The Museletter December 2020

Edition VI DECEMBER 2020 Editors Damian Rayne Gosia Malawska

Whats on

3...........................................................COVID19 changes 4.......................................................

Portobello Radio 5......................................................................Deetzschk 6-7.....................................................Residency Program 8........................................................Residency Program 9........................................................................I sis Poet 10-11...............................................Joanna Ciechnowska 12-16................................Claudia Boese, Janw Frederick ................................Gosia Lapsa-Malawska, Mary Romer 17.........................................................................Design 18.......................................... .......Rebecca Wallersteiner 19.............................................The Galleries Association 20..............................................................................IMA 21..........................Piers, what’s on your mind? | lechoux 22..........................................................Portobello Dance 23.......................................................Museum of Brands 24.................................................................DEETZSCHK

Welcome to the smallest gallery on planet earth… an annexed space curated by a full spectrum of arts professionals.

Throughout the year, visit us for new work (albeit one piece) from the best of contemporary visual artists working in London. Our events and outdoor openings are every two months with occasional live performances from spoken word artists and street musicians. To book or browse go to:

www.thebox.earth

The MUSE Gallery (UK Charity for the arts No.1162300) 269, Portobello Rd. London W11 1LR www.themuseat269.com info@themuseat269.com Twitter: Muse_Gallery Instagram: Muse_at_269

About...

In our online version, we focus on partner organisations, guest artists and residents to bring you a preview of ‘what is’, and ‘what’s to be expected’. We also have links to a wealth of online content this month, including: sound art files for music producers, virtual tours and interviews with our partner organisation (The Galleries Association) and a cross section of counter-culture to be found in West London.

The Muse was established in 2003 as an artist-led organisation, supporting both gallery and studio elements. Our gallery is situated in the heart of North Kensington, amongst the Georgian houses of Portobello Market. We host an annual residency programme with subsidised studio space and further show opportunities for recent graduates. Throughout the year we open our doors to artists, curating the space to present a balance of emerging and established professionals.In 2020 we are proud to support three new residents and a diverse list of national and international artists. We hope you enjoy a collection of work in this periodical; hopefully collectable images, whether online or printed — accessible art for our readership.

CHANGES 2020-2021 ENTRY POLICY Private views have been adapted to meet social distancing regulations. We are inviting visitors to book timed slots. These will comprise a fifteen-minute tour of the gallery, supervised by an associate, and with light refreshment available. Exhibiting artists are invited to attend where possible and at their discretion.

Booking details for the private view will be published as part of the marketing campaign for each show, three weeks in advance of the opening date.

During regular opening times, visitors may enter the gallery in couples, with a limit of up six people at a time.

The best way to keep up to date is to subscribe to our mailing list here: www.themuseat269.com/subscribe

Marina Junqueira 29th October 20th December

Residency 2021 Competition 7-17 January

OFFICIAL ACCESS TO THE MUSE IN DECEMBER Opening hours in December: Thursday/Friday 10am-4pm Saturday/Sunday 12-6pm Please check our website for up to date information Dear Artists, Patrons and Friends

Yuichiro Kikuma

We’re working within current restrictions to keep our calendar in tact.

Artist in Residence 2019 18 January - 7 February

Please appreciate that dates (below) may change, so we’ll update you at the end of the month — if not before.

In the meantime, we’ll be continuing to publish our monthly newsletter with the best of the year ahead and sincerely hope this finds you well.

IMA presents: Richenda Court Glass Town 8 February-7 March

Claudia Boese Jane Frederick Gosia Lapsa-Malawska Mary Romer 8 - 28 March

Paul Smith 29 March - 18 April

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Portobello Radio Live, hosted by Isis Amlak, Greg Wier and Piers Thompson, is a vibrant 120 minutes of current affairs, community banter and local music.

This Youtube live stream boasts a symposium of human rights, philosophy and chaos; all supporting human rights, the planet and of course an abundance of local talent, representing a counter-culture of north Kensington – the birth place of some of the best of British culture and armchair revolutionaries.

