Inventory
of
Artworks at
10 Castle Street
2016
Background to Artworks Exhibited
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The collection for 10 Castle Street is an exciting and eclectic mix of artworks that will change
over the forthcoming years
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Artworks have been sourced locally from an amazing pool of talented artists alongside
established world renowned galleries allowing the club to exhibit a large range of artworks
across many disciplines.
Hazel Morgan
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Classically trained and multi skilled portrait & equine artist, Hazel Morgan is an award
winning, world class portrait painter.
With a client list that includes several Royal Households across Europe and the Middle East,
Hazel is firmly established as one of today’s leading portrait and equestrian artists.
While Equine art and portrait paintings are her primary focus, Hazel is equally well known as
an exceptionally talented hound and dog painter.
Hazel is an artist who not only has the ability to capture what she sees, but is able to reach into
the soul of her subject, painting each horse as if it were her own, and each person as if she had
known them for years.
Her work captures precious moments in time creating a legacy for future generations.
As Hazel says “I am able to capture moments that allow people to relive magic memories for
years to come. I love receiving phone calls from my clients telling me how they are still moved by
a commission, often many years after it was completed.”
Hazel also excels in painting posthumous oil portraits from photographs, as well as paintings
when it is impossible for someone to sit such as a surprise present.
Hazel’s studio is at home in Salisbury, Wiltshire, in the South West of England
The
Philosopher
Girl with a shawl
Boffi
Male Nude
Kate
Female nude
A good night
Golden Horn race horse
Mare and foal side on
Polo ponies
Mare and foal with star
Chris Levine
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Chris Levine is a pioneering light artist who works across many media and has created a
revolutionary new image using his unique light-based approach to portray the world-champion
racehorse in a way never seen before. The shoot at the stallion’s new home at Banstead Manor
Stud near Newmarket took two days to complete with Frankel behaving impeccably throughout
the ‘sitting’.
Levine was fascinated by the horse’s extraordinary track record and gained special access to
photograph him in June at the Stud Farm of his owner, Prince Khalid Abdullah. The result is a
radical reworking of the age old tradition of equestrian portraiture which seeks to take us
beyond a standard portrayal of a perfect physical specimen and instead present the viewer with
Frankel’s imposing, captivating and daunting level of achievement. By simultaneously capturing
multiple frames in mere seconds, Levine’s unprecedented approach has created an awe-inspiring
image which focuses attention on the energy of light surrounding and emanating from his
subject, lending the work a realism which is almost magical.
Frankel the Great – The Fine Art Society
The Fine Arts Society
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The Fine Art Society was founded in 1876 by a group of knowledgeable art collectors.
Comprising of a five storey town house in Mayfair, it is the oldest gallery in London. Since its
inception the gallery has always championed and worked directly with living artists, giving The
Camden Town Group their first show and holding historic shows that have since entered the
canon of art history. It is at this location that Whistler invented the concept of a solo exhibition
and introduced evenly spaced installations against pale walls – a precursor for every
contemporary gallery today.
The Contemporary Gallery was established in 2005 and the new 1,000 square foot space added
a progressive dimension to the already prestigious and established history of the gallery whilst
retaining independent programming. The Contemporary team have embraced the twentieth
and nineteenth century heritage of the gallery and increased cross-cultural links, particularly in
Asia, Australia and the US.
Exciting artists have joined the gallery’s core stable and these are complimented by
internationally recognized artists who participate in critically engaged survey shows at the
gallery, as well as a growing number of global art fairs annually. In October 2014, the
Contemporary team organised the biggest ever exhibition in the history of the gallery, the
critically acclaimed What Marcel Duchamp Taught Me.
The space and programme for the Contemporary Gallery is run by Head of Contemporary, Lee
Cavaliere. Formerly a Director at Max Wigram Gallery, Lee has extensive experience as an art
advisor and curator. He worked for four years at Tate as a time-based media project manager,
and he has also lectured widely on Fine Art.
Lee is joined by Gallery Manager Sara Terzi. Sara is a graduate in Economy and Management of
Art and Cultural Activities from Ca’ Foscari University of Venice. During her time in Italy she
worked for The Peggy Guggenheim Collection, one of Europe's premier museums devoted to
modern art, and gained further professional experience working with art students for New York
University.
Kristjana S Williams
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Icelandic born artist Kristjana S Williams studied graphic design and illustration at Central St
Martins and quickly gained critical acclaim as Creative Director of Beyond the Valley (cult Soho
boutique and fashion label)
In 2012, Kristjana S Williams Studio began creating fine art pieces, art prints and furniture.
Inspiration lies heavily with layering nature upon nature and ‘the symmetry in all things living’
which stems from the artists childhood in Iceland. When growing up the artist found nature
there stark and unforgiving. Never seeing trees or colourful butterfies or exotic fowers –
everything seemed grey. Now in retrospect, feels the complete opposite as though the colours
and landscape are like nowhere else in the world. Each piece created by the artist is it’s own
universe of botanicals, atmosphere and animals, each born and grown from the things that have
inspired her since being a child in Iceland.
Kina In bloom 2014
Markets Royale 1816/2014
Messum Gallery
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Founded by David Messum in 1963, Messum's is an independent family firm specialising in
British art from the 19th Century to the present day. Long recognised as an academic and
market leader in British Impressionism and the Newlyn and St Ives Schools, in 1980 the gallery
began exhibiting contemporary art.
In addition to our London gallery on Cork Street and sculpture garden in Marlow, we will soon
open The Barn in Wiltshire, a space dedicated to contemporary sculpture. We have also
collaborated with international galleries to promote British art abroad, most recently with shows
in New York, Toronto and Melbourne.
Charlotte Sorapure
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“At the heart of it all, the paintings are an affectionate look at the strangeness and beauty of
life... It is the coming together of some, and the isolation and solitude of others.”
