Late October Wind and Rain

Late October Wind and Rain

£4,480.00 GBP
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Late October Wind and Rain
  • Late October Wind and Rain
  • Late October Wind and Rain
  • Late October Wind and Rain
  • Late October Wind and Rain
  • Late October Wind and Rain
  • Late October Wind and Rain
  • Late October Wind and Rain
  • Late October Wind and Rain
Late October Wind and Rain

Late October Wind and Rain

Currently Available

2026, Coates Charcoal on French Paper

Unframed Dimensions: 84cm x 120cm (33.1in x 47.2in)

Framed Dimensions: 90cm x 126cm (35.4in x 49.6in)

Original work, signed by the artist, accompanied by a certificate of authenticity, with the sale recorded in the artist’s archive.

PURCHASING OPTIONS:

Unframed: £4,480 plus shipping (quote on request)

Framed Price: £4,980 – presented in a bespoke, museum-quality frame
SHIPPING & TAXES

Shipping costs are calculated individually. A fully insured worldwide shipping quote can be provided upon enquiry once the artwork and delivery address are confirmed.

I offer fully insured worldwide shipping on all original artworks, using specialist fine art couriers to ensure safe, tracked delivery.

VAT & IMPORT DUTIES

I am not VAT registered, so VAT is not charged on purchases.
International orders may be subject to customs duties or import taxes, which vary by country.

FRAMED OR UNFRAMED SHIPPING OPTIONS

All artworks can be supplied framed, with museum-quality bespoke framing and secure crating for transport.

Certain works can also be shipped unframed if you prefer to use your own framer, or are shipping overseas and would like a more economical option. Unframed works are carefully packaged to archival standards and include professional framing guidance.
FRAMING

Unless stated otherwise, artworks are available unframed and can be purchased as such if you prefer to work with your own framer.

I also offer a bespoke framing service through Ro Frames, who take exceptional care in the handling and presentation of artworks. Using sustainable wood, museum-grade materials, UV-protective glazing, and conservation-standard, acid-free mounting techniques, each frame is crafted to preserve and enhance the work.

PAYMENT OPTIONS

To make collecting more accessible, I offer two ways to purchase artwork:

FULL PAYMENT
Payment in full secures the work and allows for prompt shipment.


INSTALMENTS
Monthly instalments can be arranged, with shipment following receipt of the final payment. A simple contract will be provided to protect both parties.

Please specify your preferred payment option when making your enquiry.

About the Work

I have been working weekly through my Journal de Bord series for several years—an ongoing practice rooted in real-time observation, much like a captain's log. This approach is inspired by the Japanese shichijni ko calendar, where each micro-season lasts only a few days. Nature is constantly changing, and I strive to capture those fleeting moments before they vanish.

This piece is part of my Journal de Bord series, shared with my catalogue subscribers each week. In this entry, I reflect on what I observed in nature, how the piece unfolded, and the specific moment that inspired the work. Below is the journal entry to go alongside this artwork.

Entrée n° 113

Somewhere between St Luke’s Little Summer and the first real gale, the season turned. St Luke’s feast falls on the 18th, and the old belief is that he hands us a few golden days to hoard before winter.It has definitely felt like that old belief came true, we had those last few golden days but the wind made its appearance and the sky turned grey early this week. I didn't mind seeing it's return as I have been thinking about larger pieces on the theme of Just Rain, an artwork I made earlier this year, where I brushed charcoal across the surface as a veil and rubbed fine lines back through it, so that rain became the subject. 

This new work grows from that piece, but asks what happens when the wind arrives too.I wanted the mark-making to be more noticeable, picking up on the patches of dark and light, and the movement within the clouds. The work was made across sixteen sheets of paper, laid out in a four-by-four grid.I have a postcard of Spring Rain at Tsuchiyama by Utagawa Hiroshige in the studio which is my reference point to these straight lines of rain, I love to reference asian art in my work due to its timeless elemental qualities. I started each sheet as I did before, sweeping the charcoal on, then lifting it away with a kneaded eraser and the edge of a ruler, and in between the rulered lines free hand lines as the rain was being pushed with the wind. 

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