Watch every Friday between 16:00 – 18:00 at: https://bit. ly/37TmmML or check socials at www.por tobelloradio.com for live links, playlists and trivia.

www.portobelloradio.com 4

@DEETZSCHK

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7-17 January 2021

Maiada Aboud . Kelvin Atmadibrata . Marie Aimée Fattouche José García Oliva . Shir Handelsman . Camila Hanney Louis Loveless . Naira Mushtaq . Catriona Robertson Jessica Wetherly

www.themuseat269.com

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RESIDENCY COMPETITION GROUP SHOW

Naira Mushtaq, 02-03-1972, Oil on Canvas

Marie Aimee Fattouche. Too Dimensional, Paper, Glue, Plaster, Pigments

Catriona Robertson, Burrow Sprout Grow 2019 6

JosĂŠ GarcĂ­a Oliva, Regrexit, Boris bike and inkjet print onto adhesive vinyl

Shir Handelsman, Recitative, Hd Video

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I SIS POET 2014 you are like KRYPTONITE to ME. Maybe I am in love with you But you are like KRYPTONITE to ME. Ecstasy consuming my life.

Your imperious mind disrupting my sanity.

Your ideas, your presumptions, distortions and tyranny brutally disarming me.

Like a hurricane, you are ominous.

Savage, tearing me apart, I am ravaged.

Your presence holds me hostage, Your energy scourges my soul, I am burnt out, having to admit defeat.

YOU are like kryptonite to ME.

You are my prison.

A prism, separating white light into a spectrum of vivid colour.

You, unlike any other have the power, to make me exquisitely happy, but are the cause of my misery.

I am prey, praying for release hunted, tranquillized, hazy.

YOU are like Kryptonite to ME.

Am I am unreasonable, I am conflicted, I see my many flaws But yours, are the cause of this ongoing WAR. Your integrity is dwindling My existence is disintegrating.

I have lost interest in solving this miserable mystery.

YOU are like kryptonite to ME. Always the stranger in a strange town, raised with secrets and lies.

I sought reprieve in fantasy, dreaming as escape from reality.

I am weak and strong, present and here, but oft times elsewhere.

"No direction home, like a rolling stone".

I am blessed yet oppressed by your need to control what you can't control.

Tired of your reversed vulnerability YOU are like kryptonite to ME. You battered my foundations, exposed my roots, left me destitute.

And now I am a leader who does not wish to lead, A lawyer disinterested in law, An ex-wife disillusioned by the illusion of sanguinity, suspicious of surety, shunning security.

YOU are like kryptonite to ME.

I’m curious.

Are you cognizant of my predicament?

Though you remind ME of the familiar, Are you conscious of my weakness? of a place I remember.

Are you the innocent and me the delinquent?

A torrent, You are enigmatic you drench me What we have is cryptic You are a turbulent sea, beyond my control, You my Kryptonite, mythical alloy, crushed by your wave. my green rock, YOU arrived in my life and washed over me, I was drowned in your salty warmth gasped under your intensity. with the power to subjugate this "woman of steel" YOU are like kryptonite to ME.

You, my metaphorical Achilles heel, it feels impossible to tell YOU what I feel.

In your presence I silenced, psychologically unbalanced.

Lack of certainty, lack of clarity.

Miscommunication, no communication, anger and rage It’s too difficult to gauge if you my Friend or just a lover?

Should I flee?

YOU are like kryptonite to ME.

JOANNA CIECHANOWSKA

www.joanna-ciechanowska.com

Migration. Imigration. E-Migration. Will I make it?

New frontiers, boundaries of the mind, crossing countries, continents, oceans.

Pushing the borders of freedom.

Thoughts of the past, hopes for the future.

Colours, shapes, new friends, new life.

But I can’t see colours… I can only hear them.

I can’t see shapes… I can only touch them.

I don’t have friends. Yet. New life? Time will tell.

Sweeping away prejudice, a reluctance to conform.

Fighting the enemy, fighting one’s own kind.

A refusal to give up.

Hope. Barriers to freedom, barriers of the mind.

Time stops, time moves on. Is this forever?

A never-ending journey.

E-Migration. Will I make it?

The first Edition of 50 with one, green zebra, was sold out in Royal Academy Summer Exhibition 2012. The second Edition 50, has still few works available. This work is in Robert Hiscox collection, prof. Tim Spector, writer Catriona Wilson and many other collectors.

Displaced by the war.

Those who connect with the past but cross their own borders.

Those who create their own wars.

Why do we fight?

Who wants to survive, who wants to win?

Restrictions.

Survival: music, colours, shapes, colours, black, white.

Blue rain.

Will I make it?

