Alistair Grant, who died in 1997, left a huge body of work behind him. His estate and archive is represented by the Eastbourne-based gallery Emma Mason British Prints, which will be presenting at the British Art Fair for the first time this Autumn, and showing a number of his prints and paintings. Most of the pieces Grant produced for The Rebel have disappeared, alas, so don’t expect to see any of his Hancock works, such as Ducks in Flight around the Eiffel Tower, Exhaust Fumes on a Wet Thursday Night, or Sodium Light on a Left Buttock.

If there’s one place where mankind can claim victory in the struggle to tame and colonise nature, it’s got to be the Cotswolds. Which is probably why the ‘Beast of Burford’ – a black panther supposedly on the prowl in Oxfordshire – has become such a popular local legend. The painter John Lendis has made the Cotswolds his home, after spells abroad and is fond of inhabiting his landscapes of the area with repeated motifs: of foxes, angels and Landrover Defenders.  

How long do you need to take in the 1,613 works in this year’s Royal Academy Summer Exhibition, co-ordinated by the genial octogenarian water-colourist David Remfry?

A big welcome to the Fine Art Society, exhibiting for the first time at the British Art Fair this Autumn.

One can safely assume that Laura Knight’s Baiting Lines, Staithes (c1900) was not painted on a Sunday.

Interview with first-time exhibitor at British Art Fair, Simon Shore of Stow Art House.

In 1923 the author David ‘Bunny’ Garnett introduced Stephen Tomlin to the Bloomsbury group. Tomlin, nicknamed ‘Tommy’, was a 22-year-old sculptor: intelligent, good looking and very, very charming. He was also bisexual and incurably promiscuous, hence the title of this exhibition at Philip Mould’s Pall Mall gallery (borrowed from a recent biography by Michael Bloch and Susan Fox, which has enjoyed a republication to coincide with the show).

Bloomsbury Stud: The Art of Stephen Tomlin, Philip Mould & Company, until August 11.

Tate Britain director Alex Farquharson’s rehang of Tate Britain, revealed to the public on May 23, has been much derided in the press. The Guardian called it ‘vacuous, worthy and dull’; the FT suggested a ‘hectoring’ and ‘self-righteous’ tone to the labelling. But there are, to be fair, many positives to come out of it, and one is that the British pop artist Richard Hamilton has been given his own room.

To use the parlance of the time, the Welsh artist Ceri Richards (1903-1971) ‘had a good war’, though it didn’t start off terribly well.

Jonathan Clark Fine Art Gallery represent Richards’ estate, and studies made in situ in the foundry are displayed in their current exhibition, hence the ‘Furnaces’ in its title. The ‘Feathers’ refers to the garments worn by the costermonger Pearly Kings and Queens, who had inspired the artist when he was living in London: wartime sketches of these flamboyant figures, also on show.

Emily Young, ‘Britain’s greatest living land sculptor’ (FT), talks about having a friendship, even a marriage, with every bit of stone she works with, whether that’s Onyx or Speleothem, or Jaisalmer, or Quartzite, or Calacatta, or Lapis or Alabaster.

Two interconnected shows opened at Pallant House Gallery on May 13, both in their different way concerned with what might be described as ‘the female gaze’.

Osborne Samuel have named their latest exhibition of the work of Keith Vaughan – their fifth since 2007 – Image and Anxiety.

The Mayfair gallery has gathered over 80 works from major private collections, and paintings from their own inventory, including all eight of his lithographs, and the show – which enjoyed a crowded private view on May 10 – is illustrated with two cabinets full of Vaughan’s notebooks, letters, photographs and journals.

King Charles, it turns out, is a very competent artist. A series of 16 of his paintings – made when he was Prince of Wales, between 1992 and 2000 – were made into lithograph prints, in a limited edition of 100, by the late Stanley Jones at the Curwen Studio, with proceeds going to the Prince of Wales Charitable Fund.

These four characterful East London kids, dressed in their best for the 1953 Coronation, posing patiently for the camera under a flurry of raggedy bunting, will now be in their mid-seventies, around the same age as King Charles. They will, no doubt, currently be preparing for Charles’ coronation, if they’re still with us.

It’s been a long struggle, but Sir Joshua Reynold’s Portrait of Mai (Omai), it was announced today (April 25), is to stay in the country… for the time being, at least.

A retrospective of the vibrant paintings of Maro Gorky, to celebrate her 80th birthday, has just opened at Long & Ryle, round the corner on John Islip Street. In the show’s catalogue, Cressida Connolly writes: ‘any room would sing with one of her paintings on the wall.’ Well here are 20 or so of her exuberant creations in a single – rather intimate – gallery space: make that a joyful chorus.

1964 was an eventful year for the Yorkshire artist Mark Lancaster. He was studying fine art, under pop-art guru Richard Hamilton, at King’s College, Newcastle. In his summer break, he went to New York, where he wangled a job assisting Andy Warhol in the first incarnation of The Factory, on East 87th Street. How? Here’s a lesson: he found his number in the phone book, and rang him up.

In December 1953 a 27-year-old Leon Kossoff attended the exhibition Russian Emigres in Paris, at the Redfern Gallery in London, which included four works by the late expressionist artist, Chaim Soutine. This was the first time he had seen one of the late oil painter’s works in the flesh. 

The oil painter David Storey brings forgotten people’s memories to life, and makes them universal.

He trawls car boot sales and flea markets for old family photo albums, and uses selected images - often of individuals or family groups posing rather awkwardly for a loved-one’s holiday snap - as the starting point of his process. He works these images into miniature portraits, using egg tempera and oil on wood, attempting to ‘unlock the poetry from within’.

Gillian Wearing is, of course, best known for her conceptual videos and photographs and, more recently, her sculptures. But during lockdown the Turner Prize-winning artist also turned – like other YBAs before her – to painting. And, in particular, to painting portraits.