Modern ArtBuyer Spring Pop-up Catalogue : March 2020

Spring Pop-up Catalogue : March 2020

Spring Pop-up Catalogue : March 2020 Modern ArtBuyer is a curated online gallery representing some of today’s most exciting and respected artists.

Here we showcase the latest collection of artworks selected for our Spring Pop-up exhibition. If you would like to discuss any of the pieces or arrange a viewing, please get in touch.

Thank you.

Jessica Lloyd-Smith jessica@modernartbuyer.com 07941 301687 modernartbuyer.com @modernartbuyer

Trudy Montgomery Maria Rivans Andrew Lansley Paul Minott Mark Stopforth Chuck Elliott Bonnie and Clyde Paul Bennett Hatty Butler Plum Neasmith Jaco Putker Victoria Topping Mark Jessett Jonathan Barber Jane Emberson

Trudy Montgomery Joyful and uplifting, Trudy Montgomery’s paintings portray an active vitality and the expression of spirit. Her tendency towards intense expressive colour is influenced by the light and space of California where she lived for 14 years, and the wilds of the Land’s End peninsula in Cornwall where she currently lives and works. Trudy draws inspiration from her travels, both inner and outer, and sees her work as inner landscapes or dreamscapes. Working from a meditative state of action, Trudy uses the energy of gesture and expressive possibilities of paint to convey what is, so often, inaccessible via words.

Trudy Montgomery A Vibrant Life Mixed media on wood panel with off-white wooden tray frame 35 x 35cm ÂŁ850

Trudy Montgomery Rock and Shore Mixed media on wood panel with off-white wooden tray frame 35 x 35cm £850

Trudy Montgomery Beach Life Mixed media on wood panel with off-white wooden tray frame 35 x 35cm £850

Trudy Montgomery Heather and Bracken Mixed media on wood panel with off-white wooden tray frame 35 x 35cm £850

Trudy Montgomery Dancing Stones Mixed media on wood panel with off-white wooden tray frame 35 x 35cm ÂŁ850

Maria Rivans Maria Rivans is a contemporary British artist, known for her scrapbookstyle collage aesthetic. A mash-up of Surrealism meets Pop-Art, Rivans’ work re-appropriates vintage ephemera to create fantastical worlds of the imaginary, each one suffused with vivid colour, arresting imagery, intricate detail, and finished with a dusting of subtle humour.

Maria works from her studio in Brighton: a kooky building, purpose built as a small cinema in 1911, having studied 3D design at the University of Brighton. She exhibits work throughout the UK as well as internationally, including Hong Kong, New York and across Europe.

The visual artists who have defined Rivans’ work include: Max Ernst; Frida Kahlo; Robert Rauschenberg; Richard Hamilton; David Hockney; Sarah Lucas; and Tracey Emin. Yet her influences are not limited to the visual arts: music, film and fashion have helped define her aesthetic, with the likes of David Bowie, Vivienne Westwood, Alfred Hitchcock and David Lynch having a huge impact on her practice.

Rivans’ artwork is known for its unique approach to collaging. Intertwining different film and TV genres - from vintage Hollywood, to 1970s sci-fi, B-movies and TV trash - Rivans’ work is in a constant dialogue with cultures of the past, reinventing existing film plots and narratives, while spinning bizarre and dreamlike tales. In her pin-up series, Rivans reclaims iconic femininity to champion female strength; her exotic and escapist works are often laced with ominous undertones, to remind us of the darker side of human nature; utopian imagery from 1950s pop-culture speaks to today’s obsession with consumerism; while a persistent love of sci-fi illustrates the fact that Rivans’ work is always a meditation on the greater question of ‘life, the universe, and everything’.

Rivans’ work takes the form of both large-scale originals and limited edition prints, and notable series’ have included: pin-ups; landscapes; film stills; and 3D box collages.

Maria Rivans Bonbon Sophia Loren. Giclee and screenprint with diamond dust and spot varnish Edition of 75 on Minuet with torn edges, framed 80 x 60cm ÂŁ590 (ÂŁ420 unframed)

Maria Rivans Lolita Anita Ekberg. Giclee and screen print with silver ink and spot varnish Edition of 75 on Minuet with torn edges, framed 80 x 60cm ÂŁ560 (ÂŁ390 unframed)

Maria Rivans Joy Jean Simmons. Giclee and screen print with Silver Ink and spot varnish Edition of 60 on Somerset Velvet paper with torn edges 110 x 80cm ÂŁ770 (ÂŁ520 unframed)

Andrew Lansley Andrew Lansley is the Chairman of the Bath Society Of Artists. In 2019 he was selected by the Friends of The Scott Polar Research Institute to be their resident artist in Antarctica for 2019. He will be showing at Bonhams, New Bond Street in 2020, the SPRI’s centenary year.