The ‘E-Migration’ series of graphics was conceived after living in Africa. It also touches on my love of Phillip Glass music and makes me think of my son, a musician, who is colour blind and cannot see my red zebra.

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E-Migration. Night Crossing

9 E-Migration. Will I make it?

MARY ROMER GREENFIELD

www.maryromer.com

Imagined Geographies The emotional sensation conjured up by memory has been the focus of her exploration over the last few years. Cloud forms enable her to portray her contemplation of the flux of life itself.

Billowing clouds are a reminder of the immense forces of nature and our difficulty in comprehending, let alone understanding how to deal with the effects of global warming. These water-cloud-scapes are also a portrayal of the beauty and magnificence surrounding us when we find ourselves steeped in nature.

In these works Mary Romer has sought not to merely chart a physical landscape, but to explore our subliminal response to the splendour of nature, climate change and global warming.

JANE FREDERICK

www.gardenseekersproject.

Soaked // the waters will run clear again Historically across cultures, the enigmatic presence of water in formal gardens has provided spectacle, symbolism and solace. Referencing theatrical Baroque fountains, my work explores the lure of historical formal gardens, highlighting their potential to provoke wonder and intrigue and offer space for sanctuary and introspection. With its ability to nourish all of our senses, arguably we need the restorative properties of water now more than ever.

The waters flowing in these paintings and drawings do not run clear or freely. These enigmatic spaces exist at the mercy of their guardians and keepers as nature strives to grow free from the constraints of man, shaping and taming the environment.

CLAUDIA BOESE

www.claudiaboese.info

My paintings are shaped through the handling of paint, remembering and history.

This process is my way of understanding the world and myself.

I am inspired by looking at women’s paintings to appreciate the feelings and perspective that we bring to it.

My painting is also guided by the surfaces and materials used and what affect this has on our way of looking.

A quality I am hoping to slow down with my paintings and imagination.

GOSIA ŁAPSA-MALAWSKA

www.malawska.com

Małgorzata (Gosia) Łapsa-Malawska is a Polish born artist currently based in London. Extensively travelled across South America and Asia, her practice is rooted in the ‘Young Poland Movement’ and informed by the simplicity and subtlety at the core of Japanese aesthetics.

Loosely based on the principle of ideas following the brush wherever it leads, fragments of memories are condensed into semi abstract landscapes, with figures reduced to silhouettes and shadows. Using a pared down palette fading from Payne’s grey to white allow the artist’s conscience to disappear into the horizon while at the same time conjuring a universal subconscience.

The fleetingness of time, the inevitability of transience, are encapsulated in textures and marks; these may even be further reduced by keeping the process of stretching the canvas till last as a final homage to the beauty that lies in imperfection and deterioration.

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Claudia Boese, Watercolour on paper, 100x100cm

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13 Jane Frederick, Soaked // the waters will run clear again, pastel on paper unframed 42 x 60 cm 2020

Gosia Ĺ apsa-Malawska, You are in control, oil on linen canvas, 50x40cm

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Mary Romer Greenfield, Red dust cloud I, acruylic on canvas,100x100cm

DESIGN

Lee Yuan Ching, Water Dropper A water-dropper ( Chinese: 水滴; shuǐdī) is a small device used in East Asian calligraphy as a container designed to hold a small amount of water.

It is used for preparing ink when writing Japanese or Chinese calligraphy or for Ink and Wash painting. By opening or closing the upper hole, it can easily control the amount of water being added to the inkstone. By grinding an inkstick into this water on an inkstone, ink is formed This water-dropper is hand painted by Lee with his signature ink painting style, an one-off unique piece.

Please clean the water-dropper with room temperature water and any water on the surface with a soft cloth or with gentle tissues. sales enquiries: info@themuseat269.com £120 each

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Rebecca Wallersteiner Essentially Grey

Rebecca Wallersteiner takes a look at ‘Essentially Grey’ a new exhibition of pictures by Hanna ten Doornkaat at The MUSE Gallery, London which explores how colours influence our mood and emotions

Colours can encourage a therapeutic impact. Yellow, for example, is thought to be enervating and promote energy and happiness. However, too much yellow, or too bright a yellow is likely to have a negative effect. Stress may be eased with calming blues and greens and subtle greys, these colours evoke the colours of nature, reminding us of trees, fields, rivers, the sea and summer skies and are popular in hospitals.

