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FINE ART COLLECTOR SERIES 5 ISSUE 21
SIMON CLARIDGE EDITION ART CAROLINE SHOTTON JOHN WILSON PAUL KENTON PETER SMITH HAMISH BLAKELY
− Thomas Merton
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Frequently I lose myself in paintings or art that I encounter. CG_01.indd 1
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Cover artist: Peter Smith Fine Art Collector is published by Washington Green (F.A.P.C.) Ltd and distributed by Castle Galleries. Email art@castlegalleries.com Website castlegalleries.com All the art featured in Fine Art Collector is available through Castle Galleries across Great Britain. Visit our website at castlegalleries.com to find your nearest gallery. The images contained within this literature are an artistic representation of the collection. To best experience our art, we recommend you contact your local gallery to arrange a viewing. Prices illustrated throughout this magazine are recommended retail prices and may vary between galleries depending on styles of presentation.
The most memorable being the time I saw Yves Klein's 'Monochrome Blue' at the Museum of Modern Art in New York and was enraptured, enthralled, excited, and just, blown away. The intensity of the blue was like nothing I'd ever seen before. What I hope with this new collection is that you can find a piece within which to lose yourself, that you can connect with something you see today, that evokes a spirit inside of you.
Designed & Produced by Now Media Contributors: Helen Moulton, Laura McBeth, Zoe Ralph & Sally Rowland.
We proudly present to you our collection for the autumn season. Glyn Washington
© 2013 Washington Green (F.A.P.C) Ltd. Printed in England
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Peter Smith
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The Cantering Caketacular Queen of Bakes Canvas edition of 150 Image 23" x 23" Framed £525
MISSION IMPOSSIMAL Following on from the Lost Impossimals, Peter Smith’s wild and rampant imagination truly runs riot in his new collection Bloodlines, featuring the iconic, imaginative creatures in a darker and altogether more sinister murder mystery world
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he Impossimal world dates, together with objects or is one that Peter people at that time, so for examSmith created in 2002 ple in The Cantering Caketacuand has inhabited lar Queen of Bakes the character ever since. His fan base is set is based on the real life Eliza to grow with Bloodlines, as he Acton whose work ‘Modern opens up a mysterious realm of Cookery for Private Families’ historical intrigue and double was written in 1845 and was the takes. The most ambitious blueprint for Mrs Beaton’s ‘Book collection to of Household “This collection is date, it allows Management.’ Smith’s based on my personal For his historical debut public narrative of a parallel presentation narrative to run amok as he Impossimal history.” of Bloodlines, unveils a series collectors of murder mystery clues in eight were ushered into a dark room new paintings. “This collection where the doors were shut and is based on my personal narSmith could take them on his rative of a parallel Impossimal imaginative narrative journey. history,” explains Smith, who “Without exception everyone has created a fictitious dos‘got’ it, and became more and sier of letters and back stories more intrigued,” explains Smith to accompany the collection. who says it is the imaginative Although the stories describe plot lines that drive the work; a parallel timeline to our own, a sophisticated combination of they key into specific historical storytelling and art.
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Smith's initial clay model of The Cantering Caketacular Queen of Bakes
“My love of reading history books started this journey” he says, and each painting in the series has a true historical link. What he amusingly refers to as a "mentally unstable dash" through history, is a triumph of both art and entertainment from a selftaught artist whose brightly coloured Impossimals have become something of a feature on the British landscape. He says his most informative artistic influences have always been illustrations from children’s books. “My earliest memory is of a Christmas present that changed my life. It was a small book of black and white illustrations; the book was called 'The Magic Painter' and came with a paintbrush but no paints. To this day I remember the exact feeling I had when I realised that this was a very special book indeed, you 'painted' the pages with water and the colours magically appeared - I was hooked!” Other influences include the •
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The Rampant Jekylled Whatabanker Canvas edition of 150 Image 26" x 161/4" Framed £450
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The Flamboyant Wriggling Wonky Wonder Canvas edition of 150 Image 203/4" x 30" Framed £595
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Menacing Moriarty Marauder Canvas edition of 150 Image 28" x 183/4" Framed £565
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was a technically challenging project. Sixteen works were either discarded or remodelled into something else; two shared the same backdrop, but from alternate angles and one was so heavy it collapsed overnight due to its sheer weight! Smith’s construction of each scene in tiny detail is testament to his extraordinary dexterity and skill and thirty models were built in miniature, featuring streets,
kitchens, meadows, shops, clock towers, not to mention a fortune telling amusement cabinet. Each one helped him to better visualise the completed painting and allow for accurate shadows and depth to be captured in the studio. To all this were added three hundred random objects from sandwiches, bank notes, guns, false teeth and balloon whisks along with a sprinkling of hidden items and codes for collectors to try and break, turning the collection into a veritable twist of popular cultural icons and historical •
Bloodlines took Smith over twelve months to create and it was a technically challenging project. quirkiness of American painter Will Bullas with his strong characters and whimsical titles, and unsurprisingly the surrealist painter Salvador Dali, "whose work offered me an unusual slant on the world,” although ultimately, as most critics would agree, Smith’s inspiration comes from his own unstoppable fertile imagination. Bloodlines took Smith over twelve months to create and it
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Edison's Sherlock Sidewinder Resin Sculpture Edition of 150 Height 13" £295
7 Section Heading Peter Smith Gallery 4
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Just some of the stages Smith goes through to create his masterpieces 7
