Still comparatively unsung among the British modern painters, the late Albert Herbert always dealt in that trickiest of artistic qualities, enchantment. The danger of enchantment is that it can quickly cloy, but Herbert’s version of it never did. His exquisite balancing of the areas in the painting, a poise which would be convincing even if the pictures were abstracts, depends on an infallible sense of colour. Early on, it was clear that a French tradition which includes Bonnard and Vuillard had somehow got into his head, even though he himself thought that his chief early French influences were the surrealists.