Andrew has exhibited at the Royal Academy in successive years, the Royal West of England Academy and numerous shows at the Mall Galleries, including RI, RSMA, NEAC, RBA, Sunday Times Watercolour and Lynn Painter Stainers Prize. His work is held in private and corporate collections in the UK, Europe and China. Commissioning clients include King & McGaw, John Lewis Partnership, The European Thermal Towns Association (ETTHA), The Royal United Hospital, Bath Building Society and The Roman Baths.

Andrew generates work from whichever source is most directly accessible.

This may entail a variety of material abstractions or work directly related to impressions and experience of the landscape. The source of his inspiration is the fabric of nature. Paint, as earth and water, is regarded as a natural element in itself, rather than as a simple a tool for imitating nature. Paintings are often conceived in a moment and then take time to unfold. Conversely, paintings are also ‘unconceived’ as initial plans are let go in response to the physical nature of the medium and the unfolding unpredictability of creation. In using raw pigments combined with a variety of mediums he achieves a direct connection to the elemental quality of landscape. Working in this way can be explosively fast and at other times may be meticulously analytical.

Andrew Lansley Cranes from the park Egg tempera on gesso board, framed 30 x 30cm ÂŁ695

Andrew Lansley Hill Farm Egg tempera on gesso board, framed 30 x 30cm ÂŁ695

Andrew Lansley Richwood Egg tempera on gesso board, framed 32 x 32cm ÂŁ750

Andrew Lansley Wasdale Egg tempera on gesso board, framed 32 x 43cm ÂŁ850

Paul Minott Paul Minott worked as a leading graphic designer for over thirty years, working for numerous international design consultancies in London and abroad. He ran a successful partnership in London before embarking on a teaching career at Bath Spa University.

He moved to Bath to devote more time to making art including painting, books, filmmaking, curation and his biggest passion, monoprinting.

According to Paul, monoprinting takes him right back to the two fundamental appeals of graphic design: real ink on real paper, and a mechanical process that mediates between intention and realisation.

Some of his prints are made by rolling and then removing areas of pure flat colour from the plate, others involve more painterly gestures. In addition, he often uses hand or laser-cut stencils either to hold or conceal areas of ink, which add a further embossed dimension to the prints.

Occasionally the prints include collaged elements.

In Paul Minott’s words: “Ultimately, my monoprints are all about experimentation. It’s like using an etching press to paint pictures in the dark; the magic that occurs between the blankets can never be entirely known beforehand, and one feels one’s way with each successive stage.

Setting out with only a slight notion, often just a shape or a colour, one sets in motion a sequence of events that take on a life of their own. A finished print is resolved when the components coexist in either conflict or harmony. I never know which until it’s over, when it finally suggests something that was there all along.”

Paul Minott Totem 2 Unique monoprint 1/1, float mount with white frame 86 x 68cm ÂŁ450

Paul Minott Up Unique monoprint 1/1, float mount with white frame 86 x 68cm ÂŁ450

Paul Minott Natale Unique monoprint 1/1, float mount with white frame 86 x 68cm ÂŁ450

Paul Minott Seed Unique monoprint 1/1, float mount with white frame 86 x 68cm ÂŁ450

Paul Minott Diva Unique monoprint 1/1, float mount with white frame 86 x 68cm ÂŁ450

Mark Stopforth For the past twenty years, Mark Stopforth’s work has been devoted to the untamed and wild landscapes that can be found in the Moors, Fens, Fells and Estuaries of Britain. He has carried the impressions of the sublime in the landscape from his childhood roots in the Fens of East Anglia – impressions that are still relevant to his work today. The vast immersive spaces of moorland, fen and river estuary have consumed his imagination, prompting him to recapture those impressions through charcoal, pencil and oil.

Mark’s influences are many and varied, and include the calligraphic paintings of Cy Twombly, the tonal ink paintings of Hosagawa Tohaku and the landscapes of Constable, Claude, Cottman and Turner.