Agatha’s Watson Wriggler Canvas edition of 150 Image 26" x 161/4" Framed £450
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Mysterious Count Carpathian Von Porl Canvas edition of 150 Image 26" x 161/4" Framed £450
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caricatures posing as something weirdly mysterious and tantalising. Made from a variety of materials including Plasticine, balsa wood, cardboard, wire and even old curtain material, along with battery operated lighting rigs to act as lamp posts, and with candles and spot glows in the background, Smith says he had completed a major construction job before even a layer of paint touched the canvas! Using oil paints which he describes as "a very evocative and sensual medium," Smith always relishes the smell and intensity of colour that oil allows. His technique is as unconventional as his art, and Smith started work on each painting by pushing the oils into the canvas with his fingers before moving on to smaller brush sizes until the detail starts to appear. Staining effects were achieved using transparent glazes of colour while copious amounts of scrunched cling-film added an interesting texture. Sponges, rags and brushes were used to finesse areas while the crisp edges were given a thin layer of linseed oil, rubbed and then wiped off to help with the movement of the brush across the surface. “It's this process that has taken me so long to master and the thrill is turning a mass of colours and shapes into a picture locked in the imagination” says Smith – a feat which he has achieved on a grand scale in Bloodlines. Writing the storyline for the plots of each Bloodlines painting gave Smith almost as much pleasure as coming up with the names. “Now that was great fun!” From the purple and black sinister images of the avaricious The Rampant Jekylled
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Dalisaurus Surrealius Resin Sculpture Edition of 150 Height 131/2" £295
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Peter Smith
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Tuppenny Pennysaurus Remarqued Edition Canvas edition of 75 Image 171/2" x 30" Framed £1,450
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Zanbar Canvas edition of 150 Image 24" x 191/2" Framed £495
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“It's this process that has taken me so long to master and the thrill is turning a mass of colours and shapes into a picture locked in the imagination.” Whatabanker and Menacing Moriarty Marauder to the softer and more childlike images of The Cantering Caketacular Queen of Bakes and the neon colours of Tuppenny Pennysaurus, Smith has created an absorbing world in which the collector can delve as deeply into the fictitious and real historical narrative of the paintings as they wish. Add to these, two new free standing hand painted resin sculptures from the debut Lost Impossimal series; this is undoubtedly Smith’s boldest and most innovative collection to date.
“I have definitely moved from a world that looked bright and colourful and comfortable to something a little bit edgy," says Smith, who sees Bloodlines as only the start of a continuing saga in which his imagination is set to run wild for years to come. “For me, art is escapism with nostalgia thrown in, so there is plenty more to go," laughs the intriguing Mr Smith. Gallery Bloodlines can be seen in Castle Galleries across the UK with certain galleries hosting a personal appearance from Smith himself, visit website for more details castlegalleries.com
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MY FAVOURITE Famed for her irresistible, loveable cows, Caroline Shotton - one of the UK's favourite artists - invites us into her life as she reveals what brings joy to her world
Places Barcelona – this place has everything. Beaches with wonderful public sculptures on display, amazing, ground breaking organic architecture and an electric atmosphere. I’d love to live there one day! Berlin – Berlin for me was dark, grungy and steeped in history... I went there in November and the fog didn’t clear. Great place for taking ‘arty’ photos, seeing international bands in small venues and Bauhaus architecture!
Songs This was incredibly hard to whittle down to five! Anything by these artists is on loop in the studio. Portishead, Air, Ian Brown and Radiohead are also my favourites! It changes all the time and, as music is often my only source of company, song choices change with my mood or what I’m painting... so, today’s top 5 are...
Lovesong by The Cure (Disintegration) Analyse by Thom Yorke (The Eraser) Never Let Me Down Again by Depeche Mode (Music For The Masses) Sea Song by Doves (Lost Souls) There Is A Light That Will Never Go Out by The Smiths (The Queen Is Dead)
Phrases 1. What doesn’t kill you
makes you stronger 2. Carpe Diem 3. Imagination is everything. 4 If it ain’t broke, don’t fix it 5. Keep on keeping on. F I N E A R T C OL L E C T OR
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London – I was born in London and went to college there. I still love it and regularly go back to see exhibitions. The National Portrait Gallery is my favourite
place to relax when I’m there. Devon – the boys and I had a wonderful old fashioned ‘Enid Blyton style’ camping holiday this year. Playing in streams, running in fields and finding heart shaped pebbles on the beach were just a handful of the wonderful memories we will all treasure! Home – it needs a lot of updating and TLC, but I love it. My studio’s there and it doesn’t matter if I spill paint on the ‘shabby chic’ floor. For me, there’s nothing better than shutting the door on a freezing cold day and snuggling up with my boys in front of the fire with a roast in the oven...
My Favourite Five
Books
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The Rolling Stones by Sebastian Krüger
Art reference books - I have built up a large collection over the years. They’re my rock and I’d be lost without them so I’d like to pick them, as a ‘library’ for my first choice. Grand Designs Handbook by Kevin McCloud - I’d love to find a plot of land with far reaching views over the sea and design a self-build one day. I love architecture and creating beautiful spaces. I listen to audio books when painting through the night. Fry’s English Delight by Stephen Fry, and The Success Principles by Jack Canfield are both very inspirational. The Story of the Little Mole who knew it was none of his Business by Werner Holzwarth - This is the funniest children’s books I have ever read. It’s about a mole who wakes up one morning to find that one of the other animals has done his ‘business’ on his head, he then sets out on a mission to find the culprit. I read this to the boys over and over again when they were little!
