'London Scene.' (1957) Howard Veal was a great exponent of Australian Tonalism. It involves no under drawing and is based on the rapid and direct recording of tonal impressions of light and dark.

Laura Knight mentions this portrait of her from 1897 in her memoirs. Her husband Harold, had returned from Paris after weeks away. 'My hair was done in a new French style that Harold fancied and I posed for a portrait of head and shoulders. How mystical I look.'

Charles Ginner's depictions of London focus predominantly on the hustle and bustle of central London, such as in Leicester Square or Covent Garden, so 'Hampstead Church,' (1928) is a little unusual but it was on his doorstep, he lived at 61 Hampstead High Street from 1919 to 1938

During WW2, London's underground transport system occasionally suffered blackouts. This is Henry Carr’s scene of Piccadilly Circus at night in 1942 - the downlight cast from a single lamp makes the picture particularly atmospheric.

'Speakeasy Corner.' (1928) Martin Lewis died in obscurity in 1962; he found some success in his early career, but was largely forgotten after the Great Depression leaving him to spend last three decades teaching etching including his famous pupil Edward Hopper.

Cedric Morris' painting (1943) depicts a view from the Welsh village Dowlais, Merthyr Tydfil. During 1937 Morris became involved with the Merthyr Tydfil Educational Settlement which was set up to provide education and welfare services to the local people.

'Request Stop, Hampstead.' (c1950) Stephen Bone painted a world full of charm. His style went out of fashion for some years but is again gaining popularity. If you are wondering about the colour of the bus sign, white bus signs with a red circle indicated 'compulsory' stops.

'Lunch.' (1988) Joanna Carrington reinvented herself as a naïve painter after seeing the pictures of Alfred Wallis. She signed her work using the pseudonym Reginald Pepper and went on to huge success even after her real identity was exposed by the Sunday Times in 1981.

The closeness of Édouard Vuillard's relationship to Lucy Hessel (his dealer's wife) is clear in this picture, from 1905, not least because her face appears in shadow - it's a glimpse into their lives, an intimate and informal moment immortalised for prosperity.