A bold grid of luminous colour blocks anchors November Drawing, a 2015 work by David Batchelor that exemplifies his sustained investigation into the cultural life of colour. Produced as an archival inkjet print with screenprint, the work occupies a precise 38.2 × 45.8 cm format and demonstrates Batchelor's characteristic ability to load simple, almost diagrammatic structures with unexpected visual intensity. The layering of print processes introduces subtle tactile variation across the surface, so that what reads initially as flat and geometric reveals itself to be rich with tonal incident and material presence. Batchelor, whose practice spans sculpture, photography, writing, and works on paper, has long been preoccupied with colour as a found phenomenon, something observed in the urban environment and then distilled into concentrated form. November Drawing sits within this broader project, its title suggesting both a specific moment of making and a quiet resistance to the idea that colour is simply decorative. The work carries the directness associated with his studio practice while functioning as a refined, self-contained object, signed by the artist and presented in an edition format that makes his inquiry accessible outside of institutional contexts. Offered through Ingleby Gallery, this work represents a compelling entry point for collectors drawn to the intersection of conceptual rigour and chromatic pleasure. Its modest scale belies a confident presence, and the combination of printmaking techniques ensures that each impression possesses a physical distinctiveness that rewards close attention. For those interested in British art of the past two decades, Batchelor's ongoing meditation on colour remains one of the more vital and coherent positions in contemporary practice.