Dance Of Time by Salvador Dali
Artists My favourite artists have always been the realists. I have such admiration and appreciation for the dedication it takes to create paintings that are true to life. Not just ‘photographic copies’ but realism with a twist. Mitch Griffiths Michelangelo Salvador Dali Sebastian Krüger René Magritte
The Lovers by René Magritte
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Hamish Blakely The Night Is Hers Canvas edition of 95 Image 24" x 24" Framed £599
Art techniques Artists use a wide repertoire of techniques to create their works of art. From the traditional disciplines employed by the Great Masters to the new and exciting techniques emerging today, here we take a look at the wonderfully diverse and skillful ways in which artists find to express their creativity
1. Tenebrism The term tenebrism is derived from the Latin ‘tenebrae’ (darkness). It refers to the use of extreme contrasts of light and dark in figurative paintings. The technique was introduced by the Italian painter Caravaggio (1571 – 1610) and has since been used throughout art history to create dramatic figurative F I N E A R T C OL L E C T OR
works filled with emotional tension. In tenebrist paintings, the figures are often portrayed against a background of intense darkness, but the figures themselves are illuminated by a bright light that highlights their three-dimensional form. The exquisite works of Hamish Blakely are a modern example of the power of tenebrism.
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St Jerome by Caravaggio
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3. Grisaille
2. Data as art A Map of the Geographical Structure of Wikipedia Links by Olivier H. Beauchesne via visual.ly
‘13689 Digits Of Pi’ by Martin Krzywinski via fineartamerica.com
In an age where our lives are recorded as endless gigabytes of data, artists have begun to translate this digital material - data, numbers and statistics - into visual representations. A remarkable example of this new form of art is ‘Drawing Water’, a landscape by artist, David Wicks. The piece maps where water falls and where it is consumed in the US. Equally awe-inspiring is ‘13689 Digits Of Pi’. Created by Martin Krzywinski, the numbers one to nine were assigned a colour. The first 13,689 digits of Pi were then ordered into a giant wheel, resulting in a stimulating piece of art which demonstrates the beauty which hides in data.
First practised in the early 15th century when pigments were scarce, grisaille is often used to ‘underpaint’ a piece of art in monochrome, providing the foundations for transparent coloured overlays. Favoured by Flemish artists such as Rembrant (1606 - 1669) and Jan van Eyck (1390 - 1441), it is a technique still used today and can be seen in all of its ethereal glory in the works of artist Bob Barker.
Bob Barker The Keeper Canvas edition of 195 Image 24" x 24" Framed £599
4. Paint pouring
A technique made famous by Jackson Pollock (1912 1956), paint pouring or ‘drip technique’ sees the canvas moved from easel to floor so paint can be dripped or poured from all directions. The result is an intricate and spontaneous fusion of colour and energy. The cityscapes of artist, Paul Kenton demonstrate how this technique can be used to capture the kinetic energy of the artist and literally pour it onto the canvas. Paul Kenton One Night In Paris Boxed canvas Edition of 150 Image 30" x 48" £725
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Art Techniques
A ‘light drawing’ by Picasso
5. Light as art Often thought of as a fairly modern technique, the artistic use of light has actually been common since the 4th century in a form with which we are all familiar - stained glass windows. In 1949, Picasso (1881 - 1973) discovered the potential of light as an art form and subsequently created a series of ‘light drawings’. More recently, light has been used by artists to sculpt and shape exhibition space, creating atmospheric, intangible works of art that engulf the viewer, making them a living part of the installation.
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John D Wilson Match Day 3-D edition of 150 Image 19" x 27" Framed £625
6. Glass art The fragile beauty of glass has long made it an irresistible medium for artistic expression in many different forms. The glassblowers of 13th century Murano created works of art that were so remarkable that they became the lifeblood of the Republic. Today, artist Dale Chihuly continues to show the
captivating beauty of this material through his mesmerising glass sculptures. Other artists use glass as their canvas. Richard Rowan’s unique technique of painting oils onto the underside of a sheet of glass sees him defy the normal rules of painting to create works of art from the foreground, back.
7. Perspective Richard Rowan Nature’s Rest Glass edition of 95 Image 19" x 19" Framed £750
The clever use of perspective is employed by artists in many ways. Stuart McAlpine Miller layers images within his artwork, encouraging the viewer to unravel the piece over time. The effect is a piece of art in which two people can see very different compositions. Another technique that manipulates perspective is reverse perspective - a technique created by artist, Patrick
Hughes. A two dimensional perspective is reversed by the three dimensional relief on which it is painted. The result influences the brain to create a completely false image that appears to move with the viewer. In recent years, artist John D Wilson has adopted the reverse perspective technique and applied it to his signature style of painting to create intriguing, playful and extremely clever pieces of art.
8. Nail’d It at Frieze
Visitors to the 2013 Frieze Art Fair will be in for a bit of pampering all in the name of art. Nail’d It will see Friezegoers nails turned into limited edition miniature artworks.
