Studios were often unheated, relying solely on open fire grates or wood burners for warmth. The depiction of flames and ashes became a recurring motif in artists' works, offering both a technical challenge and narrative potential, enhancing the atmosphere. In this still life, Mahoney captures the corner of his studio with a woodburner surrounded by a terracotta tile hearth. A vase of pink cosmos rests atop the stove, adding a lively touch, while the inclusion of a brush used to sweep ash from the hearth subtly suggests human presence and Mahoney’s intimate connection to his space.

This series of sketches focuses on a single watering can, depicted from multiple angles, showcasing Mahoney’s keen exploration of tone, shadow, and foreshortening of the spout and handle.

In this drawing of a simple scene from Mahoney’s own garden at his home, Oak Cottage in Wrotham, Kent, Mahoney gives a sense of his ability to elevate the mundane into a considered artistic composition. Using only pen and ink, Mahoney illuminates the wall and ground onto which the basket and wheelbarrow rest, creating a striking visual study. Mahoney has used an ink wash to create depth and shadow in his presentation of these gardening tools as sculptural forms.

Drawing of Hyacinths and Narcissus on reverse. Although a simple study of pears and apples, Mahoney’s ability to capture texture is evident here in his depiction of the rough skin of the pears and the weave of the wicker basket. The edge of the page is marked with swatches of watercolour where the artist has dabbed his brush of excess paint before committing to the painting.

For all of his success in large-scale mural painting, Mahoney never underestimated the importance of observational drawing in his practice. This study, from Mahoney's mature period, represents the artist’s quiet moment of contemplation in his own cottage garden. Blooming with spring blossom, Mahoney has immortalised this tree during its most beautiful season. His loose application of the watercolour gives a feel of urgency to capture the blossom before spring is over.

This study of irises is a finely executed graphic sketch, created in pen and ink and delicately coloured with watercolour. The drawing carries the precision and clarity of a botanical illustration, with the iris depicted in meticulous detail, capturing both its form and colour with accuracy. The careful rendering of the flower's delicate petals and intricate structure highlights Mahoney's skill in blending scientific observation with artistic interpretation, offering a striking representation of nature's beauty.

A single sheet with numerous sketches of rose heads and leaves, finished in delicate watercolour wash. This piece demonstrates Mahoney’s deep interest in botanical art and perfecting his accurate depictions of floral forms.

A sheet of studies of Tuscany roses in various stages of bloom. Mahoney has taken care to capture the buds and the full deep purple flowers of the roses, demonstrating his interest in the evolution of nature.

Mahoney’s meticulous plant studies blurred the line between botanical precision and still life, capturing nature’s essence with uncontrived elegance. In this oil study, Mahoney applies the paint in deliberate and rhythmic strokes which captures the delicate petals and vivid colour of the Centaurea Cyanus. The contrasting colours between the vibrant flowers and the earthy tones of the jar symbolises the duality of life: the ephemeral beauty of living blooms juxtaposed with the enduring solidity of the earthenware vessel.

This simple study was executed on textured paper in soft pencil, making a convincing tonal study of a sunflower.

This striking study of a broken sunflower stem captures the fragile beauty of nature, reflecting Mahoney's fascination with plants as subject matter. The artist keenly observes the bold, geometric structure of the angular stem, contrasting it with the fluid, curling form of the leaves. This interplay creates a composition that feels both architectural and organic. Mahoney’s use of colour is unexpected and expressive—cool blues accentuate the twisting leaves, adding a sense of fragility and suggesting the flower's inevitable decline. Through this exploration, Mahoney conveys both the strength and vulnerability inherent in nature’s cycles. Mahoney was a master of media and an expert draftsman; skills gained through his varied training at the Royal College of Art and teaching at the Byam Shaw Art School in the 1960s. This focussed study shows his ability to copy from nature to create unique artforms.

A sheet of sunflower sketches, finished in watercolour and wash. The vivid yellow of the finished flower contrasts with the monochrome sketches of the flower’s stems.

