Charcoal is the oldest drawing material there is, and still the most direct. It smudges, lifts and darkens under the hand, so a drawing is built and rubbed back and built again — and the hand that made it stays visible in the finished work.

It gives the deepest blacks available on paper. That range, from true black to bare white, is what makes charcoal so good at faces, form and light. On a wall it is serious without being cold, and being tonal rather than coloured, it never argues with a room’s palette.

Every drawing is an original, fixed and signed, framed under glass and ready to hang.