbell

‘Richmond Sunset I’ – Lee Campbell

‘Richmond Sunset II’ – Lee Campbell

‘River Mist’ – Lee Campbell

‘Roses Pink”  – Lee Campbell

‘Resting’ – Lee Campbell

One of a selection of miniature oil paintings as cards, ready to frame.

‘Twickenham Spring’  – Lee Campbell          Available as a print or greeting card.

For full selection of artworks and sizes please see

                                  Commissions welcome

Recent commissions:

                                ‘Buddah’  – Lee Campbell oil on canvas  24″ x 14″

‘Harvard Yard’ 30″ x 40″ oil on canvas – Lee Campbell

                           ‘The View’  – Lee Campbell 18″ x 26″ Oil on canvas

Tranquillity III’ –  Folding room screen with three panels 150cm x 150cm

Detail of Screen


Spring “17 New Paintings of Twickenham & Richmond

Following the exhibition at the Baxter Gallery I have concentrated on making a series of river paintings based on Eel Pie Island, Twickenham Riverside and Richmond Bridge – these range in size from miniatures 4″ x 6″ to medium sized oil on canvas 28″ x 20″.

All are currently available form my studio on Eel pie Island.

‘Twickenham Embankment’ oil on canvas 16″ x 20″ – Lee Campbell

‘Richmond Sunset’ oil on canvas Lee Campbell

‘River Mist’ oil on canvas 20″ x 20″ – Lee Campbell

‘Sunset from Richmond Bridge’ – Lee Campbell

‘Pastel Sunrise’ oil on canvas – 20″ x 28″ – Lee Campbell

‘Eel Pie Sunrise’ oil on canvas  18″ x 24″ – Lee Campbell

‘Richmond Dusk’ Oil on canvas  18″ x 20″ – Lee Campbell

‘Eel Pie Island’ oil on canvas 16″ x 22″ –  Lee Campbell

                                            ‘Eel Pie Sunrise’ oil on canvas – Lee Campbell

‘Richmond Bridge’ oil on paper 4″ x 6″ – Lee Campbell

‘Richmond Pink’ oil on paper 6″ x 4″ – Lee Campbell

‘Richmond Dusk’ oil on paper 6″ x 4″ – Lee Campbell

‘Eel Pie Glow’ oil on canvas 16″ x 20″ – Lee Campbell

‘River Mist’ oil on canvas 32″ x 12″ – Lee Campbell

‘St Mary’s Church’ oil on paper 4″ x 6″ – Lee Campbell

‘Rainbow Sky Petersham’ Oil on canvas – Lee Campbell

                               ‘Quiet Place’ oil on canvas 130cm x 80cm  – Lee Campbell

Latest project:

Large 3 panel screen 150cm x 150cm Oil on canvas

Detail of screen:

50% Discount off older work – Commissions welcome

Link to article in SW Londoner from summer Open Studios 2016 referring to Brexit:


Royal Ballet School/White Lodge Project

‘White Lodge’ oil on canvas – Lee Campbell

‘Frozen Light’ oil on canvas – Lee Campbell

Since August I have been working with The Royal Ballet School at their White Lodge site in Richmond Park.  Feeling at a bit of a loss since the Byrne Bros project was completed, I approached the Ballet School and was delighted when they agreed to allow me access to White Lodge over the summer. The exhibition at The Portland Gallery will contain over 20 paintings produced as I immersed myself in this fabulous environment.

I was given access to the archive where I was allowed to photograph the old ballet shoes worn by Dame Margot Fonteyn. It was a real privilege and I could only imagine how her feet would have felt at the end of a performance.

‘Dame Margot’s Shoes’ – oil on canvas Lee Campbell

The forest surrounding the lodge contains many ancient oak trees and these have become part of the body of work along with the resident deer that inhabit Richmond Park. It was gloriously hot August day in Richmond Park as I navigated my way slowly past a heard of fallow bucks who were camped on the roadside and munching happily in the morning sun and flicking away flies with their antlered heads. There are over 300 fallow deer in the park and approximately the same number of red deer.