This study depicts a sunflower at the end of summer, when its seeds form intricate, geometrical patterns. Mahoney has accurately rendered the structure of the sunflower, capturing the detailed symmetry of the seeds and the soft, natural texture of the petals. The combination of charcoal and watercolour allows for a delicate balance of precision and fluidity, showcasing Mahoney’s ability to bring out both the organic form and the subtle beauty of nature.

This considered study of sunflowers highlights Mahoney’s botanical precision, capturing the bold, striking forms of the flowers in bloom. Through detailed rendering and expressive line, Mahoney elevates the sunflower from a simple subject to a powerful representation of nature’s beauty and vitality. He has captured their commanding stature as the flowers dwarf the leaves at the bottom of the composition.

In this study, Mahoney blends his depictions of sunflowers with a touch of fantasy, creating a scene that sits in his oeuvre between realistic observation and illustration. The artist is depicted in the act of picking the towering sunflowers, with the plants almost dwarfing the figure, which suggests a harmonious relationship between the figure and the natural world. The dynamic movement of the artist, actively cutting the sunflowers, captures a moment of labour that underscores the human connection to the cultivated garden. This piece is notable as one of Mahoney’s rare self-portraits, a feature less common in his body of work, possibly due to his natural modesty. In contrast to his contemporaries, such as Percy Horton, Geoffrey Rhodes, and Barnett Freedman, who frequently made portraits of him, Mahoney rarely turned the focus inward. In the few known self-portraits, Mahoney often depicted himself in outdoor attire, reflecting his preference for working outdoors whenever possible. His iconic trilby hat is also present, shielding his eyes from the harsh light, a characteristic detail that highlights his practical, yet artistic approach to his environment.

Anerley lies in the hilly area south of London, near Crystal Palace Hill. Mahoney spent his boyhood in a modest and likely crowded terraced cottage, shared with his family of seven or more. In contrast, he admired the vast Victorian mansions that once stood in the area, surrounded by expansive grounds. These grand homes, along with the lush landscapes of Crystal Palace Park, likely shaped his vision of paradise gardens—a theme he often revisited in his work. Formal Victorian plantings, such as Araucaria, feature prominently in his compositions. This landscape sketch, executed on squared paper, reflects Mahoney’s early dedication to mastering precision and accuracy in his drawings.

In 1933, Mahoney rented a studio in Hampstead with Evelyn Dunbar. The appeal of the house opposite as a subject is obvious, with its challenging and varied architecture. Mahoney sketched the house and its complex series of outbuildings with conviction and accuracy in pencil on the soft paper he favoured.

Before settling at Wrotham in Kent, Mahoney’s landscape subjects were taken from the parts of southern England where he spent his holidays: the Cotswolds, Wiltshire and Suffolk. He also produced occasional paintings when visiting Edward Bawden and John Aldridge in Great Bardfield, Essex. This watercolour study demonstrates Mahoney’s artistic technique; combining considered graphic planning, with fluid brushwork. Left unfinished, this piece is a rare opportunity to see how Mahoney planned the tonal aspects of his paintings, beginning by sketching in the shadows before adding colour and detail.

After the bombing of London in 1940, the Royal College of Art was evacuated to Ambleside in the Lake District, allowing the main schools of Painting, Sculpture, Design, and Engraving to continue operating during the war. Under Principal P.H. Jowett, notable artists such as Gilbert Spencer, Percy Horton, and Charles Mahoney led the School of Painting, ensuring continuity in artistic education despite the upheaval. The men were housed at The Queen’s Hotel and the women at The Salutation Hotel, with shared meals providing opportunities for interaction. Initially, there were more women among the 150 students, but by 1944, an influx of men invalided out of military service had begun to return to their studies. In September 1941, amidst this extraordinary wartime setting, Mahoney married Dorothy Bishop, the Royal College of Art's Calligraphy teacher, in the Lake District. The couple's shared passion for the arts cemented their partnership during this unique period of creative resilience. This landscape by Mahoney dates from this period and accurately captures the impressive landscapes of the Lake District which he so admired.

