THERE have only been a few painters who have confined their subjects more or less exclusively to sports. Gerard Larguier is one whose work, in both oils and tempera, creates the illusion of motion by superimposing one image of an action - be it a golf swing or the bunched movements of horses racing - on another as if seen a second or so later. A double exposure, in effect, but cunningly done. The technique not only offers the illusion of movement but is also a complexity of lines and colours, one on the other, courtesy of a remarkably well-controlled transparency of paint. Polo, tennis, motorcycle racing, ballet, fiddles and cellos, all feature in the large number of his very successful works. These paintings are basically illustrations (and as such very well suited for use in sports publications and on sporting club wallsas well) does not lessen their vitality or validity. They are clever and resourceful paintings. The Nishiki Gallery is just as clever at finding works of little-known artists who worked in the East in times gone by. Elizabeth Keith (1887-1956) was a name unknown to me until this exhibition. A Scotswoman, she arrived in Japan on a visit to relationsand stayed the next nine years wandering round Asia. Her woodblock prints proved very successful in the West, and 1927 saw an exhibition of her works at London's Royal Academy. Like Larguier, she was an acute observer of the world around but unlike him, was greatly influenced by Japanese and Chinese conventions in art - especially Japanese ukiyo-e. The results are a hybrid art, charming Japonisme at its most acceptable. Her success was, of course, clouded by the events of World War II when things Japanese went out of fashion, but to see her clearly rendered prints now (and in such mint condition) reveals a woman of both great and delightful talent.