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Altered Images
Featuring thirty five original canvases, and over a year in the painting, Stuart McAlpine Miller's prestigious new collection debuts later this autumn at flagship gallery, Castle Fine Art, Bruton Street in the heart of Mayfair. We caught up with him to talk about his new collection How did you come up with the original concept for your work? My current style is a product of working as an artist over the last twenty years. I have been influenced by Renaissance art, especially Caravaggio as he had a great approach to figurative art – my favourite of his works is The Supper at Emmaus, which is very dark and dramatic. Also, imagery that’s transparent has been a growing fascination of mine and gradually this has become the focus of my work. So the basis of the concept lies in Renaissance art but with a surrealist and contemporary edge.
You have described the message/ aim of your work as to draw the viewer closer and identify the different layers in your works, but do you ever hide images within your pieces; as secrets that only you know are there? I aim to include very clear imagery in my pieces and don’t hide aspects intentionally. The sub-images within them are supposed to be un-ravelled over time by the viewer. Often layers of a piece I will think are the most hidden appear to someone else first and vice-versa, which is interesting because it just shows how the mind can work in different ways.
The Supper at Emmaus by Caravaggio
How do you choose the comic and model images? Which do you decide on first and how do you pair them up to create one piece? I see each of my paintings as a concise history of the main figure and the multiple layers add up to create one story, one moment. Sometimes I use the model as the primary component and other times I choose an animation first then design a character – it really depends on the idea I have and how I can represent it. Either way, there is always interaction between the animated characters and model, which I can create in the way I position them. We’ve heard that when you are painting you sometimes wear two or more pairs of
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prescription glasses to enable you to perfect the layering – can you explain your technique to us in a little more detail? I used to wear multiple glasses at once but now I just use one pair of magnifying glasses. This is because I work two or three inches away from the canvas as it’s important I create very accurate lines to produce the very graphic backgrounds in my works. I first tried out the glasses technique as a solution to the fact that I feel I can never get close enough to the canvas. I’ve since checked with the opticians and luckily, I’m not damaging my eyes! What is your process when you are creating? We know you have recently moved to a more rural location, does •
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Stuart McAlpine Miller Attention! On Your Feet! Boxed canvas Edition of 95 Image 40" x 29" Framed £995 Unframed £795 Giclée edition of 95 Image 28" x 20" Framed £750
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ALTERED IMAGES | NEW COLLECTION OUT NOW
“McAlpine Miller is one of the best artists of our time, painting about our time, in the best way I’ve seen. This is how he is changing the course of Art History - much in the same way that Da Vinci, Monet and Picasso did. The art of tomorrow starts here...” Estelle Lovatt, Art Critic
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Stuart McAlpine Miller
this solitude have a positive impact on your work? I lived in London for 20 years and found it hard to switch off from city life. I think it’s important to be in the midst of what’s happening but it’s not the most important thing. My influences remain the same regardless of my environment. I moved to the countryside two years ago and I have found that my inspirations have intensified because I now have more time to concentrate. Whilst I’m removed from the hustle and bustle of London, I keep connected with what’s current and going on through the media and gather information that way. I haven't cut myself off completely and regularly spend time in London, amongst other cities. It's the best of both worlds really!
Stuart McAlpine Miller - Taking The Trash Out Boxed canvas Edition of 95 Image 40" x 29" Framed £995 Unframed £795 Glasgow School of Art
Giclée edition of 95 Image 28" x 20" Framed £750
You trained at the Glasgow School of Art, what would you say is the one thing that has stayed with you from your time there and how is this reflected in your work nowadays, if at all? Being a student allowed me to develop as an artist without the pressure of having to earn a living. Whilst I was at uni, I was very passionate and determined to make it as an artist and so was very active on the arts scene, probably more than most students. I’ve retained this part of my personality, and my passion and ambition has helped me through the dark times. You have admitted that you toiled at the coalface of the art world for 20 years – how does it feel now to be gaining critical recognition? There have been earlier stages of my career that have been very good; when I first moved to London I signed a contract with a big gallery. But I didn’t want to be restricted and looking back, I was possibly afraid of success ultimately. I don’t think I would have handled it very well when I was younger. I have to say, I don’t really think about the critical
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recognition. I am very happy that people enjoy my work and I’m just passionate about what I do. Do you feel Estelle Lovatt’s term “post modern picture maker” aptly describes your work/style/place in art history? I am flattered by and very grateful for Estelle’s commitment to my work. I do try to make a social comment with my work but it is more my personal statement of my own understanding of what’s going on in society. To some extent I suppose my work is post modern but I think there’s a need for a brand new word to describe artists of today. How has Andy Warhol inspired your work? I’m inspired by Warhol’s commitment to creating art that was accessible to the masses without compromising his status as an artist. He turned the art world around and was the first artist to show that art can be both accessible and good, which is an interesting lesson. I don’t think that all of his work was fantastic but his approach certainly was. He had an amazing journey as an artist and proved how significant it is to be an artist and a businessman. Warhol, Dali and Francis Bacon all appreciated how important business is to art. It’s not a case of resting on your laurels and waiting to be discovered, artists need to promote their own work. Do you see your work as a celebration of consumer society or a stand against it? Both but the views my work convey are just a suggestion, they’re not necessarily correct. I believe people shouldn’t live shallow existences; aspiring to be a celebrity won’t bring you happiness. At the same time, my pieces poke fun at the shallow nature of our society and it’s really up to the viewer how they • interpret my work.
