Andrew Kinsman Spring Collection 2016
andrew
kinsman
Andrew Kinsman Spring Collection 2016
The Woman Calling Canvas on Board | Framed 28” x 38” | £695 | Edition of 95
Bob Barker Spring Collection 2016
bob barker
Bob Barker Spring Collection 2016
After All This Time Canvas on Board | Framed 31” x 31” | £575 | Edition of 195
Sweethearts Canvas on Board | Framed 29” x 36” | £650 | Edition of 195
Craig Davison Spring Collection 2016
craig davison
Craig Davison Spring Collection 2016
Timberlyne Boxed Canvas | Framed 51” x 32.5” | £1,250 | Edition of 75 Giclée on Paper | Framed 37” x 25” | £595 | Edition of 95
Timberlyne Bronze Sculpture | 17.5” Tall x 9” Long | £1,950 | Edition of 75
David Rees Spring Collection 2016
david Rees
David Rees Spring Collection 2016
Forgiven Boxed Canvas | 42” x 28” | £695 | Edition of 95
Rise Boxed Canvas | 42” x 28” | £695 | Edition of 95
Elaine Mather Spring Collection 2016
elaine Mather
Elaine Mather Spring Collection 2016
Blue Thunder Boxed Canvas | Framed 28” x 28” | £595 | Edition of 95
Daisy Daisy Boxed Canvas | Framed 28” x 28” | £595 | Edition of 95
Wild Flower Carpet Boxed Canvas | Framed 28” x 44” | £775 | Edition of 95
Jeff Rowland Spring Collection 2016
What influenced these pieces? My influence for this collection is several things. The first of course is always the rain. It has become such a strong feature in my work that I feel it will always be there. Then there is my love of the old British black and white cinema. This influence can’t be ignored. I have always tried to portray my work as a piece of cinema, maybe the end of a movie or the high point to the movie. I have used this method all the way through my career with great results however; I always feel that the artwork should continue to develop. So the other influences I have used to create this collection are from way back in my student days. I studied 19 Century art and was always excited by William Hogarth’s paintings and the illustrations of George Cruikshank. They were both social commentators through their work, whether remarking on the political situation of England at the time or making a stand on corruption. I was very interested in what was going on in the background of the pieces. The actions of these little figures. The implicit meanings of what they were doing. Both artists would have lots of people in crowds. Each figure acting out a small statement which would have an impact on the final artwork. So, I began to work on my own interpretation of that. I didn’t want to make social comments but I have always wanted my audience to form their own opinion of what was happening to the central characters in my paintings. This time I wanted them to see small going’s on in the background. Little vignettes being played out by these people. Whether they be porters working on the train
station, passengers alighting from trains or even a policeman giving directions to someone. Explain your work in 2-3 sentences… I would say that my work is a representative in oil paint, of the all the black and white cinematic images ever made on the silver screen and, to anyone who has ever loved another human being. I mean really loved. Which piece is your favourite from your collection and why? I think the favourite one for me is Until the Last Minute. I really enjoy painting train stations because I feel they really conjure the atmosphere of the quintessential 1950’s British train station and the romance of the 50’s film genre. Any personal quirky methods? There is one little thing I like to do before I begin to paint. As soon as I have the clean canvas in front of me and onto my drawing board, (I never use an easel), I like to place the palms of my hands onto it and rub them all over the tooth of the canvas. It is almost like a small introduction to the canvas and leaves my hands with a lovely tingling feel. I have done this for years and has become almost like a little ritual. A creature of habit you may say. What genre would you typically associate your work with? The 1950’s cinema genre.