Here, Mahoney has depicted the distant hills in shades of blue to mimic the effect of atmospheric perspective, creating a sense of depth and distance. The cool, muted tones of the landscape contrast beautifully with the warmer, more immediate foreground, highlighting Mahoney’s ability to evoke the stillness and serenity of the winter environment. The scene captures not just the natural beauty of the Lake District, but also the personal refuge Mahoney found in its remote and tranquil setting during a time of global upheaval.

The garden at Oak Cottage was a constant inspiration for Mahoney. He first lived at Oak Cottage from 1937- 40, during which period he renovated it, and again from 1945 until his death in 1968. Once the garden that he planted had matured, he seldom worked anywhere else. His daughter noted that the paintings produced here were a ‘celebration of the beauty that lies in ordinary back gardens, and the place that we occupy in the natural world. Humans and plants blend together, the figures always subordinate to the surrounding plants.’

This oil sketch offers a unique perspective of Mahoney’s beloved garden at Oak Cottage, seen from a neighbouring property. The strong diagonal composition creates a sense of intrigue, as though looking at the familiar landscape from a fresh angle. The garden at Oak Cottage was a continuous source of inspiration for Mahoney, a place where he first lived from 1937 to 1940 and again from 1945 until his death in 1968.

Literature: Llewellyn, Sacha, and Paul Liss. Portrait of an Artist. Liss Llewellyn, 2021, p. 375. Bathsheba was a theme that particularly captivated Mahoney, and he explored it in a series of paintings during the 1950s. The story of Bathsheba, a biblical figure known for her beauty and the relationship she had with King David, provided Mahoney with a compelling opportunity to explore the dynamic between man and nature. Mahoney’s admiration for French painter "Douanier" Rousseau is evident in these works, where the lush, vibrant landscapes and figures evoke a similar sense of dreamlike symbolism. The setting for this composition may have been inspired by Mahoney’s observation of the lily ponds at Kew, capturing the tranquillity and beauty of the natural world, while blending it with his own imaginative interpretations.

Mahoney has interpreted a traditional scene for his modern audience in this painting. The biblical story of Bathsheba is found in the Second Book of Samuel, chapters 11 and 12. Bathsheba was the wife of Uriah, a soldier in King David’s army. While Uriah was away at war, King David caught a glimpse of Bathsheba bathing and became infatuated with her. Mahoney depicts this Biblical scene in a modern garden. Bathsheba and her attendants are front and centre of the composition, framed by a drainpipe and green garden bench. These geometric architectural features are softened by the lush foliage. The women have downward gazes, absorbed in the intimate and private ritual of washing. They are unaware of being watched by the figure in a window of the building, whose hands grip at the sill. Morely’s astute use of colour encourages us to trace the blond hair of Bathsheba, to the yellow leaves in the composition and finally to the yellow sleeves of the concealed figure at the window. The cropped composition, so only a hint of this figure is visible, is an effective tool for letting his viewer know the women are being watched without their knowledge, which results in a feeling of unease in the picture. Mahoney successfully combines figure painting and biblical iconography to make a compelling picture.

Just visible in the twisted foliage is the shadow of Daphne’s human form with a bowed head, resigned to the fate that awaits her. Branches reach like protective arms around the body, and the strong trunk mimics legs in the ‘contrapposto’ pose of Italian Renaissance figures. Mahoney pushes the theme of transformation further, setting Daphne’s mutating body in a winter landscape. As we anticipate the snow melting, we can anticipate Daphne’s return from the protective laurel.

A preparatory sketch made by Mahoney to plan his composition for the moment the nymph Daphne is transformed to a laurel tree to protect her from the advances of Apollo. Mahoney has used soft charcoal worked into a buff paper to plan the tonal elements of the composition. Daphne’s form is more obviously human that the final composition where her head and torso are represented by the branches of the tree.

