Supporting Sustainability

As framers, our main inputs are wood sourced material such as moulding, mountboard and rear board, and glass, which is an energy intensive product to manufacture.

In recognition of our obligation to preserve the planet for future generations and offset our carbon footprint, not only do we use an ‘all green’ energy tariff within the gallery, but since the beginning of 2021 we have planted one tree for every frame sold, through the work of ‘Just One Tree’.

Welcoming Sarah J Cooper to the gallery

We are delighted to welcome artist Sarah J Cooper to the gallery.

Sarah was born in Sheffield and now shares her time between her home and Staithes on the North Yorkshire coast.

Sarah has always had an affinity with the sea and spends as much time as possible on the North Yorkshire coast, her ‘Heart’s Home’, photographing waves and watching the changing sky.

A love of travel and the British coast has taken her to places further afield; The Outer Hebrides, Shetland, Aberdeenshire, Cornwall and recently The Orkney Islands, which provide continued inspiration.

Her passion for the sea, coastal horizons and expansive skies come through in her work. Painting in oils for larger layered built-up seascapes or acrylics for smaller, energy filled sea and wave abstracts, using palette knives, brushes and often her fingers to create and blend the paint and the back of her hand as an immediate palette, Sarah strives to capture the emotion, movement and pull of the ocean, often reflecting her own character and moods in the work.

Over the years Sarah has experimented with different art media including charcoals, watercolours and pottery, before finally finding her place with painting.

While her work has been exhibited previously in solo or joint exhibitions, we are very proud to be the first retail gallery to represent Sarah and offer her work to the public.

Filey Tourism and Trade Association

Seagull Gallery is a member of the Filey Tourism and Trade Association


The FTTA is for Filey business owners who collectively aim to positively promote tourism & recognise the importance of trade in Filey Town centre & surrounding area.

  • Aim to provide support & suggestions towards progressive development of the Tourist & Trade industry in the Filey area.
  • Work with other organisations, groups & individuals to achieve these objectives.
  • Support local events and groups by offering sponsorship/funding donations, at which it displays a banner to advertise members through the Website & Facebook.
  • Provide mutual support in the form of professional advice & friendship to all members.

Filey Tourist Information – Accommodation & Attractions (

Lockdown #3

In light of the government’s latest announcement, we are working towards a reopening date of April 12th.

We’ve been using the enforced closure to our (and your) advantage, so when we reopen, you’ll see improved lighting within the gallery, a dedicated framing consultation area, additional display areas, a revised and improved selection of framing moulding samples and a selection of work by Bridget Wilkinson in addition to our existing artists.

In the meantime, if anybody has framing or artwork requirements, please contact us and we will work on them during the remains of lockdown, pending delivery of the required mouldings by our suppliers.

We can then either store the completed work until lockdown ends, or else arrange for delivery or collection in line with the government guidance.

Thanks and stay safe

Lisa and Gavin

Framed fire plaque

Sometimes, you just know that it’s the perfect moulding.

We have recently framed this fire insurance plaque for a customer.

After the Great Fire of London in September 1666, which damaged or destroyed huge swaths of the historic city, the need for a more organized response to fires became tragically apparent. This led to the creation of the world’s first property insurance policies, issued by what is considered the world’s first insurance company, called the “Fire Office.” Despite its official-sounding name, the Fire Office was not a municipal department, but a private company. At the beginning, it provided money for the restoration or reconstruction of buildings damaged by fire.

Not long after the Fire Office was established, a number of other insurance outfits began to appear. By 1690 one of every 10 houses in London was insured. As time passed, many insurance companies wised up to the fact that it was cheaper to prevent and fight fires than simply to pay the cost of reconstruction, and that’s where fire plaques come in. Insurance companies such as the Fire Office established their own in-house fire brigades, tasked with protecting the buildings covered under policy—and, in many cases, only those buildings. If another company’s brigade put out a fire in a building insured by a different company, they might be reimbursed for their trouble, but if your building did not carry a crest, or the crest was that of a different insurer, it might be left to burn. To designate which buildings were covered by which company’s brigade, fire plaques were installed on the exteriors of the buildings.

By the mid-19th century, London had established a public firefighting operation, and the use of fire plaques began to decline, but fire plaques maintained some popularity even as their utility waned.

Today, fire plaques survive as historic points of interest or collector’s items.

Like philatelists and numismatists (collectors of stamps and coins, respectively), people who study and collect fire marks have a name: signevierists. (Text courtesy of

The choice of Larson Juhl’s Anvil moulding for this piece absolutely makes it.

Just A Card campaign

Just a Card is a grassroots campaign on a mission to encourage people to support, value and buy from artists, makers, independent shops and small businesses. Every sale, even just a card, is vital to our prosperity and survival.

If possible, please buy from an artist, maker, independent shop or small business today!