‘Majesty’ oil on canvas Lee Campbell

‘Majesty’ is available as a print from

The view of the Lodge from the bottom of the hill was magnificent and I paused to admire the ancient oaks rising in a stately fashion form the bracken but I wanted to imagine how it would look dressed in autumn colours and late afternoon shadows.

‘Autumnal’ oil on canvas – Lee Campbell

The interior was equally fabulous and the first image I concentrated on was the main ballroom’s chandeliers and I attempted to capture this spectacle using mirrors and an unusual format:

‘Paradox’ oil on canvas – Lee Campbell

Continuing on a the theme of paradoxes I used ornate railings as a device to separate the dimensions within Le Reflet de la Lune which was given it’s title by my clever  student Sandra who speaks French fluently.

‘Le Reflet de la Lune’ oil on canvas – Lee Campbell

I have also used tiny shoes as a means to return to still life painting, I find this to be a necessary balance to working from my imagination. With several weeks to go now to the opening I have still to complete a painting of floating feathers and hopefully one of oak leaves.

‘Satin & Velvet’ oil on panel – Lee Campbell

‘Tiny Dancer’ oil on panel – Lee Campbell

The show has also given me a chance to explore  the mixed media collages that I enjoy in between paintings:

‘Connections’ mixed media – Lee Campbell

and to revisit the theme of bubbles:

‘The Entrance’ Oil on canvas – Lee Campbell

and works that simply suggested the ethereal atmosphere:

‘Borne on the Mist’ oil on canvas – Lee Campbell

However it was the Costume Room that provided the most colourful and rich cacophony of textures and vibrancy. I found rows of tutus stacked kebab fashion and hanging joyfully, hats, props and shoes patiently awaiting the next performance so I have returned to a technique of oil on paper to capture the delicacy and transparency of the fabrics:

‘Costumes II’ oil on paper-Lee Campbell

‘Costumes III’ oil on paper-Lee Campbell

‘Costumes IV’ oil on paper-Lee Campbell

White Lodge is a neo-Classical Palladian building and a rich history dating back to 1727 and built for George II. Since 1955 it has been home to the Royal Ballet Lower School which was founded by Dame Ninette de Valois and has just had a £22 million refurbishment.
The students are comprised of 120 11-16 year olds and among the allumni is Darcy Bussell and there are approximately the same number of staff attached to the complex.

There is a Museum in the crescent wing which has been imaginatively and instructionally designed to trace the history of ballet parallel with the history of White Lodge – Tel. 0208 3928440

Richmond Park has been designated as a Site of Special Scientific Interest and a National Nature Reserve. The royal connections to this park probably go back further than any of the others, beginning with Edward (1272-1307), when the area was known as the Manor of Sheen. The name was changed to Richmond during Henry VII’s reign.

‘Park Light II’ – oil on paper Lee Campbell

‘Park Light III’ – oil on paper Lee Campbell

‘Park Light IV’ oil on paper -Lee Campbell

Exploring the building I enter through the rear of the building to discover it almost deserted except for some workmen and the security guard –
What a delight to have the freedom to explore this extraordinary interior alone. Beginning in the lower brick tunnels which link the classrooms and dance studios I crept respectfully through taking photos of all before me.

‘Light Pools’ – photo – Lee Campbell

Light effects ….on the shiny floors seemed to echo with the steps of dancers past and the kids artwork.
Moving through to the spectacular front of the house I noticed the ornate details and the statue of a dancer:

Looking out across the park to the lake I could see tiny figures moving slowly in the distant heat. The Shard which I had painted during my last project was visible trusting upwards through the heat-haze on my way up the hill.

‘Allegory’ oil on canvas -Lee Campbell

The garden  had a display of gorgeous old roses which smelled heavenly and sculptured trees statues and a summer house.