A series of rapidly executed nude studies made by Mahoney to develop his idea for an artwork depicting the mythological nymph Daphne fleeing Apollo. Mahoney captures her reaching forwards, engulfed by a protective cloak of spring flowers as she transforms into the laurel tree which would disguise her. The small study in the top right of the page gives a sense of Mahoney’s idea for the full composition; a dynamic picture with the transforming Daphne rising dramatically through the work.

Size: Height – 56cm Width – 47cm In this study, Mahoney revisits a familiar subject, one that would evolve throughout his career. The Garden of Eden is depicted not only as a paradise but as a horticultural fantasy. This image of perfection glimpsed from a window reflects Mahoney’s unique vision, blending nature with the concept of an unseen domestic interior. Mahoney’s use of textured paper, such as Ingres, and tracing paper, for transferring designs to canvas, allowed him to carefully refine his compositions. His choice of drawing tools, including reservoir nib pens and cartridge pens, demonstrate his commitment to precision, creating a carefully detailed study that would serve as the foundation for larger, more expansive works on this theme.

This sketch for Mahoney’s Adam and Eve in the Garden of Eden (1941, Tate) focuses not on the figures of Adam and Eve but on the landscape of the Garden of Eden itself, which is depicted as a lush horticultural fantasy. The absence of human figures directs attention to the serene, idyllic surroundings. Created in the mid-1930s, Mahoney’s vision of the Garden of Eden reflects a time when the concept of the garden was intertwined with suburbanisation and man’s control over the natural world.

This highly developed sketch is a preparatory study for Mahoney’s painting of Adam and Eve, showcasing a subtle difference in Eve’s interaction with nature. In the oil version, Eve bends to pick a flower, foreshadowing her eventual fall from grace. In this study, however, she simply smells the flower, depicting a more harmonious relationship between mankind and nature before the fall. The scene is framed through an open window of a modern home, demonstrating Mahoney’s ability to blend timeless biblical themes with contemporary settings. The composition reflects his talent for bridging different worlds, presenting Eden through a lens that is both historical and relevant to modern life.

A rare surviving print of Mahoney’s graphic depiction of allium for the 1937 publication Gardener’s Choice, made in collaboration with the artist Evelyn Dunbar. Mahoney’s representation creates a bold geometric structure of the plant, emphasising his ability to fuse botanical accuracy with artistic expression.

This bold fabric design study reflects Mahoney’s ability to adapt his graphic design skills to create visually harmonious patterns for textiles. The foliate details of the design highlight his ability to transform natural forms into stylised, rhythmic pieces, emphasising the connection between art and design. In addition to the pattern of formalised oak leaves and ferns, rendered in raw earth tones to contrast spectacularly with the blue base colour in the main design, some of Mahoney's developing ideas are also presented on this sheet.

Around the time Mahoney designed this quilt, which was to be made with Evelyn Dunbar as a gift for his mother, Bessie, the two artists were also collaborating on the mural cycle for Brockley County School. At that time, Mahoney was Dunbar’s tutor at the Royal College of Art, and their professional relationship soon blossomed into a romantic one. The artistic partnership between Mahoney and Dunbar was both creative and dynamic, with each inspiring the other, leading to several significant projects, including the illustrated volume Gardener’s Choice and this textile design. The quilt design features a patchwork of flowers, figures, and motifs arranged in alternating squares. The design reflects Mahoney’s and Dunbar’s shared aesthetic sensibility, marrying detailed imagery with a sense of rhythmic flow. The quilt, with its combination of geometric patterned squares and illustrative motifs, offers a glimpse into their collaborative spirit, blending beautiful design with functional craft.

Two drawings by Mahoney, presented on this single sheet, reveal the artist’s diverse interests and creative ideas. The windowsill scene appears to have been spontaneously sketched as a bird landed in front of him, capturing a fleeting moment of natural beauty. The landscape visible in the distance suggests this sketch was made during one of Mahoney’s visits to friends in the Kent countryside around this time. In contrast, the second pencil sketch is deeply imaginative, depicting a mother and child in a garden. The child’s crown hints at a fairy tale influence, suggesting she is a character from a story. This imaginative quality aligns with Mahoney’s concurrent work on his large-scale allegorical murals, reflecting his drive to explore more fantastical and symbolic themes.