jeff rowland
Jeff Rowland Spring Collection 2016
We Meet At The Same Place Canvas on Board | Framed 26” x 31” | £495 | Edition of 150
Jeff Rowland Spring Collection 2016
Autumn Romance Canvas on Board | Framed 31” x 26” | £495 | Edition of 150
Jeff Rowland Spring Collection 2016
At The End Of The Avenue Canvas on Board | Framed 31” x 26” | £495 | Edition of 150
John Wilson Spring Collection 2016
john wilson
John Wilson Spring Collection 2016
River Scene 3-D | Framed 22” x 42” | £850 | Edition of 195
John Wilson Spring Collection 2016
All Around The Clock Tower 3-D | Framed 22” x 31” | £650 | Edition of 195
John Wilson Spring Collection 2016
Steam Up 3-D | Framed 22” x 31” | £650 | Edition of 195
Keith Maiden Spring Collection 2016
keith maiden
Keith Maiden Spring Collection 2016
Helen Back Boxed Canvas | Framed 36” x 28” | £750 | Edition of 150
Keith Maiden Spring Collection 2016
Lucy Fur Boxed Canvas | Framed 36” x 28” | £750 | Edition of 150
Keith Maiden Spring Collection 2016
Tanya Hyde Boxed Canvas | Framed 36” x 28” | £750 | Edition of 150
Neil Dawson Spring Collection 2016
neil dawson
Neil Dawson Spring Collection 2016
Regent Street Rain Canvas on Board | Framed 20” x 24” | £295 | Edition of 150
Neil Dawson Spring Collection 2016
Nighttime Rain Canvas on Board | Framed 18” x 18” | £225 | Edition of 150
Neil Dawson Spring Collection 2016
Afternoon Shower Canvas on Board | Framed 18” x 18” | £225 | Edition of 150
Nic Joly Spring Collection 2016
What influenced these pieces? My influence for this collection is several things. The first of course is always the rain. It has become such a strong feature in my work that I feel it will always be there. Then there is my love of the old British black and white cinema. This influence can’t be ignored. I have always tried to portray my work as a piece of cinema, maybe the end of a movie or the high point to the movie. I have used this method all the way through my career with great results however; I always feel that the artwork should continue to develop. So the other influences I have used to create this collection are from way back in my student days. I studied 19 Century art and was always excited by William Hogarth’s paintings and the illustrations of George Cruikshank. They were both social commentators through their work, whether remarking on the political situation of England at the time or making a stand on corruption. I was very interested in what was going on in the background of the pieces. The actions of these little figures. The implicit meanings of what they were doing. Both artists would have lots of people in crowds. Each figure acting out a small statement which would have an impact on the final artwork. So, I began to work on my own interpretation of that. I didn’t want to make social comments but I have always wanted my audience to form their own opinion of what was happening to the central characters in my paintings. This time I wanted them to see small going’s on in the background. Little vignettes being played out by these people. Whether they be porters working on the train
station, passengers alighting from trains or even a policeman giving directions to someone. Explain your work in 2-3 sentences… I would say that my work is a representative in oil paint, of the all the black and white cinematic images ever made on the silver screen and, to anyone who has ever loved another human being. I mean really loved. Which piece is your favourite from your collection and why? I think the favourite one for me is Until the Last Minute. I really enjoy painting train stations because I feel they really conjure the atmosphere of the quintessential 1950’s British train station and the romance of the 50’s film genre. Any personal quirky methods? There is one little thing I like to do before I begin to paint. As soon as I have the clean canvas in front of me and onto my drawing board, (I never use an easel), I like to place the palms of my hands onto it and rub them all over the tooth of the canvas. It is almost like a small introduction to the canvas and leaves my hands with a lovely tingling feel. I have done this for years and has become almost like a little ritual. A creature of habit you may say. What genre would you typically associate your work with? The 1950’s cinema genre.