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Stuart McAlpine Miller
in a way to show her innocence and purity trapped in mayhem, which is how I see her. I enjoyed the film ‘My Week With Marilyn’ (2011, dir. Simon Curtis) because it showed how often what we see of celebrities is so different to the truth. Celebrities are just normal people but for many they are a source of escapism. Would you ever consider including modern celebrities in your works? Yes I would possibly include modern celebrities but it would be difficult to choose which ones. I would have to come up with a concept first of all – which hopefully wouldn’t be too slanderous! Gallery The new collection by Stuart McAlpine Miller is available now in galleries nationwide or view online at
castlegalleries.com
McAlpine Miller cites Andy Warhol as one of his greatest inspirations and influences
Are you looking forward to your exhibition at Castle Fine Art, Bruton Street and how have you had to prepare for it? Over a year’s worth of work has been created specifically for my Altered Images show in London, which will comprise of 35 new canvasses. It’s been an interesting and positive experience – I always enjoy finishing a piece and learning from it. I would say that there is quite a difference from the first piece I painted for the show compared to the last piece, which I’m finishing off at the moment, notably in its composition and how I developed the idea. The show will include a few larger pieces too, which I really liked working on as they were challenging due to their size. Which is your favourite piece from the Altered Images limited edition collection and why? It’s difficult for me to choose a F I N E A R T C OL L E C T OR
favourite. I prefer the viewers to choose their favourite. What direction do you see your work taking in the future? The last piece I’ve been working on for the Altered Images show at Castle Fine Art, Bruton Street definitely leads on to my next collection. I wouldn’t say I’m taking an obviously different direction but I feel that subconsciously I have been influenced by Caravaggio, much like in my earlier work. My future collections will be a natural evolution of my style. As artist-in-residence at The Savoy you painted celebrities of times gone by – just for fun, which of those celebrities would you choose to be holed up in a hotel room with? My favourite era has to be the 1940s and 1950s so I would choose Marilyn Monroe. I tried to paint her
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Eve Arnold A Thoughtful Moment, The Misfits, 1960 Giclée edition of 495 Image 18" x 12" Framed £350
News
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showcase The best from the world of fine art
Art round up March 2013 Rodin sculptures go on show in Henry Moore gardens. English sculptor and artist Henry Moore, considered Auguste Rodin's The Burghers of Calais the finest public sculpture in London, and it is displayed in what was his garden. April 2013 A £29m Raphael drawing is barred from leaving UK; the government place a temporary export ban on Head of a Young Apostle, in the hope that holding the piece will allow time for a UK buyer to come forward. May 2013 Sculptor Ralph Brown passed away. For over 60 years he explored the human body through drawing and sculpture, with some of his most important work coming out of the 50s and 60s, including the critically acclaimed Mother and Child (1954) and Clochard (1955-56). June 2013 The faces of boys who later became some of the world's worst dictators went on display in an exhibition at the Saatchi gallery. Hitler, Stroessner, Pol Pot and Slobodan Miloševic are all featured as part of an exhibition of oil paintings by artist Annie Kevans. July 2013 Boris Johnson unveiled Katharina Fritsch's Hahn/Cock, the latest artwork to fill Trafalgar Square's empty plinth; the work pokes fun at the statues of men surrounding it. August 2013 National Portrait Gallery opens an exhibition of original art by Bob Dylan. Face Value by Dylan features the singer's most recent portrait studies and "represent characters, with an amalgamation of features Dylan has collected from life, memory and his imagination".
PARK IN STYLE Artist Simon Claridge and Italian car brand, Alfa Romeo, teamed up over the summer to create London’s most stylish parking spaces in the heart of the city’s world famous Oxford Street shopping district. In the unique project, Simon transformed a row of ‘blank canvas’ under-ground parking bays into a celebration of 20th century style icons. The installation was inspired by Alfa Romeo’s Giulietta Collezione and was a montage of Claridge's well known icons from the past six decades, including Twiggy, Kate
Moss, Marylin Monroe, James Dean and David Bowie. Simon Claridge said, “I’m a big Alfa fan; my first car was an Alfa Romeo and I’ve always loved the way their cars strike a balance between elegance and performance. When I started working on this project, I knew immediately that these spaces had to be about style icons. Whether they’re from the worlds of music, fashion or the silver screen, these are people that have a certain something about them that makes them stand out and gives their image eternal appeal.”
Twiggy II Canvas edition of 195 Image 29" x 19" Framed £599
ROBINA GOES TO HOLLYWOOD A charity ball held to celebrate the 45th anniversary of autism charity, NORSACA saw celebrity baker Paul Hollywood win a signed limited edition piece of art by Robina Yasmin. Entitled ‘Among Friends’ and donated by Castle Galleries, Paul was determined to win the canvas
and walked away with it for a healthy contribution to NORSACA’s fundraising objectives. The ball was hosted in the gardens of Nottingham's magnificent Colwick Hall, former ancestral home of Lord Byron and raised over £10,000 for the charity.