Mahoney was interested in graphic design and illustration. This stylised drawing of a young child tending growing plants could be an allegory for the need to care for a child growing into maturity.

Mahoney experimented with the motif of a mother and child across his realistic depictions of moder life in London and his graphic work. This piece falls into the latter category. The young princess here – evidenced by her crown – looks up at ripe pear growing in a walled garden, encouraged by her mother. The piece demonstrates Mahoney’s interest in children’s literature and the fantasy poems of Walter de la Mare.

The drawings for Gardener’s Choice, a collaboration between Mahoney and Evelyn Dunbar, were created in 1937 and published later that same year by Routledge. Mahoney contributed the full-page illustrations, while Dunbar provided the vignettes and much of the accompanying text. As Elizabeth Bulkeley observes in her biographical essay, “They presented the plants they loved to draw, paint, and grow. The illustrations were sculptural and bold, yet subtle—unusual for their time. Each plant was described with great affection, as though sharing their favourite plants was a way of sharing their mutual happiness.” This piece is a working drawing for the frontispiece of Gardener’s Choice. The unfinished state offers valuable insight into Mahoney’s creative process and meticulous planning. On the left-hand side of the design, Mahoney’s use of a compass to measure the circular forms of the ribbon-like roses is evident, providing structure and demonstrating his precision as a graphic designer.

One of Mahoney’s earliest attempts at mural design, Encampment, evokes a narrative atmosphere, drawing on Mahoney’s love for storytelling through art. Around this time, Mahoney developed his interest in theatre set design and the staged arrangement of the figures and their tents in the central panel evokes a stage setting.

A dynamic design for a mural, Street Scene captures the hustle and bustle of urban life. Mahoney’s keen sense of architectural form and perspective is evident, as he blends structural precision with a sense of movement and life, portraying a busy street as both static and alive. Visible in the design are women attending laundry and farm hands working the land, perhaps evoking a nostalgic sense of a rural idyll long before urbanisation.

Mahoney lived in London while studying at the Royal College of Art, where he frequently captured scenes from everyday life. This depiction of a mother and child walking with purpose through London’s Hyde Park has a lively energy. The unusual portrait composition suggests it was likely intended as a side panel for a mural, although as an independent piece, it successfully conveys the brisk pace of the walk. The cropped picture space creates the impression that the family will soon vanish beyond the frame, offering a fleeting yet dynamic glimpse into modern city life. The composition and its energy align with the sense of movement and modernity characteristic of Mahoney's work during this formative period, making it an important example of his artistic development.

Mahoney lived in London while studying at the Royal College of Art, often capturing scenes from everyday life. This intimate moment between a mother and child walking in the park is filled with warm autumnal tones. The unusual portrait composition suggests it was likely intended as a side panel for a mural. However, as an independent artwork, it succeeds in its own right, cropping the scene to focus entirely on this familial moment, elevating its emotional depth.

In the autumn of 1928, Mahoney began work as a tutor at the Royal College of Art. It was also the year he was commissioned to paint his career defining murals for Morely College. Mahoney was instructed to make the murals interesting but not arresting and found this delicate balance a challenge for presenting the ‘pleasures of life’, such as poetry and dancing. He resolved this by presenting classical figures in a frieze like-composition, mixing static and active poses to achieve a unified design. This early sketch for the mural scheme shows Mahoney’s developing ideas. His erasures and corrections are evident, whited out in oil and redrawn in pen and ink. The design is inscribed by Mahoney with notes for improvements he could make, such as ‘the figures in front I am making larger, those at the back smaller’, presenting his dedication to perfecting perspective for this important commission.