Research has shown that environment and calming colours influences the speed of patients’ recovery. Your emotions and mood are influenced by the colours around you. Feeling blue, or green with envy? Certain colours, such as red, blue, yellow and green are known to have a positive psychological effect on us and enhance our mood. If you’re seeing red because you are livid, you might wish to visualize soothing green instead. Or enervating yellow, playful pink, or calming blue, or greys. At The MUSE Gallery, in London, until 4th October, ‘Essentially Grey’ is an exhibition of new work by artist Hanna ten Doornkaat teasing the viewer’s emotional response with the subtle use of colour.

Visiting Hanna ten Doornkaat’s exhibition is a good way to switch off from your pressurized job and complex problems with some art therapy.

Hanna ten Doornkaat studied sculpture at Kingston University and MA (sculpture) at Wimbledon School of Art (UAL). She was shortlisted for the Jerwood Drawing Prize, London, the Royal Academy Summer Exhibition and Derwent Art Prize. In 2019 she showed in ‘Personal Structures’ organised by the European Cultural Centre as part of the Venice Biennale and has exhibited in the UK, Germany, Australia, Canada and Belgium.

Born in Heidelberg, Germany, living and working in the UK, ten Doornkaat’s medium is the graphite pencil and the occasional pastel pink, blue, orange or red. With echoes of Rothko, her monochrome colours such as grey, black, ghostly whites have a tranquil effect on stressed emotions, rather like looking at seamist on an autumn evening.

Essentially Grey (17 September to 4th October 2020), at the MUSE Gallery & Studio, 269 Portobello Road, London W11 1LR www.themuseat269.com

Hanna ten Doornkaat says, “A complex repetitive process of mark making and erasure – revealing and concealing – informs my drawing practice. The serial mark making mirrors the series of ideas involved in my drawings. I directly respond to the continual thread of fleeting moments in the online/social media experience, whilst drawing information and memories from art history – even though the visual result is non-descriptive or referential.” Colours change according to light but what the retina sees is not necessarily what the brain translates into our knowledge of colour.

By drawing hundreds of thin, straight lines ten Doornkaat builds up a density and layering. A small work can take her up to a week. She often explores the interrelationship between movement and mark and its expansion into spatial formations. Her use of subtle grey colours allow the viewer to focus on the work without distracting from the obsessively drawn lines, grids and marks on board.

The artist is both fascinated and frustrated by the plethora of imagery of social media and how this affects the subconscious mind. As the result of her background in sculpture she often views her multi-layered pictures as an installation. Her work is abstract and often based on geometric shapes. She is inspired by artists such as Sol LeWitt and Agnes Martin.

In colour psychology grey represents neutrality and balance.

Grey can be overlooked but it is an interesting colour if you go a little deeper. The renowned Swiss sculptor Alberto Giacometti who preferred to work in greys said, “If I see everything in grey, and in grey all the colours which I experience and which I would like to reproduce, then why should I use any other colour? I’ve tried doing so, for it was never my intention to paint only with grey. But in the course of my work I have eliminated one colour after another and what has remained is grey, grey, grey!

Rebecca Wallersteiner is a health and arts journalist, who writes for The Daily Mail, Mail on Sunday, NetDoctor, Telegraph, The Times, Traveller and The Oldie magazines. She also works for the NHS and is the Hippocratic Post’s roving reporter.

Even chronic illnesses can be influenced by colour, by affecting mood, emotions and energy levels. It is therefore important for hospitals and medical centres to create a calming environment to help put patients and visitors at ease and have a positive effect on patients’ wellbeing and improve staff morale.

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THE GALLERIES ASSOCIATION www.thegalleriesassociation.co.uk

Galleries on the Tour David Hill Gallery 345 Ladbroke Grove, London W10 6HA davidhillgallery.net Design Museum 224-238 Kensington High St London W8 6AG designmuseum.org Elephant West 62 Wood Lane London W12 7RH elephantwest.art/ Frestonian Gallery 2 Olaf Street W11 4BE London frestoniangallery.com Graffik Gallery 284 Portobello Road W10 5TE London graffikgallery.co.uk Japan House 101-111 Kensington High St London W8 5SA japanhouselondon.uk

Fifi la Mer duo mixes Parisian folk and film music with unforgettable Prohibition Era jazz standards. The evocative sound of the accordion blended perfectly with the clarinet played beautifully by Olly Wilby. The voice of Fifi will take you straight back to that little cafĂŠ by the Eiffel Tower. www.ohlalamusic.co.uk

The Muse Gallery 269 Portobello Road W11 1LR London themuseat269.com Serena Morton Gallery 343 Ladbroke Grove London W10 6HA serenamorton.com Unit One Gallery|Workshop 1 Bard Rd, London W10 6TP unit1gallery-workshop.com Whitewall Galleries Central 100 Westbourne Grove London W2 5RU whitewallgalleries.com

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IMA Article: What does it mean to be a professional artist?

