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| Edward Ardizzone Low Tide, Sherringham ca. 1970 watercolor (diploma work) Royal Academy of Arts, London |
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| Frederick Cuming Studio and Dutch Easel 1970 oil on canvas (diploma work) Royal Academy of Arts, London |
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| Maxwell Fry Design for Hospital, Torbay, Devon 1970 drawing, with watercolor (diploma work) Royal Academy of Arts, London |
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| Frederick Gore Indian Summer in Bedsitter Land 1971 oil on canvas (diploma work) Royal Academy of Arts, London |
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| Jean Cooke Et jamais je ne pleure et jamais je ne ris ca. 1972 oil on canvas (diploma work) Royal Academy of Arts, London |
"This self-portrait was painted as Jean Cooke's marriage to fellow artist John Bratby was falling apart. They had had a turbulent and intense relationship since they met as art students in 1953, but Bratby became increasingly controlling and aggressive in later years. He attempted to place restrictions over Cooke's artistic output, dictating when she could paint and painting over her works when he did not approve. The directness of Cooke's gaze and her blank expression reflect a stoicism and determination to continue painting, despite the emotional struggle she was experiencing. The title of the work is a line from the sonnet La Beaut̩ by Charles Baudelaire from Les Fleurs du Mal Р"and I never cry, and I never laugh."
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| Edward Wolfe Marbella 1972 oil on canvas, mounted on panel (diploma work) Royal Academy of Arts, London |
"Born in South Africa, Edward Wolfe moved to London in his twenties and was predominantly based in Britain thereafter. He was closely associated with the Bloomsbury Group, working with Omega Workshops after falling under the influence of painter and Modernist proselytizer Roger Fry. This connection had a visible influence on Wolfe's style, with post-Impressionist and Fauvist elements enduring throughout his career."
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| Richard Sheppard Record Drawing of the Dining Hall, Churchill College, Cambridge ca. 1973 drawing (diploma work) Royal Academy of Arts, London |
"In early 1959 Richard Sheppard, chief partner of the architectural practice Sheppard Robson and Partners, won the limited competition for the new Churchill College, Cambridge. When its three-stage design was completed in 1964, architectural critics such as Reyner Banham heaped praise on the scheme. The design was unabashed in its modernism, with massive brick walls and exposed concrete framing. The largest feature of the project was the dining hall, which the architect chose to revisit pictorially a decade after its completion in his Diploma Work, presented and exhibited in 1973."
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| William MacTaggart Autumn ca. 1973 oil on canvas (diploma work) Royal Academy of Arts, London |
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| Edward Middleditch Sea Flower I ca. 1974 oil on canvas (diploma work) Royal Academy of Arts, London |
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| Norman Blamey Spring and the Student 1974-75 oil on board (diploma work) Royal Academy of Arts, London |
"Blamey was an introverted character and his paintings often captured still moments of contemplation. The sitter in this work is the artist's son Stephen. At the time he was a postgraduate student in maths and philosophy. The book in his hand is Mathematical Logic and Hilbert's E-Symbol, a 1969 volume by A.C. Leisenring. Stephen is sitting in his bedroom at their family home in West Hampstead, London. He appears transfixed by his reading, conveying his studious nature and intellectual abilities – he went on to become a philosopher and logician."
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| Jennifer Dickson The Secret Garden 1974-75 portfolio of hand-colored photo-etchings (diploma work) Royal Academy of Arts, London |
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| Julian Trevelyan Driftwood Relief 1975 painted wood (diploma work) Royal Academy of Arts, London |
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| William Bowyer Girl in Blue 1975 oil on board (diploma work) Royal Academy of Arts, London |
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| Bryan Kneale Matrix 1975 steel and bronze (diploma work) Royal Academy of Arts, London |
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| H.T. Cadbury-Brown Design for National Museum, Hashemite Kingdom of Jordan 1975 drawing (diploma work) Royal Academy of Arts, London |
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| Olwyn Bowey May sitting on the Roof Garden 1975 oil on canvas (diploma work) Royal Academy of Arts, London |
"Olwyn Bowey recalled that May, the subject of this portrait, worked as a housekeeper for a gallery owner in Hampstead. Unlike many people Bowey knew, May did not mind having her portrait painted and was a very amiable sitter. The painting was made on a terrace at the top of a mews in the city. Bowey reported that the Burmese cat in the background, with one leg in plaster, had broken its leg jumping off the balcony previously."
– quoted texts adapted from Royal Academy notes