In 1932 Charles Mahoney initiated a project to decorate the hall and adjacent areas of Brockley County School for Boys (now Prendergast – Hilly Fields School 6th Form centre) with murals illustrating the fables of Aesop and others. The work, begun in 1933 and completed in February 1936, was divided between Mahoney himself and three of his recent Royal College of Art graduates, Evelyn Dunbar, Violet Martin and Mildred ‘Elsi’ Eldridge. The available spaces on the underside of the gallery at the back of the hall consisted of three ceiling areas, a lunette at each end, and 24 spandrels, of which Mahoney painted the two featured here, The Clock (left) and The Dial (right). In the fable the two timepieces argue for supremacy, the sundial losing out because it cannot record passing time at night. The church tower on the left is unmistakeably that of St Mary’s, Great Bardfield, the Essex village where Edward Bawden and (for a short while) Eric Ravilious lived, and where Mahoney and Dunbar used sometimes to go and stay. In her autobiography Long Live Great Bardfield (ed. Anne Ullmann: Persephone Books, 2016) Tirzah Garwood, Eric Ravilious’s widow, wrote ‘The church had a very nice square clock made of wood painted blue and stuck up diagonally on the tower, where it was invisible to the major part of the village’. The tower on the right, carrying a sundial, has yet to be identified. A tiny figure on the Great Bardfield church parapet may be Mahoney himself. In the finished mural he is looking down into the semi-circular lunette below and between his spandrels, which he decorated with another fable, The Butterfly and The Rose. The completed The Clock and The Dial was Mahoney’s final contribution to the Brockley Murals; it is signed and dated ‘CM 35’ at the foot. This design features the Mahoney has meticulously worked the design around an arched window, showing his instinctive ability to create largescale works which complement the architecture of the space they are intended for. We are grateful to Christopher Campbell-Howes for assistance.

The Muses were a recurring motif in Mahoney’s work, embodying the spiritual and creative ideals that were central to both his life and art. First explored during his mural painting for Morley College, the theme resurfaced in the late 1950s, particularly when Mahoney was invited to submit designs for the college’s rebuilding after its destruction in World War II. The Muses, for Mahoney, represented an ideal of artistic inspiration and values. By the time Mahoney began this final large-scale work, his health was deteriorating, and he was aware that completing it was unlikely. However, the studies for this piece are a testament to the clarity of vision that remained unwavering, even in the face of physical decline. The drawings, particularly those on the right-hand side of the planned mural scheme, stand as some of the most refined and harmonious expressions of the artist’s relationship with nature, capturing the purest essence of his artistic philosophy. In this work, a youthful artist, untouched by time, tends to a Garden of Eden, supported and guided by the Muses.

Mahoney was commissioned to produce a mural scheme for the Lady Chapel at Campion Hall in 1941. The scheme was to be made up primarily of three large panels: the Nativity and Adoration of the Shepherds, the Coronation of the Virgin, and Our Lady of Mercy. In detail and composition the paintings owe much to early Italian example. The most notable case is Our Lady of Mercy (Autumn), clearly inspired by Piero della Francesca’s altarpiece at Borgo San Sepolcro. Electing to paint directly onto canvas fixed to the walls and by daylight hours only, the project inevitably became drawn out‚ Mahoney could only work in situ during the Easter and summer vacations when he was not teaching. The project continued into the following decade and coincided with a serious decline in the artist’s physical health. In spite of these problems, Sir John Rothenstein, who chose to reproduce one of the murals as a plate in British Art since 1900 (1962, pl.60), was moved to describe the scheme as second‚ only to that by Stanley Spencer at Burghclere. A full account of the circumstances of the commission and some of the problems involved can be found in Sir John Rothenstein’s Tribute to Mahoney in the catalogue of the Memorial Exhibition held at the Ashmolean Museum in 1975.