Mark has exhibited work around the country, most notably on a number of occasions at the prestigious Royal West of England Gallery in Bristol, as well as throughout the South West and London. He is also a published poet being shortlisted for the Brit Writers’ Award in 2012 and winning Fleeting Magazines International Best Short Writing 2010. Writing has been put on the shelf for the time being as I wish to devote myself to landscape painting as it is for me, and probably always will be, unfinished business. “…it is not a record of landscape, but a sensation of landscape that’s internalised within an individuals’ imagination and so completed..”

– Howard Hodgkin “Eternity…where life is boundless in its duration and love in its sympathy, a joy in its fullness. It was a sea stretching into infinity….”

– Emily Bronte from “notes on the moor”

Mark Stopforth Blakeney Staithe Oil and pencil on card with dark tray frame with pale gold edge 27 x 31cm ÂŁ395

Mark Stopforth A Cotswold Field II (Autumn) Oil and pencil on gesso board with dark tray frame with pale gold edge 39 x 30cm ÂŁ495

Mark Stopforth A Cotswold Field Oil and pencil on gesso board with dark tray frame with pale gold edge 39 x 30cm ÂŁ495

Mark Stopforth Flag Fen Oil and pencil on canvas with dark tray frame 47 x 47cm ÂŁ800

Chuck Elliott Chuck Elliott has been working as a digital artist full time since 1992, after graduating from the old Hornsey School of Art in London. It continues to be an interesting journey.

In Chuck’s words: About twelve years ago I decided to focus in on the idea of using digital drawing tools to create studies that explore line, light, colour and geometry. It seemed that the digital toolset offered an opportunity to advance the modernist study of geometric form into new, more complex, more intriguing areas than had previously been possible with pen and paint.

Following the example of contemporary music production, digital data can be honed, remixed, layered, edited and sculpted, finessing final compositions in ways that are clearly analogous with modern film, music and photography production. Pure logical progression.

The works I generate are large format C type photographic prints. Original digital drawings exposed onto photographic paper by laser light, developed, fixed and washed in the traditional manner. These C type prints are then bonded to clear perspex using the Diasec process. The glazed pieces can then be laser cut to shape, framed, or simply mounted directly to the wall.

Alongside this main body of work I’m also exploring digital screen art, and 3D printing, which offer intriguing opportunities to add time, motion and sculptural form, to the drawings. As computer systems become faster and more powerful, so the opportunity to work with denser, more complex data sets increases, and as such it seems likely that the studies will become ever more intriguing over the coming years.

Chuck Elliott interStella / QUAD 1 pt1 10 colour pigment print, on 310gsm 100% cotton HahnemĂźhle fine art paper Edition of 48, plus 4 APs, unframed 48 x 48cm (paper size: 64 x 64cm) ÂŁ480

Chuck Elliott Lyric SV / cerulean wave 10 colour pigment print, on 310gsm 100% cotton HahnemĂźhle fine art paper Edition of 24, plus 2 APs, unframed 88 x 72cm (paper size: 100 x 82cm) ÂŁ880

Chuck Elliott Motorik / TWO / chromatic shift 10 colour pigment print, on 310gsm 100% cotton HahnemĂźhle fine art paper Edition of 24, plus 2 APs, unframed 88 x 72cm (paper size: 100 x 82cm) ÂŁ880

Bonnie and Clyde Bonnie and Clyde is a Brighton based artist who uses collage, type and photography to produce visually arresting screen-prints and mixed media collages. She studied Furniture and 3D Design at Kingston University before setting up her own graphic design business in Manchester, working primarily within the creative industries, creating everything from posters, brochures, book sleeves and tee-shirts to textiles and festival campaigns.

Bonnie and Clyde decamped to the seaside with her beloved Leica camera a few years ago and learnt the art of screen-printing. Her interest in street photography, psychogeography, architecture and the sea are often reflected within the use of colour and graphical elements that shape her work.