‘Misty Forest’ oil on panel -Lee Campbell

Holly the ‘muse hound’ dreams of being a dancer


The Shard & The Savoy – Byrne Bros Project

Last autumn I began a collaboration with Michelle Tilley, Health and Safety Executive of The Byrne Group to produce a body of work based on two of their current projects – one being the state of the art Shard at London Bridge and by way of contrast – the refurbishment of the much loved old Savoy Hotel on The Strand. This project is almost completed now so time to reflect and share some of the artwork produced exclusively for their head office in Teddington.  Due to the nature of the on going work it was impossible to do more on both sites other than take photos and make notes, but as with most of my work a degree of imagination becomes an enormous asset in these circumstances.

The Savoy

Working from photos taken during site visits I produced oil on paper sketches and charcoal studies of each of the sites.

‘Ballroom’ Savoy study Lee Campbell

I was fortunate to be able to visit The Savoy just before the furniture was installed and to see the completed interior beautifully lit and this formed the basis for the completed 4′ x 4′ oil painting that resulted. Using details from the interior and gold figure who stands majestically above The Strand entrance, I designed a composition which I hoped would capture the sense of history and the unique mood created by the presence of so many notorious guests and staff. The variety of different styles proved a challenge – how to incorporate the elaborate decoration of the ballroom with the stylish deco chrome pillars and leopard skin patterned carpet with gothic glamour. I have, of course also included the mysterious ‘white lady’ who has been seen disappearing into walls as recently as last year by the security men.

Study for Savoy – Lee Campbell

I also included Kaspar the shiny black cat in the lower right hand corner  – the story goes that in 1898 a South African diamond magnate by the name of Woolf Joel was visiting London and held a banquet at the famous Savoy before returning home. At the last minute one of his guests had to cancel, leaving thirteen to sit at table, which one guest said was unlucky. After a successful dinner, Joel said his goodbyes and rose to leave; the same guest then said that the first person to leave would also be unlucky and would be the first to die. Joel was not superstitious and thought this remark very amusing — but a few weeks later he was shot dead in his Johannesburg office.


For some years after those events, anxious not to have a similar incident that could damage their reputation, the Savoy provided a member of the hotel staff to sit at tables of thirteen, to avoid the unlucky number, but that idea proved unpopular with guests wanting to talk about personal or private matters; so in 1926 a new solution was found. A British architect and sculptor called Basil Ionides was commissioned to design and carve a three-foot-high model of a black cat, which he produced from a single piece of London plane.

Kaspar in his display case at the Savoy Kaspar awaits a party of diners Named Kaspar, the cat now resides in his own display case in the entrance hall at the hotel, but whenever a party of thirteen requires an extra guest he is brought out to sit at table. He has a napkin tied around his neck and is served every course, just like any other guest. Winston Churchill became very fond of Kaspar, to the extent that he insisted the cat should be present at every meeting of The Other Club, a political dining club he had founded in 1911, and so Kaspar has been at all the fortnightly meetings — always held at the Savoy — since 1927.

During World War 2 Kaspar was catnapped by some mischievous Royal Air Force personnel and flown to Singapore, only to have Churchill himself demand its immediate return!

There are two theories as to the origin of the number thirteen being unlucky. One derives from Norse mythology, in which twelve Gods sat down to a banquet in Valhalla. The evil spirit Loki gate crashed the party as thirteenth member of the party and killed the Gods’ favourite, Balder. Thirteen also has significance to Christians, as there were thirteen people at the Last Supper, and the traitor Judas Iscariot was the thirteenth and last to arrive. As to why a cat — the animals have held an important role in mythology and superstition over the centuries, and black cats in particular are considered by many cultures to be lucky.

The refurbishment began in 2007 and over 1000 craftsmen, artists and builders had been involved in the £100 million re-fit. The whole neo-renaissance limestone facade had to be moved forward by hydraulics 0.75cm – a very complex feat of engineering. The original Edwardian style had previously been updated in the 1930s and these current sumptuous theatrical interior designs are by Pierre Yves Rochon. I was shown the sealed room No 878 where a murder had once been committed and told of the many famous guests who had graced this hotel with their presence; Monet and Whistler (a huge hero of mine) had both painted the splendid view of Thames from the hotels windows, Winston Churchill, The Beatles, Marylin Munro and Richard Harris. I was very gratful to my delightful guide Stuart Harvey, The  Project Manager, who explained that the company enforced strict rules about good behaviour and to facillitate this ran an education programme for the 800 strong workforce. A very impressive opperation.