There is no template for being an artist, no manual, no set career path and no single right way to negotiate our way through the art world. We often have to make it up as we go along, learning new skills and using trial and error to see what works and what doesn’t.

Being professional If you’re an artist, then you are a one-person business. We may love to focus on making our art but everything else should have a similar attention at some point. Sometimes this is clear communication with those around us, sometimes it’s making sure that our framing is professionally done, our publicity has no errors, our pricing is consistent, that we are respectful of others, that we turn up and deliver on time and that we are polite.

Of course, you don’t have to be an arts professional. Plenty of artists are happy making art as a hobby, but if you want to sell your work or be employed in some capacity as an artist then you’ll need to give this some consideration. Sometimes the only difference between one artist making a lot a sales and another getting none is a professional attitude. And, it isn’t just about getting our work under the noses of the right people, it’s about building relationships. People want to work with artists who are easy to get along with and who are professional in their approach.

It’s also about making sure we have the right insurance and remembering to document our work, particularly at exhibitions, comprehensively and as professionally as we can. Rather than use our phone, ask a photographer who will know how to control and work with the light. These documents may be crucial at a later date when we are looking for future opportunities. It also gives a sense of our work in a 3D space rather than flat on a screen or print.

Something else to bear in mind is that when we interact with non-arts people, we are to some extent a representative for all artists. Being polite and professional goes some way to ensuring that other artists are seen favourably now and in the future.

Bea Davidson

Your Online Presence Social media is just one of a number of windows onto our world and our work as an artist. If we want to communicate our ideas to a larger number of people then we need to think about it seriously and behave accordingly. It is most likely the first place people will look if they hear our name and it can reflect how serious we are about our art.

A lot of artists will know this instinctively and some will have had professional careers in other areas and can bring that approach to their art. But it is easy to let things slip when we are overwhelmed or engrossed in our work. We want to spend our time making stuff, but unfortunately, there’s this whole other side to being a one-person artist/business that needs our attention.

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Kieran Cook

Going forward As a general philosophy, I think we can strive to be as open, transparent and honest as possible in all our transactions, and back this up with a level of professionalism that brings mutual respect and a sense of responsibility to all our endeavours in the future. Now, let’s go and make some work.

Find out more at imastudio.org/blog re-IMAgining the Art World www.imastudio.org | @ima_studio_uk

COMMUNITY

PIERS,

what’s on your mind?

So Piers, what on your mind…’

‘Well its December… so, thank goodness its once again time for the Portobello panto… in a year of massive disruption. Uhhm… (door closes) its fabulous the way that one or two things have managed to find a way of existing in the current circumstances.

Carnival did a fantastic job of going online, panto is also doing a fantastic job of going online. My job these days, having been there in 1988, amongst the elders… my job these days is really just to get them started with the youngers and they’ve done a fantastic job this year, they’ve got fantastic talent; I think the contestants include: Snow White, the ugly sisters, Dick Wittington… various others vying to win your votes. We’re still hoping to raise money for Gloo (https://en-gb.facebook.com/GLUETabernacleW11/) , which is the kids charity at the Tabernacle and Shepherds Bush families project, which does some really amazing and really unglamorous work with homeless and poorly housed families in Hammersmith and Fulham and RBKC… so we’re asking people…it’ll be streaming live on YouTube.

I’m about to go and film Tom Hollander as well as celebrity cameos in it… as you know we’re famous for our celebrity cameos… and yeah, give generously and be grateful that there’s one or two things that are managing to survive, albeit in different forms, through the pandemic year… good luck next year.

lechouxlondon.com I have always loved chocolate and pastries, I take that from my French heritage. Having a French Mother, we would regularly take holidays to Paris and France when we were children. During our trips , I would stare at the windows of the boulangeries and patisseries in awe. I still find it incredible, the choice of bread and stunning pastries you find on every street corner in Paris.