Never underestimate how vital every sale is and how grateful they will be.

Whenever you buy something, ask yourself, ‘Could I buy this from an independent?’.

Make your purchase count, invest in your local community and think about shopping small whenever you can.

If you can and do buy something, leave that business a kind review, a generous referral, a like or follow on social media. A friendly comment means the world to a small business

Courier delivery now available

We are delighted to announce that we have partnered with specialist courier provider Fragilistics, to provide delivery options for framed and canvas works to all of England, Wales and the majority of Scotland.

Fragilistics have specialised in the delivery of artwork and mirrors for many years, using state-of-the-art delivery technology so that you can track your delivery all the way to your door.

Throughout the delivery, Fragilistics will keep in contact with you and the driver will give you up to an hour notice of the delivery to avoid you waiting in all day.

Feliks Topolski

There are some really interesting pieces coming through the gallery in the run up to Christmas.

This is the original of Feliks Topolski’s ‘The Procession – The Re-opening of Law Court.’

Topolski was born on 14 August 1907 in Warsaw, Poland. He studied in the Academy of Fine Arts in Warsaw, and trained as an artillery officer.

Later he studied and worked in Italy and France, and eventually he moved to Britain in 1935 after being commissioned to record King George V’s silver jubilee. He opened a studio near Waterloo station, which later became an exhibition and then a café-bar featuring his art.

He married twice, first to Marian Everall and then Caryl J. Stanley.

In 1939 the George Bernard Shaw plays ‘In Good King Charles’s Golden Days’ and ‘Geneva’ were published with illustrations by Topolski, bringing his work to a wide audience in the UK.

During the Second World War, Topolski became an official war artist and painted scenes of the Battle of Britain and other battlefields. In 1941, Topolski travelled to Russia alongside the men of 151 Wing RAF on board the RMS Llanstephan Castle, which was sailing to the port Archangelsk as part of Operation Benedict, a mission to provide air support in defence of the port of Murmansk. Topolski was travelling as an accredited War Artist for both Polish and British governments. He was also under contract to Picture Post magazine, which published many of his drawings after his return.

After the war he made a celebrated painting about the first meeting of the United Nations. In 1947 he gained British citizenship. His work was also part of the painting event in the art competition at the 1948 Summer Olympics.

Topolski’s experiences were initially captured in pencil and ink drawings. These were the first stage of his prolific Chronicles, which appeared fortnightly from 1953 to 1979, interrupted only to accommodate his exploratory investigations across the globe. The Chronicles communicated his art and observations to a wider audience. They were independently published, without advertisements or subsidies. Since his death in 1989 Topolski’s Chronicles have retained respect as a pictorial and political record spanning nearly 30 years of world history. The Chronicles contain 3,000 drawings, and were exhibited in New York City, Moscow, Cologne, Hamburg, Hawaii, Tel Aviv and serialised in the United States, Poland, Italy, Denmark and Switzerland. Joyce Cary wrote, it is “the most brilliant record we have of the contemporary scene as seized by a contemporary mind.”

In 1959, Prince Philip, Duke of Edinburgh, commissioned Topolski to create a mural depicting the coronation of Queen Elizabeth II. The mural contains 14 friezes divided into two narratives; one narrative; entitled “In The Streets” shows various processions to Westminster Abbey, while the second, entitled “In The Abbey”, depicts the procession out of the Abbey after the coronation.

Topolski painted portraits of contemporaries, including the authors H. G. Wells, Graham Greene, John Mortimer and Evelyn Waugh, and politicians Harold Macmillan and Aneurin Bevan. He also painted murals, contributed to BBC programmes, such as the caricatures of guests used in Face to Face and designed theatrical sets. Between 1975 and his death he worked on a 600 ft mural in a studio in railway arches near London’s South Bank, depicting events and people of the 20th century. It opened to the public as a free permanent exhibition called Topolski Century. In 2014 it was re-opened as a café-bar called Topolski, featuring his art.

Feliks Topolski died in London on 24 August 1989 at the age of 82. He is buried in Highgate Cemetery, north London.

Welcoming Clothylde Vergnes To The Gallery

We are delighted to announce the arrival of works by Clothylde Vergnes to our gallery.

Clothylde’s work currently focuses on landscapes in North Yorkshire, whether the open and empty stretches of Moors or the crowded semi-symbiotic relationship of cottages and sea on the coast. Most of her work is in oils, for she loves their rich intensity and depth of colour.

Inspired in practice by her experience of stained glass, whereby colours are contained within boundaries, and conceptually by Paul Klee’s notion of “taking a line for a walk”, these landscapes are personal and stylised interpretations, evolved from quick sketches outdoors and elaborated in her studio.

We will be exhibiting a selection of Clothylde’s original works, prints and cards.

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