Bonnie and Clyde The Ace Giclee, silkscreen and glazes on Fabriano paper Signed limited edition of 60, framed 98 x 70cm ÂŁ950 (ÂŁ675 unframed)

Bonnie and Clyde Jackpot Giclee, silkscreen and glazes on Fabriano paper Signed limited edition of 75, framed 76 x 56cm ÂŁ660 (ÂŁ450 unframed)

Bonnie and Clyde Everybody Loves The Sunshine Giclee, silkscreen and glazes on Somerset paper Signed limited edition of 60, framed 115 x 80cm ÂŁ1,100 (ÂŁ800 unframed)

Bonnie and Clyde The Clear Mixed media original, box frame and float mount with twine 66 x 85cm ÂŁ1,800

Bonnie and Clyde Walk On Mixed media original, box frame and float mount with twine 66 x 85cm ÂŁ1,800

Paul Bennett The Times described works by painter Paul Bennett as “…perfect brooding landscape…”. Paul Bennett says “The seascape and landscape paintings are inspired by memory and experience, and are developed using artistic intuition. They are not tied into any specific region or time, they are an eclectic synthesis of place, weather and season. I choose to capture and communicate my experience this way as it reflects life with its unceasing process of observing, experiencing, interpreting, storing – and ultimately – reflecting. The result I strive for is a unique and original visual experience that has captured not only the sense of somewhere/sometime, but also the more subtle notion of recollection.

“Occasionally I refer to photography as a starting point and as a way to engage with the surface and begin the initial mark-making process. After this point, everything is an abstract interpretation of the memories I have and places I have experienced. This is all brought together with constant experimenting and I find the works are continuously evolving and influencing the next.

“Oil paint is the medium that plays a big part in capturing the essence of a faded memory and lends itself nicely to the way I paint. The paint is applied to give the artwork itself a narrative and history, where the process of its creation can be glimpsed at in places – not dissimilar to the way in which the memory deals with the hazy recollection of a place once visited.”

Paul Bennett Sky Break Oil on canvas 100 x 100cm £2,250

Paul Bennett The Rise of the Morning Mists Oil on canvas 100 x 100cm ÂŁ2,250

Paul Bennett Autumn Dusk Oil on canvas, framed 76 x 60cm ÂŁ1,250

Hatty Butler In Hatty Butler’s words: My work is about people. Exploring their vulnerability, capturing an honest and exposed resemblance, creating a vivid and forceful image. My portraits are not about the face alone, they portray and question the emotions and experiences behind it.

I make decisions about my work based upon how I am feeling. I know a piece has been successful when it has challenged and confronted me, it comes together as a whole and is energetic and commanding. I choose to use oil paint, it is malleable, thick and creates an incredible texture. Using a pallet knife alongside this means that I can drag the paint and also become less precious about my work, as it forces me to make mistakes.

Emotions, experiences and struggles. My aim is to convey these feelings via contemporary art, creating dynamic, vivid images. My love for texture, method and material helps me capture these emotions. I am passionate about using my art to celebrate unique and interesting people. Highlighting and embracing those who may normally be overlooked or criticised for being different. We live in a society where the abnormal is laughed at and my aim is to alter these outdated views. Art can be the most innovative and compelling form of providing change within our society. I challenge the viewer, encouraging them to look deeper into the painting than just the portrait itself, to raise internal issues and try to comprehend them.

Hatty Butler The same inside Oil and spray paint on canvas 96 x 93cm ÂŁ2,600

Hatty Butler Discovery Oil and spray paint on canvas 102 x 90cm ÂŁ2,600

Plum Neasmith Plum Neasmith studied at the University of Gloucestershire for five years gaining a BA in Fine Art. As an undergraduate she won the prestigious Grant Thornton Travel Award. She currently lives and works in Cheltenham.

In Plum Neasmith’s words: “The starting point for a painting is often an experience of place. The work and its meaning evolves in the studio through the action of distillation and translation. Process and chance are a fundamental part of the process as well as utilising the often slow, indirect and multi-layered nature of memory. The work is trying to remember something perhaps through the freezing of time, to reveal something new about a subject as well as attempting to capture its essence or illusory nature.”

“I can only note that the past is beautiful because one never realises an emotion at the time. It expands later, and thus we don’t have complete emotions about the present only about the past” - Virginia Woolf “…to paint not the thing but the effect it produces” - Mallarme Plum Neasmith’s work has been shown widely throughout the UK including The Royal Academy Summer Exhibition, The Royal West Academy Open Exhibition, Hampstead Affordable Art Fairs and Bristol Affordable Art Fairs.