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showcase JOHN MYATT GOES STATESIDE Following the huge success of Provenance, the debut museum exhibition by John Myatt in 2012, a number of his paintings have been selected to be included in a series of museum exhibitions around the United States of America in 2014-2015. This ground-breaking exhibition entitled 'Intent to Deceive', spotlights some of the world's most notorious forgers, illuminating their dubious legacies, and examining how their talents, charm, and audacity beguiled and assaulted the art world for much of the 20th century through to the present day. Several ingenious forgers of the 20th century are profiled in this exhibition representing some of the most infamous scandals of the century. Han Van Meegeren, Elmyr de Hory and Eric Hebborn all shook the art world with their exploits, garnering each of them worldwide notoriety but untimely deaths. More recently, John Myatt and Mark Landis have been in the news for their
Made to measure Castle Galleries artist Paul Kenton is currently in talks with up and coming designer Richard Smith to create a Paul Kenton inspired suit. Armani-trained Smith, who is one of the sharpest and most innovative tailors to come out of the UK has recently shown his line at New York Fashion Week and is looking to create a suit that epitomises the vibrant, energetic and cosmopolitan nature of Kenton's art work. Early 2014 should see some exciting developments! prolific and stylistically diverse art frauds, landing Myatt in jail. Myatt's work will be exhibited in museums in Massachusetts, Ohio, Florida & Oklahoma.
Keep in touch @castlegalleries Be inspired by the Castle Galleries blog capturedcastle.com
Must See Exhibitions Face Value, Bob Dylan National Portrait Gallery, London 25 Aug 2013 – 5 Jan 2014
Turner & the Sea National Maritime Museum, London 22 Nov 2013 – 21 Apr 2014
New Acquisitions at the Scottish National Gallery of Modern Art Scottish National Gallery of Modern Art, Edinburgh 12 Oct 2013 - 1 Mar 2014
Millet to Manet: French Prints of the Late 19th Century Barber Institute of Fine Arts, Birmingham 19 Sept 2013 – 12 Jan 2014
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Millar set for second museum collection In 2011, Alexander Millar made his museum debut with Working Man at the Great North Museum: Hancock in Newcastle upon Tyne. A collection of never before seen original art portraying the men, women, communities and industries that make the North East the spirited place it is today. Such was the success of the exhibition, attracting thousands of visitors from across the country, Millar has now received his second invitation from Glasgow Life. Alexander Millar is now painting towards “Homecoming”, an exhibition of original art celebrating the people and the industries of Glasgow and Scotland. Of the invitation, Kilmarnock born Millar said “I’m just so
humbled and proud to be able to exhibit back home, I’m an honourary Geordie but a Scot born and bred, so I am enjoying creating the work for this and I can’t wait for the exhibition to open next year.” “Homecoming” opens in autumn 2014 at Scotland Street School Museum, Glasgow. Scotland Street School Museum
Waterhall, Birmingham Museum & Art Gallery Saturday 12 - Sunday 27 October 2013
Simone Weil, preeminent philosopher and activist surmised that roots were the single most necessary thing for us as individuals and for society as a whole. Weil asserts, that to be rooted connects us with our past and our present, it gives us a sense of our own integral place in the world and importantly, it encourages us to care about and participate in ‘Love & Hope’ opens at Birmingham Museum & Art Gallery’s, Waterhall on 12 community life. Where is that sense of community now? Are we still connected October; a “prestigious one man show” where Horton will exhibit around eighty to it? In this world dominated by new paintings and four bronze sculptures. technology and fragmented interactions, Predominately in high quality pastels, ‘Love do we value what Weil considered to be integral to our inner peace and happiness? & Hope’ will also include “a handful of oils, some nice big charcoals and some of the personal, initial designs and concepts,” In Horton’s work we see it, with each alongside a series of new prints from the piece we are ever entwined within a sense of belonging, of familiarity hugely popular contemporary artist. and community. There is the house, symbolising stability and love. The familiar Horton’s portfolio has drawn streets down which Horton’s established comparisons to the subject matter of characters walk. The seaside town, Lowry, the methods and materials of where imagination can roam. A wizard, Degas, and the myth that allows Chagall who excites and intrigues; these are all to so vividly explode. But his work is individual in their own right, yet speak to identifiable, in both presentation and a wider meaning. subject; there are clear and constant truths that belong only to Horton and his This isn’t just art, it is life reflected back to audience. And that’s the beauty of Paul Horton’s world; despite being intrinsically us. Perhaps a life we remember, we have or we long for, but there is no denying personal it can be your world too, that we can all identify something which whatever you conceive that to be. speaks to our minds or our hearts within this collection; because it reminds us of “To be rooted is perhaps the most what is truly important, each other; with important and least recognized need of love and hope. the human soul.” Simone Weil “This is the pinnacle of my career to date,” explains Paul Horton, as he discusses the workload and deadlines surrounding such an extensive exhibition. “To be able to showcase a major body of work, which has gone through so many twists and turns over the years, is such a great opportunity.”
FREE ENTRY Waterhall, Birmingham Museum & Art Gallery, Chamberlain Square, Birmingham, B3 3DH bmag.org.uk/news castlegalleries.com/love-and-hope
working in partnership with
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Alexander Millar (left) and Glyn Washington (right) at the opening of Working Man, Millar's debut museum exhibition at The Great North Museum: Hancock in Newcastle upon Tyne
SUPPORTING THE ARTS
Austerity measures and funding cuts are all too familiar phrases to many of us, no matter what our industry, profession or personal interest. There is no denying that the arts have been one of the biggest sectors to have felt the repercussions of the global recession
H
ere, in the UK, local authority support for arts and culture will fall by a further £124 million in 2013-14, according to figures recently published by the Department for Communities and Local Government. And while many view this as another nail in the coffin for the UK arts scene, there are others that have taken a different view. Of the cuts, Quentin Letts (critic at the Daily Mail), said “the artistic urge is still going to be there, and the artistic urge finds a way of getting out.” Whatever your stance, of one thing we can be sure – the UK arts and culture sector needs the support of everyone who cares
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about the past, present and future of art in our country. Not only do the arts give the UK prestige on the world stage, but within our own communities they have a great many social impacts: from educational progress, to a freedom of expression, perhaps aiding sufferers of mental illness or providing jobs. For the past five years, Castle Galleries and publishers Washington Green Fine Art have been committed to working in partnership with publicly funded arts institutions across the United Kingdom to host and fund large scale exhibitions for everyone, without discrimination on wealth, • status or knowledge of art.