In this oil painting, a sketch for the mural cycle at Brockley School, Mahoney brings to life the fable of Fortune and the Boy at the Well, skillfully blending classical themes with a grounded, familiar setting. The narrative unfolds with a sleeping boy woken by the intervention of Fortune. She stands over him, holding the traditional emblem of a wheel, a symbol of the ever-turning nature of fate, while draped in classical dress that evokes a timeless, mythological aura. Yet, in Mahoney's hands, the scene is not set in an abstract or distant past but in a more intimate, almost domestic environment—a cottage garden, where sunflowers bloom with vibrant energy, their golden heads nodding as if witnessing the moment. The garden surrounding them is familiar and comforting, an environment of growth and nature that contrasts with the looming uncertainty of the well, an ever-present symbol of potential peril. The boy, unaware of his danger, lies peacefully near the edge of the well, while Fortune’s presence emphasizes the delicate balance between risk and protection, chance and fate. Mahoney’s careful rendering of the flowers and the rich textures of the garden reflects his deep connection to nature, as he often intertwined human figures with their surroundings in his work. The sunflowers, large and commanding in their presence, underscore the idea that, just like in nature, human lives are shaped by forces both beyond our control and intimately connected to the world around us. The commission to decorate Brockley (now Prendergast) School in South London, was the result of an appeal by William Rothenstein, Principal of the RCA, for students to be given the opportunity to experiment with mural painting. Mahoney was invited to organise the scheme at the beginning of 1932. He completed the project with some difficulty, owing to the high ceilings and challenges of working in oil on existing plaster. As testament to his skill, the murals survive today.

Joy and Sorrow is a fable in which two sisters, locked in a quarrel over precedence, are arbitrated by King Minos, who decrees that they should be physically bound together, each treading on the heel of the other in turn. This curious punishment serves as a poignant symbol of the interdependency of joy and sorrow, a duality that cannot exist without the other. The image Mahoney creates is rich with emotion, where the tension between the sisters is palpable as they attempt to walk together through a gated garden. The painting’s setting, noted by architectural historian Alan Powers in Country Life (30th April 1987), plays a crucial role in the emotional impact of the work. Mahoney’s choice of a claustrophobic enclosure formed by high brick walls, with figures of silent watchers, intensifies the sense of confinement and inevitability. The walls themselves, along with the iron gates that frame the scene, are deeply reminiscent of English Romantic painting, where the environment often mirrors the emotional and psychological states of the characters within it. This mural was part of a larger commission to decorate Brockley (now Prendergast) School in South London, a project born out of a broader initiative led by William Rothenstein, the Principal of the Royal College of Art, to provide students with opportunities to experiment with large-scale mural painting. Mahoney was entrusted with organising the mural scheme in early 1932, a project that would prove both challenging and rewarding. The high ceilings of the school and the difficulty of painting in oil on existing plaster presented significant hurdles, but Mahoney’s dedication and skill ensured the murals’ completion. Despite these technical challenges, Joy and Sorrow and the other murals he created for Brockley School stand as testament to his ability to overcome adversity and to his mastery of the mural medium. These works, preserved over time, continue to embody Mahoney’s remarkable ability to fuse narrative, symbolism, and environmental context into a single, cohesive composition that resonates with viewers today.

In 1941, Charles Mahoney was commissioned to create a mural for the Lady Chapel at Campion Hall, Oxford. Due to the war, some panels, including Angel Playing Tubular Bells, were left incomplete, with only an uncoloured sketch remaining in the chapel. Sir John Rothenstein praised the work, calling it "second only to that by Stanley Spencer at Burghclere." The wild foliage is trimmed back to reveal the suburban setting, with walls and rooftops providing structural depth to the composition. Tubular bells, often used in liturgical and ceremonial contexts, may symbolise divine music or the presence of the sacred. By juxtaposing the heavenly angel with a suburban garden, Mahoney emphasises the angel as an intermediary between heaven and earth, making a compelling composition for a chapel.

This early work is likely to date to the period that Mahoney was at the Royal College of Art, where he enrolled in 1922. Mahoney was an admirer of the short stories and poems of Walter de la Mare (1873–1956), an English poet, short story writer, and novelist celebrated for his ability to evoke mystery, wonder, and the supernatural in his works. De la Mare’s writings may have inspired Mahoney to create this allegorical scene, where the Four Winds—Boreas (North Wind), Eurus (East Wind), Notus (South Wind), and Zephyrus (West Wind)—are depicted together. The composition symbolises the changing seasons and the perpetual cycle of nature, capturing the harmony and rhythm of the natural world. Mahoney would later revive the motif of the four winds for one of the ceiling roses of this mural designs for the Brockley School Mural Cycle painted in the 1930s.