The completed large oil painting took many months and had many transitions before reaching the final composition:

First study – Savoy – Lee Campbell

Second study -Savoy – Lee Campbell

The Savoy – oil on canvas 48″ x 48″ – Lee Campbell 2011

For additional information see:

Gilt trip: Refurbishing the Savoy hotel 8.10. 2010 – Thomas Lane

The refurbished Savoy hotel looks a million dollars – which is just as well because it cost more than £200m to do up. Happily nobody was to blame for the cost and time overruns – except possibly the owner’s insatiably lavish tastes- see images:

For a comprehensive history of the Savoy: Wikipedia:

The Shard

Renzo Piano, the building’s architect, worked together with architectural firm Broadway Malyan during the planning stage of the project. Funder by Qatar the tower will stand 1,017 ft (310 m) tall and have 72 floors, plus 15 further radiator floors in the roof. The building has been designed with an irregular triangular shape from the base to the top. It will be clad entirely in glass. The viewing gallery and open-air observation deck will be on the top (72nd) floor.

Keiren Long of the Evening Standard  has written a piece examining the impact that the Shard will have on the area:

Andy Bowden – crane operator has also written a piece about the experience of being at the top of his game://

When I first visited the site last year I wrote a blog about the experience of going up the side of the building to a considerable height in a wire cage and The Shard is now almost finished. In fact it is clearly visible from Richmond Park, the Thames at Hammersmith and probably from most of London. It is already truly magnificent! So what a challenge to complete a painting of an incomplete building. It seemed right to show the exposed core while simultaneously showing how the glass membrane will look. when completed on one side. Because the painting is being commissioned by the people building it, I also decided to use the main construction materials to represent the two Byrne brothers – one who specialises in steel and the other in concrete.

The textures that occur on the pillars of concrete are truly lovely and it seemed such a shame to render then with a smooth concrete over layer. The patterns on the raw steel are equally fascinating golden textures which occur as the metal oxidises.

Charcoal studies – The Shard – Lee Campbell

Oil study – Shard – Lee Campbell

Top Floor – oil study Shard – Lee CampbellGround Floor – Shard -Lee Campbell

Below – Shard oil study – Lee Campbell

The Shard oil on canvas 48″ x 48″ – Lee Campbell 2011

Finding a go


Winter Exhibition 2010- Hampton Hill Playhouse

Been frantic getting work ready for my new Hampton Hill Playhouse  Exhibition and what a delight to finally hang it today! I finished the last piece yesterday. This painting re-visits my old haunts in Pimlico. I lived in Dolphin Square and worked as Resident Artist on Grosvenor Dock during the week then Tate Britain in the weekends so I used to spend a lot of time cycling  along this stretch of the Embankment.
I managed to get 12 fairly large pieces hung in the space without it looking crowded.

Battersea Glow

‘Battersea Glow- – Lee Campbell

‘Revelation’ oil on canvas – Lee Campbell


Shrubs with Attitude – Clanfield to Chester

At last – a holiday! Short but very sweet. Started with a visit to my cousins who run Silver Pear Weddings at historic Friars Court, Clanfield.  Seriously old building:

The first recording of buildings on the site of Friars Court dates back to 1142 and the establishment of the first ‘Hospitaller’ in Oxfordshire by the charitable, religious order of the Knights Templar Order of St. John of Jerusalem. An ‘Hospitaller’ was a place of rest for travellers and from it are believed to derive the words ‘hospital’ and ‘hostel’.

In a chronicle of 1338, Friars Court is mentioned as being “… a small house with gardens, dovecote and adjacent crofts worth 30s a year”. This accommodated the preceptor (the only serving brother), a chaplain, a steward, two servants and three pensioners.  A few years later after the building of a bridge over the River Thames at nearby Radcot (now the oldest surviving crossing to remain standing), the increase in passing traffic must have had a strong influence in making Friars Court a more important stopping point.