nic joly
Nic Joly Spring Collection 2016
The Answer Wall Sculpture | Framed 24” x 24” | £1,250 | Edition of 90
Keeping The Spark Alive Wall Sculpture | Framed 17” x 17” | £750 | Edition of 90
Nigel Mason Spring Collection 2016
nigel mason
Nigel Mason Spring Collection 2016
Busy Waiter Canvas on Board | Framed 14” x 14” | £225 | Edition of 195
Curious Canvas on Board | Framed 14” x 14” | £225 | Edition of 195
Nigel Mason Spring Collection 2016
Swing Canvas on Board | Framed 14” x 14” | £225 | Edition of 195
Lift Canvas on Board | Framed 14” x 14” | £225 | Edition of 195
Nigel Mason Spring Collection 2016
Sulky Canvas on Board | Framed 14” x 14” | £225 | Edition of 195
Hoola Hoop Canvas on Board | Framed 14” x 14” | £225 | Edition of 195
Nigel Mason Spring Collection 2016
Classic Canvas On Board | Framed 14” x 14” | £225 | Edition of 195
Nigel Mason Spring Collection 2016
Delivery Boy Canvas On Board | Framed 14” x 14” | £225 | Edition of 195
Paul Horton Spring Collection 2016
paul horton
Paul Horton Spring Collection 2016
One Fine Day Giclée on Paper | Framed 26” x 21” | £295 | Edition of 295
Paul Horton Spring Collection 2016
Some Enchanted Evening Giclée on Paper | Framed 26” x 21” | £295 | Edition of 295
Paul Horton Spring Collection 2016
One Fine Day Hand Painted Resin Sculpture | 13.5” Tall £695 | Edition of 150
Some Enchanted Evening Hand Painted Resin Sculpture | 13.5” Tall £695 | Edition of 150
Paul Kenton Spring Collection 2016
paul kenton
Paul Kenton Spring Collection 2016
The Fast Lane Boxed Canvas | Size 36” x 44” | £695 | Edition of 150
Fast Living Boxed Canvas | Size 19” x 48” | £550 | Edition of 150
Raphael Mazzucco Spring Collection 2016
How did you start painting? I’ve always had an interest in art, ever since I can first remember. Both my Dad and Granddad were into art, especially my Granddad who was a keen amateur artist and I think that soon rubbed off on me. No matter what I’m doing I like to be creating something, whether it’s jobs I’ve had, stuff around the house, or even just cooking food, (I can’t stick to recipes, I have to start doing things my own way). Are you self-taught or have you had any formal training in art? When I left school I wanted to go on and do fine art at college but a careers adviser told me, “there is no chance of making a living as an artist”, so I was convinced to try 3D design at college instead. For a short time I did enjoy the course but as soon as they wheeled that computer out and told us we would be spending most of our time behind a screen, I lost interest, left college and got a job in furniture restoration. After that I piled all of my creativity into music for almost a decade and it wasn’t until around 2010 that I picked up a paintbrush again. It sounds unlikely I know but it was actually a walk around Castle Galleries in Cardiff Bay that inspired me to start painting again. I had just left university and was struggling to find work, I saw something in that gallery and decided to try painting again myself. So the fact that Castle Galleries represent me now, must be fate haha! But in answer to the question, I’m self-taught yes. My dad has always been a big fan of the pre-Raphaelite artists and I think over the years those images really sunk in, perhaps without noticing it much too, definitely the detail and colour but also their use of storytelling too. I love music and film also, so being able to tell a story in a painting, as a song or film would, is really important to me when I paint. However I’m still just starting out as an artist and as I’m studying other artist more, I feel like I’m getting drawn to a slightly looser style of painting. So maybe you’ll be able to see more of that as I perfect my technique and my work develops. Any personal quirky methods? Not really, not what I would call quirky anyway. However, there is something that will apply to most of my new originals though. I have recently started experimenting with gold leaf. I’ve been using 24ct gold leaf in almost all of my new pieces and sometimes only tiny amounts of it too. In some of my new originals it will be obvious but I had come up with the idea of putting at least some 24ct gold leaf in all of my work. I’m experimenting with using it in areas of the painting that would
already have a similar golden colour, like where warm sunlight reflects on grass for example. I’m hoping that it will add an extra dimension to my work, especially under the right lighting. So it could be interesting to see if people viewing the work can spot it. Which piece is your favourite from your collection and why? I can’t decide between them I’m afraid. I loved painting the sequins in “The Girl in the Sequin Dress” but I probably prefer “Sunset Sands” just slightly because it turned out exactly how I wanted it too. What materials do you use? I use oils and pretty much all of my finished pieces are in oil. I have tried acrylic over the last few years but I just don’t get on with it. Not just that I find acrylic awkward to work with but there’s something about oil paint that I just don’t get from acrylic. This is definitely going to make me sound weird I know and it’s hard to explain, but oil is kind of alluring in a way. The richness of colour, the texture and smell can feel almost edible at times. For example, painting a sky by spreading thick pink oil paint with a palette knife can sometimes feel like you’re icing a cake. Now I’m really losing it! I do also love to use chalk and charcoal to sketch out new ideas before I put them to canvas. Contrast is really important and you can’t get any more contrast than you do between the black and white of charcoal and chalk. Who/what are your artist influences? As I mentioned before, I have been quite inspired by the pre-Raphaelite painters especially Waterhouse. But I like artists like Atkinson Grimshaw and Caravaggio for their use of light, painters like Vermeer for attention to detail, Hopper for the mystery, mood and dark undertones, Rockwell for the storytelling and artists like Pollock and Warhol for their dedication to creativity. Then for style and technique, I look to living artists such as Jeremy Mann and Mark Demsteader recently, the looser style of painting is something I’m really drawn to and would love to experiment with as I perfect my own technique. For subject matter and ideas though, I tend to get inspired by my own experiences mainly and I find those ideas often resonate through a film I’m watching or a song I’m listening to at the time, that amplifies and structures those ideas in a way.