Plum Neasmith Ballinglen: the warmth of the earth Mixed media on board with dark tray frame 56 x 47cm ÂŁ595

Plum Neasmith Travel Notes 2 Mixed media on paper, wide dark frame Frame size: 40 x 35cm (painting size: 17 x 12cm) ÂŁ190

Plum Neasmith Travel Notes 5 Mixed media on paper, wide dark frame Frame size: 40 x 35cm (painting size: 17 x 12cm) ÂŁ190

Plum Neasmith Travel Notes 6 Mixed media on paper, wide dark frame Frame size: 40 x 35cm (painting size: 17 x 12cm) ÂŁ190

Plum Neasmith Travel Notes 1 Mixed media on paper, wide dark frame Frame size: 40 x 35cm (painting size: 17 x 12cm) ÂŁ190

Plum Neasmith Travel Notes 8 Mixed media on paper, wide dark frame Frame size: 40 x 35cm (painting size: 17 x 12cm) ÂŁ190

Jaco Putker Jaco Putker is a contemporary artist and printmaker from The Hague, The Netherlands. He combines digital and traditional techniques to produce images which are both playful and sinister, nostalgic and magical. His preferred medium is photopolymer, or solar plate, etching. This technique is a non-toxic way of etching which allows for photorealistic depictions.

Rather than impose a meaning to his work, Jaco Putker invites the viewers to associate freely and give his etchings personal significance through individual perceptions and filters. The titles of the etchings are descriptive and give no handle as to the meaning of the works. The artist considers his works to be illustrations to fables which don’t exist, but hopefully take shape in the beholders’ minds.

His work has been exhibited in Holland, Belgium, Germany, Norway, Northern Ireland, Croatia, Bulgaria, Japan, Taiwan, China, Australia, Canada and the USA. Awards In 2017, Jaco Putker won the ON PAPER International Printmaking Award.

In 2015, he won the Awagami Paper Factory Prize at the Awagami International Miniature Print Exhibition.

In 2010, he was awarded the Dutch National Business Art Service Competition for Graphic Arts.

Jaco Putker Interior No. 79 Etching in a limited edition of 25, float mount and soft black frame 50 x 60cm £450 (£350 unframed)

Jaco Putker Interior No. 87 Etching in a limited edition of 25, float mount and soft black frame 50 x 60cm £450 (£350 unframed)

Jaco Putker The Boy in the Rocket Etching in a limited edition of 25, float mount and soft black frame 36 x 43cm £285 (£210 unframed)

Jaco Putker The Transient Life No. 1 Etching in a limited edition of 25, float mount and soft black frame 36 x 43cm £285 (£210 unframed)

Jaco Putker The Transient Life No. 3 Etching in a limited edition of 25, float mount and soft black frame 36 x 43cm £285 (£210 unframed)

Jaco Putker The Girl and the Jellyfish Etching in a limited edition of 25, float mount and soft black frame 36 x 427cm ÂŁ175

Jaco Putker The Girl and the Mushrooms Etching in a limited edition of 25, float mount and soft black frame 36 x 427cm £175

Victoria Topping Victoria has worked as an artist and illustrator since graduating with a BA in Illustration in 2008. Her pieces are created by building up multiple textures and images, and combining these to develop a distinct visual language, using recurring motifs. She works using a fusion of technology and traditional techniques – often using photography, painting, gold-leaf and cut-up collage which is then digitally scanned and arranged on the computer, before working back in to the resulting digital print.

Her work is heavily influenced by music, from the styling and art direction of 1970s Jazz and Soul, to the passion and ebullience of Gospel and Disco.

She takes musical aspects and works to synthesise them into visual form, working towards distilling the vibrancy of music into a ‘music for the eyes’.

More broadly, she aims to impregnate her work with its own unique soul, through harnessing a blend of spirituality, culture, the cosmos and mother earth.

As well as producing original works and prints, Victoria is proud to be Artist Director of On The Corner Records undertaking everything on the visual side of the label. She has also had the privilege of working with Art Yard Records on Sun-Ra. Along side this she has created commercial work for brand identities; produced branding for festivals; large scale murals and has also designed nightclub interiors. In addition, she also works on historic interiors – digitally recreating wallpapers for some of the most prestigious heritage sites in the UK.