By the middle of the 15th century the “small house” had become a stone-built hall with a ‘great chamber’; a separate kitchen, with an adjoining building; latrines to the east; a bake-house and a stone-built chapel with a walled garden to the north.

The house remained under auspices of the Order of St John until the Dissolution of the Monasteries in the 1530s after which it became a private residence. From 1558 until the turn of the 19th century Friars Court had a varied succession of owners, often joint owners, most of whom let the house and land to tenants. During this period the most significant change to the house, before the alterations of the 19th century, was the addition of an attic storey and the remodelling of the façade in the 1650s.

We stayed in the sumptuous ‘Brides Room’ which is apparently haunted and overlooks the water meadow where I joined a family of  coots for a spot of morning yoga beside their water lily pond.

Later, a lovely summers evening walk along the upper reaches of the Thames to Radcot Lock as the sun was setting – took loads of reference photos including these amazing ‘hedge faces’ – perfect reflections of the hazy Oxfordshire sunset with swans, reeds and wildflowers as we made our way past the cows and wheat fields to the local pub.

On to Symonds Yat (Yat means gate in Welsh I think) on the Wye where we visited the red stone Goodrich Castle that we could see from our hotel window. Later with rain threatening we climbed up to the lookout for spectacular views down the valley and made it down to the pub just as the heavens opened.

Next day we took the tiny roads across beautiful Herefordshire countryside to Hay on Wye, up to Ludlow for lunch (renown as being a town to delight gourmets) then Shropshire and on to Meole Brace Hall in Shrewsbury – a historic house full of exquisite antiques and artwork tucked away next to a church. I’d never been to this part of England before and was delighted to discover what an interesting town Shrewsbury was. Our host was the charming Charles Hathaway who directed us to a hidden walking route into the town and made us an excellent breakfast next morning. Just wonderful!

Then on to the Cheshire border to visit Welsh relatives Alan and  Joy Parry who took us on a grand tour of Chester, up the Moelfamau Hill,  then to The Wirrel for ice creams on the edge of a sea of grass, complete with gulls and holiday makers at Parkgate where water had once been.

Alan spent his working life at Shotton steelworks on Deeside.  The plant opened gradually in the late 19th and early 20th centuries and was huge concern employing thousands by the time of World War One.  Nationalised in 1967, by 1979 the plant and the whole industry was struggling under the pressure of foreign competition and industrial unrest. In 1980, British Steel took the decision to close the furnaces at the plant, making 6,500 workers redundant and leaving only the finishing operations such as rolling and plating.  However, Alan worked down the line from the furnaces in logistics where he pioneered the use of computer systems to track the loads of metal travelling through the plant.  Shotton was ahead of the times in this way, having first installed a computer system in 1976.  Alan retired in the 1990s and Shotton is now a much smaller private concern owned by Corus.

Home on Monday and a production team from ITV arrived in my studio to film someone buying one of my paintings for a programme with Lawrence Llewlyn Bowen – House Gift. Sadly she only had a limited budget but it will be great to see the studio on tv.

‘Pulse’ oil on panel -Lee Campbell

That evening was also the Bridgeman Art Library’s annual summer garden party at the Chelsea Art Club – very exclusive, no mobile phones allowed and just great to meet all the people who help sell the rights to my images which are held in the library.  Always a thrill to see a long lost painting appear on a book or CD cover. Lots of well know artists there and I also spotted Antonio Carluccio – whom I usually associate with networking breakfasts.

Pearls & Bubbles – Lee Campbell

Above is the large 6′ x 4′ commission that I’ve completed for Joseph’s Hairdressing Salon in St Margarets. So many bubbles! I did get a bit carried away but they were such fun to do. Pearls and bubbles a theme in keeping with the previous ‘Orb’ series and the bubble paintings that I did at the NPL last year.

A very big THANK YOU to all who braved a hot sticky night at the Portland Gallery on Richmond Hill last night- the show continues till 26th August – contact gallery for opening times Tel: 0208332 1200