raphael mazzucco
Raphael Mazzucco Spring Collection 2016
Chantal Giclée on Paper | Framed 44” x 34” | £695 | Edition of 95
Portrait Giclée on Paper | Framed 44” x 34” | £695 | Edition of 95
Raphael Mazzucco Spring Collection 2016
Mexico I Giclée on Paper | Framed 44” x 34” | £695 | Edition of 95
Raphael Mazzucco Spring Collection 2016
Vietnam Pastel II Giclée on Paper | Framed 34” x 44” | £695 | Edition of 95
Portfolio of 4 Giclée on Paper | Size 26” x 17.5” (x4) | £1,450
Richard Rowan Spring Collection 2016
richard rowan
Richard Rowan Spring Collection 2016
Moment To Embrace Glass | Framed 34” x 42” | £895 | Edition of 150
Richard Rowan Spring Collection 2016
Finding A Way Glass | Framed 32” x 32” | £750 | Edition of 150
Richard Rowan Spring Collection 2016
Another Way Glass | Framed 32” x 32” | £750 | Edition of 150
Richard Rowan Spring Collection 2016
Northern Light Glass | Framed 16” x 16” | £295 | Edition of 295
Richard Rowan Spring Collection 2016
Lose Yourself Glass | Framed 16” x 16” | £295 | Edition of 295
Robert Oxley Spring Collection 2016
robert oxley
Robert Oxley Spring Collection 2016
Ranthambore Boxed Canvas | Size 36” x 36” | £695 | Edition of 150
Obsidian Boxed Canvas | Size 36” x 36” | £695 | Edition of 150
Ronnie Wood Spring Collection 2016
‘Hendrix’ is the second edition to be released from the Legends series by Ronnie Wood, following the popular ‘Dylan’ release earlier in 2015. This release shows Wood turning the spotlight away from his own illustrious career with The Rolling Stones, and fixing it firmly on his own idols. Such is Wood’s respect and reverence for the icons he chose to feature in the Legends series, the care with which these pieces have been executed is palpable. This hand signed limited edition is eminently desirable, not only because of the exclusivity of the edition but because the dynamic between artist and subject matter is fascinating; an aesthetic tribute from one accomplishment denizen of rock royalty to another. As such, every facet of this piece exudes
quality, from the choice of paper to the finished framed presentation. The Master Printmakers who produced this edition used all available techniques to create subtle effects to add to the viewing experience. Once the image was separated into medium and dark tones, special inks and curing processes were used in the application of a total of four layers to build up the surface and add depth of colour to certain areas of the image. Our skilled team of in-house framers opted for the elegant simplicity of the black to ensure that the eye of the viewer is not distracted and that the art remains firmly centre stage.