The composition presents a dreamlike, impossible scene: a hand, detached from its body, floats above a manicured landscape while clutching a bouquet of flowers, flanked by eyes suspended in wine glasses. This surreal arrangement reflects Mahoney’s engagement with the unconventional and the fantastic, blurring the line between reality and imagination.

A sheet of sketches by Mahoney for various compositions in pen and ink. His Woman Sweeping a Path was developed into a more contemplative piece, in contrast to this active depiction of the woman at work.

Designing large-scale murals had a lasting impression on Mahoney’s artistic approach. In this small-scale sketch, he retains the high horizon line which opens the composition and draws the eye to the central, sculptural figure. Despite the mundane subject of a figure sweeping a path, Mahoney imbues the piece with emotion. The figures downcast gaze suggests a moment of quiet contemplation whilst outside in nature. A second sketch on the page shows an idea

This whimsical and dreamlike composition showcases Charles Mahoney’s fascination with storytelling, imagination, and the surreal. The image depicts three women confined within a vase, their arms extending out to offer flowers to unseen passersby. The surreal motif of women inside a vase symbolises both confinement and connection, suggesting themes of giving and generosity even in unusual circumstances. This design highlights Mahoney’s skill in turning simple imagery into profound allegories, making it a testament to his artistic vision.

Mahoney’s still life compositions, often arranged within humble orange boxes, became a hallmark of his work. These seemingly simple arrangements frequently include a hand—perhaps the artist’s own—cut dramatically by the frame, evoking the fleeting and transitory nature of creation. In this study, Mahoney masterfully uses black and white chalk with subtle pastel accents to explore the tonal depth of his composition. The interplay of light and shadow lends clarity and richness to the scene. The presence of the hand—either adding or removing an apple—imbues the piece with a quiet dynamism, suggesting that, like nature, the act of arranging and creating is perpetually in flux.

In this triptych, Charles Mahoney explores the interrelationship between nature and fantasy, themes central to his work. The three panels present a series of still life compositions, each featuring carefully arranged objects—fruit, flowers, and other natural elements—that invite the viewer to examine their structure and form. Mahoney artfully depicts these objects with remarkable precision, creating a harmonious balance between the organic and the designed. Through his intricate pen and ink lines of these subtly different versions of the same composition, Mahoney plays with shadow, texture, and composition, suggesting that art, much like nature, is a continual process of arrangement and discovery.

In this composition, Mahoney delves into themes that often occupy artists: the role of the artist as a creator and the interplay between nature and artifice. The thistle, seemingly real, is in fact a painted teasel—an artwork within an artwork. Likewise, the hand depicted is not the artist’s actual hand but a painted version of it, reaching toward the painted teasel. This interplay blurs the boundaries between reality and representation, creating multiple picture planes and dimensions. The self-referential nature of the piece, with its layered reality, draws connections to the surrealist fascination with illusion and perception.

This pen-and-ink sketch is an imagined scene of Mahoney seated in a mature garden, sketching from nude models. The title suggests that both the nudes and the lush garden serve as Mahoney’s muses. Seated muses played a central role in Mahoney’s mural for Morley College (1928–30), and during the 1950s, he revisited this theme. He often incorporated the figure of an artist working en plein air, inspired by the harmony of nature and the human form. These compositions are rich with poetic narrative and layered with a deep connection to the landscape, reflecting Mahoney’s enduring preoccupation with the dialogue between art and nature.

This evocative study for The Visitation captures the emotional intensity of the biblical meeting between Mary and Elizabeth when both discover they are pregnant, with Christ and John the Baptist respectively. Mahoney has rendered the scene in a modern domestic garden, with figures wearing fashionable clothing, perhaps hinting at the enduring nature of the Christian faith. The women meet with a sense of tenderness and intimacy, set in a garden that blends the spiritual with the earthly, reflecting Mahoney’s unique approach to religious themes.