After University, I decided to train as a pastry chef in Paris which I had always dreamt of doing. I made it my mission to train up and then to bring some of this Parisian magic back to my home town of London. I trained in Paris as a pastry chef at a Patisserie school, whilst undertaking an apprenticeship in a pastry shop for two years before working my way up in the most prestigious luxury palace in Paris, Le Plaza Athenee, under chefs Ducasse and Michalak.

Thank you very much…

On return to London, I worked in an unpleasant male dominated kitchen and was extremely unhappy. I began to wonder if there was truly space for a woman in these kitchens.

I reached a very low point, during which the only comfort I found was in baking at home in my kitchen for family and friends.

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I missed the classic chocolate religieuse and coffee eclairs in Paris. I decided to make it my mission to bring classic French ‘choux’ to London. After a few weeks of recipe development, I naively convinced my little sister to help me run a market stall in Old Spitalfields. We started selling out every day in Old Spitalfields market, the pastries proved so popular that since, we have been part of London’s booming food scene, taking part in markets and events with Kerb, various pop- ups around London as well as supplying luxurious food department stores Fortnum and Mason and Selfridges.

portobellodance.org.uk

Mark Elie, Artistic Director and Founder of the Mark Elie Dance Foundation and Portobello Dance School (PDS) announces the 25th Anniversary of this pioneering dance company that has successfully developed young talent in Notting Hill and across London for a quarter of a century.

Mark is one of the UK’s most successful classically trained professional dancers having enjoyed a stellar career with some of the world’s leading companies; Rambert Ballet, Lisbon’s Ballet Gulbenkian, and legendary Arthur Mitchell of the Dance Theatre of Harlem. During his career Mark has worked alongside an array of award winning dancers and choreographers such as Nathan Geering, Brenda Edwards MBE, Noel Wallace, Mbulelo Ndaen, and Namron OBE. However, Mark has been uniquely inspired by the formidable Matriarch of British classical dance Carol Straker, award winning Choreographer, Dancer, Author and member of the Council of International Dance of UNESCO, and a Fellow of Royal Society Arts (FRSA) and an Assonate Professional Teacher Dancing.

It was in 1980 when Mark set about his life-long mission to make classical ballet more inclusive. In 1994 he set up his own dance foundation in West London’s vibrant North Kensington and Chelsea. Mark believes that regardless of class or racial background, young dancers should be able to learn and enjoy the language of classical dance and have access to affordable lessons.

A dream he has helped realise for the thousands of young dancers who have trained at the Portobello Dance School. Many of whom have gone on to perform in West End shows, on TV and film including the critically acclaimed “Billy Elliott” stage production.

Former students now enjoying successful careers in leading UK dance companies and institutions include luminaries such as the gifted Kym Alexander, now dancing with the Rambert Company, the talented Salome Pressac-Hewitt, currently with the Rambert 2 Company and stunning dancer Rae Aslam now with Ballet Black’s Youth Company. Now celebrating its 25th Anniversary the School has faced many challenges but has survived for a quarter of a century. From the iconic Tabernacle building Portobello Dance School runs it’s busy Saturday school with classes in ballet, jazz, street dance and tap as well as outreach projects for local schools.

Mark’s award-winning “Dance Showdown” (2012 and 2015) at Cadogan Hall has also nurtured some amazing young dancers and another important project is the popular Summer School during August which this year was funded by John Lyons Trust.

The project engages local children aged 8 – 15 some of whom had never been able to afford professional dance classes with professional tutors who have successful roles in West End productions including Jordan Alexander who plays Michael Jackson in “Thriller Live”.

The students also have the opportunity to visit West End stage performances as part of their Summer school experience. The PDS resumes in September each year with the Saturday school and the calendar culminates with the annual Christmas show at the Tabernacle, Powis Square.

Portobello Dance School, 35 Powis Sq, London W11 2AY. For school enquiries requests email: info@portobellodance.org.uk and for images or interviews call 07947 484021 website www.portobellodance.org.uk 22

111 – 117 Lancaster Road Notting Hill, W11 1QT 020 7243 9611 www.museumofbrands.com info@museumofbrands.com Mon-Sat / 10 am – 6 pm Sun & Bank Holidays / 11 am – 5 pm 9 23

DEETZSCHK