ronnie
wood
Ronnie Wood Spring Collection 2016
Elvis Giclée on Paper | Framed 34” x 26” | £1,295 | Edition of 150
Ryder Spring Collection 2016
ryder
Ryder Spring Collection 2016
Leaping For Love Canvas on Board | Framed 30” x 30” | £595 | Edition of 95
Home Canvas on Board | Framed 30” x 30” | £595 | Edition of 95
Ryder Spring Collection 2016
Cat Kisses & Cuddles Canvas on Board | Framed 28” x 36” | £595 | Edition of 95
Ryder Spring Collection 2016
Topsy & Turby Canvas on Board | Framed 28” x 38” | £595 | Edition of 95
Simon Claridge Spring Collection 2016
simon claridge
Simon Claridge Spring Collection 2016
August 1982 Silkscreen on Paper with Diamond Dust Framed 36” x 29” | £995 | Edition of 75
April 1973 Silkscreen on Paper with Diamond Dust Framed 36” x 29” | £995 | Edition of 75
Silkscreen on Canvas with Diamond Dust Framed 41” x 33” | £2,995 | Edition of 25
Silkscreen on Canvas with Diamond Dust Framed 41” x 33” | £2,995 | Edition of 25
Silkscreen on Canvas with Diamond Dust Framed 65” x 51” | £7,995 | Edition of 3
Silkscreen on Canvas with Diamond Dust Framed 65” x 51” | £7,995 | Edition of 3
Simon Claridge Spring Collection 2016
January 1974 Silkscreen on Paper with Diamond Dust Framed 36” x 29” | £995 | Edition of 75
July 1973 Silkscreen on Paper with Diamond Dust Framed 36” x 29” | £995 | Edition of 75
Silkscreen on Canvas with Diamond Dust Framed 41” x 33” | £2,995 | Edition of 25
Silkscreen on Canvas with Diamond Dust Framed 41” x 33” | £2,995 | Edition of 25
Silkscreen on Canvas with Diamond Dust Framed 65” x 51” | £7,995 | Edition of 3
Silkscreen on Canvas with Diamond Dust Framed 65” x 51” | £7,995 | Edition of 3
Simon Claridge Spring Collection 2016
March 1975 Silkscreen on Paper with Diamond Dust Framed 36” x 29” | £995 | Edition of 75
November 1967 Silkscreen on Paper with Diamond Dust Framed 36” x 29” | £995 | Edition of 75
Silkscreen on Canvas with Diamond Dust Framed 41” x 33” | £2,995 | Edition of 25
Silkscreen on Canvas with Diamond Dust Framed 41” x 33” | £2,995 | Edition of 25
Silkscreen on Canvas with Diamond Dust Framed 65” x 51” | £7,995 | Edition of 3
Silkscreen on Canvas with Diamond Dust Framed 65” x 51” | £7,995 | Edition of 3
Steve Lovatt Spring Collection 2016
‘Hendrix’ is the second edition to be released from the Legends series by Ronnie Wood, following the popular ‘Dylan’ release earlier in 2015. This release shows Wood turning the spotlight away from his own illustrious career with The Rolling Stones, and fixing it firmly on his own idols. Such is Wood’s respect and reverence for the icons he chose to feature in the Legends series, the care with which these pieces have been executed is palpable. This hand signed limited edition is eminently desirable, not only because of the exclusivity of the edition but because the dynamic between artist and subject matter is fascinating; an aesthetic tribute from one accomplishment denizen of rock royalty to another. As such, every facet of this piece exudes
quality, from the choice of paper to the finished framed presentation. The Master Printmakers who produced this edition used all available techniques to create subtle effects to add to the viewing experience. Once the image was separated into medium and dark tones, special inks and curing processes were used in the application of a total of four layers to build up the surface and add depth of colour to certain areas of the image. Our skilled team of in-house framers opted for the elegant simplicity of the black to ensure that the eye of the viewer is not distracted and that the art remains firmly centre stage.
steve
lovatt
Steve Lovatt Spring Collection 2016
Hot Dog (Black, Pink, Red, Purple) Hand Painted Resin Sculpture | 23cm tall | ÂŁ295 | Edition of 150
Steve Lovatt Spring Collection 2016
Long Dog (Black, Pink, Red, Purple) Hand Painted Resin Sculpture | 24.5cm tall | ÂŁ295 | Edition of 150
Steve Lovatt Spring Collection 2016
Pom Pom (Black, Pink, Red, Purple) Hand Painted Resin Sculpture | 24cm tall | ÂŁ295 | Edition of 150