Supporting the Arts
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Supporting the Arts
Working Man at The Great North Museum: Hancock attracted thousands of visitors, proving that there is a great appetite for art throughout the UK
“The global recession that we have entered will not just knock the froth of things; it will permanently reconfigure the cultural landscape. This may happen more slowly and the events may be less flamboyantly newsworthy than the bankruptcy of Iceland, or the collapse of the international banking system... but the underlying forces at work are just as strong – indeed – they are the same forces.” —Adrian Ellis, The Art Newspaper
“As one of the country’s leading publishers, I feel we have a duty to support and nurture the arts scene at home,” says Glyn Washington, founder of the thirty year old art house and publisher. “If we can host an exhibition of art work that is relevant to a museum, a community or a region, which in turn increases exposure and visitor numbers for that museum or gallery and F I N E A R T C OL L E C T OR
introduces individuals to an artist or an idea they would never ordinarily encounter, then I cannot view this as anything other than a good thing.” In 2011, Washington Green Fine Art worked in conjunction with Tyne & Wear Archives and Museums group to exhibit Working Man by Alexander Millar; a collection of paintings celebrating the industries and
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communities of Tyneside. Dr Sarah Glynn, museum manager at the Great North Museum: Hancock commented on Working Man at the time, saying “It’s been totally amazing to see the effect that this exhibition has had on our visitors. We’ve seen people weeping and laughing, and it has reached people of all ages. “Our collaboration with Washington Green Fine Art has
been a great success. Personally I’m overjoyed to see the way the public have taken Alexander Millar to their hearts.” More recently, Washington Green Fine Art has forged partnerships with Birmingham Museums, with ‘Provenance’ an exhibition in 2012 of original artwork by John Myatt; widely considered to be on the of 21st century’s greatest art forgers but who has since reformed and now paints genuine fakes to the delight of his fans and art collectors. And, opening in October 2013, again with Birmingham Museums, is ‘Love & Hope’ an exhibition of original pastels, oils and charcoals, by one of Washington Green’s most popular artists Paul Horton. “This is the pinnacle of my career to date,” explains Paul Horton, as
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Fiona Bruce speaks at the opening of Provenance by legendary forger and Castle Galleries artist, John Myatt in autumn 2012
he discusses the workload and deadlines surrounding such an extensive exhibition. “To be able to showcase a major body of work, which has gone through so many twists and turns over the years, is such a great opportunity.” Horton’s portfolio has drawn comparisons to the subject matter of Lowry, the methods and materials of Degas, and the myth that allows Chagall to so vividly explode – all of this, whilst
portraying a narrative to which everyone can almost universally relate to. Simon Cain, Interim Director of Birmingham Museums Trust comments, “This exhibition should prove of particular interest to our audiences, allowing them to relate to, and interact with, the art work.” The next chapter for Washington Green Fine Art and the public arts sector sees a second invitation for critically
“With Provenance, John reminded us how the apparent superiority and invulnerability of those in the art trade is in fact all too often a trick of the light, and the flash suit. He deserves our thanks for that.” —David Lee, Art Critic & Editor of The Jackdaw
acclaimed artist Alexander Millar to exhibit in his homeland of Scotland. “Homecoming” will feature over eighty original oils and charcoals created by Millar for the people of Glasgow and Scotland, depicting the industries
and communities that built the country – hailing from Scotland himself, this exhibition at Scotland Street School Museum will come in what promises to be a memorable year for Scotland and Alexander Millar.
John Myatt poses for pictures with collectors at the opening of Provenance
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GALLERY Autumn / Winter Collection 2013 Welcome to our brand new collection of art for the autumn and winter season. We invite you to take a look around, whether you are looking for a piece to make a statement or something to quietly contemplate, we have something to inspire you.
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Caroline Shotton Gallery
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Spidermoo Boxed canvas Edition of 195 Image 36" x 36" £695
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Gallery Stuart McAlpine Miller
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Spot Me Now
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Taking The Trash Out
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Attention! On Your Feet!