Victoria Topping Narcissus Giclee print hand-finished in gold leaf on 300gsm cotton rag paper Limited edition of 50 with black frame 53 x 43cm ÂŁ165 (ÂŁ100 unframed)

Victoria Topping Hermes Giclee print hand-finished in gold leaf on 300gsm cotton rag paper Limited edition of 50 with black frame 53 x 43cm ÂŁ165 (ÂŁ100 unframed)

Victoria Topping Wine Time Giclee print hand-finished in gold leaf on 300gsm cotton rag paper Limited edition of 50, unframed 84 x 59.5cm ÂŁ300

Victoria Topping Love Bug Giclee print hand-finished in gold leaf on 300gsm cotton rag paper Limited edition of 50, unframed 84 x 59.5cm ÂŁ300

Victoria Topping Moth Giclee print hand-finished in gold leaf on 300gsm cotton rag paper Limited edition of 50, unframed 59.5 x 84cm ÂŁ300

Mark Jessett Mark Jessett is an abstract artist based in Devon, whose work encompasses drawing, painting and collage. Lately, he has been making works on paper.

Mark studied Fine Art at Goldsmiths’ College and is co-founder of N|E|W Art in Ashburton.

Exploring relationships between colour, surface texture, translucency and opacity, Mark’s work is made of simple shapes, underpinned by intricate detail and a distinctive palette. Evocative forms provide the basis for the works, including flag-like shapes and fantasy minerals. The realm of artifice and escape is celebrated in Mark’s vibrant and optimistic paintings, drawing inspiration from folkloric and educational imagery.

2019 was a full year, with ‘Semi-Precious’, a solo show of new paintings at The Whittox Gallery, Frome, plus a large installation and solo show at the Exeter Phoenix cafe gallery, entitled ‘My Heart Remembers Things That My Head Has Never Known’. Also, Mark’s painting ‘Essential Elements (Magical and Otherwise)’ was selected to be shown in the RWA167 Open Exhibition.

Mark Jessett Ancestors Acrylic on paper over board with dark painted tray frame 60 x 60cm ÂŁ900

Mark Jessett Sea Witch Acrylic on paper over board with dark painted tray frame 60 x 60cm ÂŁ900

Mark Jessett Concrete Magic Acrylic on paper over board with dark painted tray frame 60 x 60cm ÂŁ900

Mark Jessett Autumnal Crystals (left) Acrylic on paper over board with dark painted tray frame 110 x 61cm ÂŁ1,000

Mark Jessett Autumnal Crystals (right) Acrylic on paper over board with dark painted tray frame 110 x 61cm ÂŁ1,000

Jonathan Barber Jonathan Barber, a contemporary artist from Edinburgh, Scotland creates atmospheric abstracted work based around light, darkness, shape, movement and presence. After graduating from the School of Drawing and Painting at Edinburgh College of Art (2008) Jonathan has continued to make and exhibit work as well as teach Art and Design at Primary, Secondary and College level.

His recent work consists of large scale abstract landscapes on canvas and board alongside smaller more intricate studies on paper. His developed aesthetic is made up of dark weighty tones bringing depth and distance to the canvas. Accents of colour are skilfully used as compositional tools to entice the viewer to weave through layers and perspective.

Jonathan Barber Abhainn Mixed media on canvas with lime waxed tray frame 100 x 100cm ÂŁ2,400

Jane Emberson In Jane Emberson’s words: ‘The two simple elements of shape and colour form the basis for all my work. They provide an endless source of fascination and means of expression. For the past few years I have concentrated on creating imaginary landscapes using a variety of fluid paints and mediums with the act of pouring playing a vital part in describing a once thriving force - that of nature itself. ‘I find myself constantly challenged and delighted by its independent qualities that can only be controlled to a point, after that, it must be allowed to find its own level. When dried, the organic flow is arrested forever resulting in a unique creation - a collision of perfection and imperfection as in nature.

Jane Emberson Ann Mixed media on vintage image, with dark tray frame 33 x 27cm ÂŁ170

Jane Emberson Presence Mixed media on vintage image, with dark tray frame 20 x 24cm ÂŁ125

Jane Emberson Presence II Mixed media on vintage image, with dark tray frame 20 x 24cm ÂŁ125

Jane Emberson Presence I Mixed media on vintage image, with dark tray frame 22 x 27cm ÂŁ145

Jane Emberson Acapulco Mixed media on vintage image, with dark tray frame 22 x 27cm ÂŁ145

Jane Emberson Deneuve Mixed media on vintage image, with dark tray frame 36 x 29cm ÂŁ170