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Hats Off To The Leaders Boxed canvas Edition of 95 Image 40" x 29" Framed £995 Unframed £795 Giclée edition of 95 Image 28" x 20" Framed £750 Altered Images Portfolio - Set of 4 Boxed canvas Image 40" x 29" Framed £3,750 Unframed £2,950 Giclée edition in presentation portfolio Image 28" x 20" Framed £2,850 Unframed £1,500
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Assoiffée D’Amour Boxed canvas Edition of 95 Image 243/4" x 551/4" £695
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Sugar Venom Boxed canvas Edition of 95 Image 36" x 36" £650
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Gallery Alex Echo
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Wing Commander Giclée edition of 95 Image 15" x 15" Framed £295
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Into The Night Giclée edition of 95 Image 15" x 15" Framed £295
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Atlantic Watch Giclée edition of 95 Image 15" x 15" Framed £295
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Gallery Richard Rowan
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All Before Me Glass edition of 95 Image 20" x 28" Framed £795
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Trailing Horizons Glass edition of 95 Image 24" x 24" Framed £795
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Nature’s Rest Glass edition of 95 Image 19" x 19" Framed £750
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Infinite Glass edition of 95 Image 221/2" x 38" Framed £995
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Dancing Shadows Glass edition of 95 Image 123/4" x 28" Framed £695
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Gallery Lawrence Coulson
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The Time We Had Giclée edition of 150 Image 173/4" x 24" Framed £550
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Where We Find Ourselves Giclée edition of 150 Image 12" x 40" Framed £595
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Underneath A Red Sky Canvas edition of 95 Image 16" x 48" Framed £695
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Paul Kenton Gallery
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Electric City Boxed canvas Edition of 150 Image 40" x 32" £685
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Late Afternoon, Westminster Boxed canvas Edition of 150 Image 32" x 40" £685
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One Night In Paris Boxed canvas Edition of 150 Image 30" x 48" £725
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Sunset From Jubilee Bridge Boxed canvas Edition of 150 Image 20" x 60" £675
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Jeff Rowland Gallery
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And Then You Kissed Me Canvas edition of 95 Image 221/2" x 36" Framed £650
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April In Paris Canvas edition of 95 Image 20" x 32" Framed £550
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A Fine Romance Canvas edition of 95 Image 20" x 32" Framed £550
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John D Wilson Gallery
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Match Day 3-D edition of 150 Image 19" x 27" Framed ÂŁ625
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City Splendour Canvas edition of 95 Image 13" x 40" Framed £525
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Towers Over London Canvas edition of 95 Image 13" x 40" Framed £525
Neil Dawson Gallery
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Gallery Paul Corfield
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Riverside Evenings Canvas edition of 95 Image 181/2" x 28" Framed £550
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Beneath The Moonlight Canvas edition of 95 Image 181/2" x 28" Framed £550
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Evening’s Golden Veil Canvas edition of 95 Image 24" x 36" Framed £750
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Gallery Alexander Millar
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Clocking On, Clocking Off Canvas edition of 95 Image 18" x 24" Framed £525
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Feed The Birds Canvas edition of 95 Image 18" x 24" Framed £525
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Together Forever Resin Sculpture Edition of 195 Height 18" £595 Bronze Sculpture Edition of 95 Height 18" £1,995 2
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Richard Blunt Gallery
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Stolen Moments Canvas edition of 95 Image 233/4" x 233/4" Framed £475
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An Affair To Remember Canvas edition of 95 Image 233/4" x 233/4" Framed £475
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Gallery Craig Davison
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Never Feed Them After Midnight Canvas edition of 150 Image 26" x 203/4" Framed £425 Boxed canvas Edition of 95 Image 40" x 32" Framed £895 Unframed £675
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Bustin’ Makes Me Feel Good! Canvas edition of 150 Image 26" x 203/4" Framed £425 Boxed canvas Edition of 95 Image 40" x 32" Framed £895 Unframed £675
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Turtle Power! Canvas edition of 150 Image 26" x 32" Framed £650 Boxed canvas Edition of 95 Image 361/2" x 45" Framed £1,095 Unframed £795
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The Night Is Hers Canvas edition of 95 Image 24" x 24" Framed £599
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Twilight Over London Canvas edition of 95 Image 28" x 28" Framed £695
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Hamish Blakely Gallery
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Gallery Bob Barker
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Early Bath Canvas edition of 195 Image 24" x 24" Framed £599
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Perfect Match Canvas edition of 195 Image 26" x 203/4" Framed £565
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The Keeper Canvas edition of 195 Image 24" x 24" Framed £599
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Hear The Roar Canvas edition of 195 Image 26" x 203/4" Framed £565
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Jumpers For Goalposts Canvas edition of 195 Image 26" x 203/4" Framed £565 2
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Gallery Keith Proctor
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The Little Things In Life Giclée edition of 150 Image 10" x 8" Framed £225
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My Big Sister’s Shoes Giclée edition of 150 Image 10" x 8" Framed £225
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Brand New Day Canvas edition of 150 Image 18" x 131/4" Framed £325
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For Me? Canvas edition of 150 Image 18" x 131/4" Framed £325
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Gallery Paul Horton
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A Beautiful Dark Giclée edition of 295 Image 16" x 13" Framed £295
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Grandad’s World Giclée edition of 295 Image 16" x 13" Framed £295
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Everything To Me Giclée edition of 295 Image 16" x 13" Framed £295
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The Red Sun Giclée edition of 295 Image 16" x 13" Framed £295
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Somewhere Down The Road Giclée edition of 295 Image 16" x 13" Framed £295
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A Thing Called Love Giclée edition of 295 Image 16" x 13" Framed £295
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Love & Hope The Museum Portfolio Set of 6 Giclée edition Image 16" x 13" Framed £1,650 Unframed £695
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Captain Of My Heart Giclée edition of 195 Image 12" x 30" Framed £475
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Bluebird Of Happiness Giclée edition of 195 Image 143/4" x 18" Framed £375
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The World Through Vincent’s Eyes Giclée edition of 195 Image 19" x 24" Framed £495
YOUR WORLD, OUR ART. Contemporary art from the country’s finest artistic talent, chosen by Castle Galleries for you.
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* Our new Castle Fine Art gallery opening soon in St. David's 2