Sorapure understands our need to tell each other stories, and how this is essential to us as
human beings. Her ability to create a scene and atmosphere derives from her faith in the
viewer’s sense of memory and imagination, beckoning us into places and experiences we might
initially believe we recognise or remember, but which are never fully depicted.
Her work often has dreamlike aspects, but cannot be categorised as symbolist or fauvist, much
less, surrealist. She rather achieves a sense of the unexpected and uncanny by grounding her
work in the familiar, transforming gardens, courtyards, even simple still lifes – all recognisable
and lucid in space and form – into that which is extraordinary by using subtly skewed
perspectives, figures with simplified poses and physiognomies, and tangibly present shadows.
Trained at the Royal Academy, Sorapure was directly influenced by some of the greatest artists
in late twentieth-century figurative art, including Roderic Barrett, Norman Blamey, Ruskin
Spear and Carel Weight. Her particularly British sensitivity for sensing the otherworldly in the
everyday – often considered a hallmark of British modernism – aligns her work with that of
Stanley Spencer, who she credits as being one of her formative influences. She was elected as a
member of the NEAC in 2007.
Michael Forster
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Forster was born in Calcutta and spent much of his childhood in the Northern Indian city of
Meerut. Situated in the vast flatness of the Ganges plain, this was a land of dramatic visual
contrasts as well as, for Forster, a place of great personal tragedy and loss. On his return to
England, Forster was educated at Lancing College in Sussex and studied painting at the Central
School of Arts under Bernard Meninsky and William Roberts. He also spent some time
studying at the Académie Colarossi, Paris. It was 1927-8 and, in the hope that the Depression
would be less bitter in North America than in England, Forster arrived in Toronto.
The 1938 Surrealist section of the Canadian National Exhibition was to make a deep impact on
Forster’s art. He was to take to heart the movement’s emphasis on the unconscious life of the
artist in his intuitive, sensual handling of paint. After the war he was on familiar terms with
Jean-Paul Riopelle and the Canadian Automatistes, as well as Diego Rivera and Rufino Tamayo
in Mexico City, hence his artistic roots lay well outside the scope of any one movement or
national school. He was honoured with a one-man show at the Museo Nacional in Mexico City
in 1960 before returning to Canada four years later.
It was only after the death of his first wife, Adele, that Forster returned to England. Settling in
Treen, Forster’s work flourished, his primary concern as a painter being the transference of the
experience of light and the patterns of nature into instinctive abstract forms. Following in the
footsteps of Constable, he took great inspiration from the ever-changing light and cloud
formations of the sky. Forster went beyond Constable, however, in also studying the patterns of
the night sky.
In line with the surrealist practices that were current much earlier in his career, he retained a
sense of the importance of artistic intuition: “I try to work in a state of open, receptive,
mindlessness; to be alert to every hint, every direction that reveals itself in the course of the
work” (MF, c. 1970). Experimental and fresh in his use of paint and different media to the very
end of his life, his landscapes and quasi-abstract works are astonishing in their variety of
handling and richness of colour.
Frank Phelan
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Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell
College, before studying at The Royal Architectural Institute of Ireland. He then worked as a
draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother
Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at
the Doon School of Fine Arts in Kitchener.
Around 1959, he returned to Ireland briefly before moving to London, where he lived with the
sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East
Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre
Company. His theatre contacts eventually lead to an introduction to Nancy Wynne-Jones, who invited
him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had
converted to a kind of artist’s colony. It was here that Phelan befriended the painter Tony O’Malley,
who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton,
Bryan Wynter, Patrick Heron, Conor Fallon. Phelan also was particularly impressed by the work of
Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the
Fulham Road, developing highly abstracted, compositional style.
By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised
by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also
showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following
year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of
contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.
During the past two decades, Phelan re-engineered and re-energised his style and technique, exhibiting
new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings
and mixed media works are now in private collections in England, Ireland, France, the United States,
as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.
Michael Upton
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Michael Upton was born in Birmingham, studied at the Birmingham College of Art and the Royal Academy
Schools. He won a number of awards, including the Leverhulme Scholarship in 1960 and the Abbey Scholarship
in 1962, which enabled him to spend a year at the British School in Rome. He was a visiting lecturer at a number
of British Art Colleges and from 1981 he taught post-graduate painting at the Royal Academy Schools.
During the 1960s Upton exhibited with the London Group and was included in a number of important group
shows. By 1972 he was included in ‘A Survey of the Avant-Garde in Britain’ at the Hayward Gallery. At that time
Upton was known principally for his conceptual work—mixed media installations, videos and performances, on
which he often collaborated with Peter Lloyd-Jones. These works were chiefly concerned with time and change,
and they were shown at the Whitechapel, the Serpentine and the ICA Galleries in London. He never entirely
abandoned painting however. Although in his student days at the Royal Academy Schools Upton engaged in brief
flirtations with Abstract Expressionism and Pop Art, movements that were then dominating the art world in
London, he swiftly returned to working on a much smaller scale with which he always seemed more comfortable.
Upton’s paintings were often executed in muted tones, carefully, even painstakingly, placed one against another.
He often chose to paint still life groups that included some of the same objects that he used as props in his
performances and these compositions were sometimes repeated several times, producing small series of paintings
that are somewhat reminiscent of film stills. These works too were concerned with change. In an interview in 1981
he said, I use multiple images of the same subject to heighten the slightest changes within the remaking of the
same image. The viewing of slight changes in an object can lead to an awareness of the phenomenon of CHANGE
in everything. The scrutiny of these changes can heighten the relationship of the viewer to the object, perhaps
even increasing marginally the viewing time of an individual object over its average 2 seconds. The small scale of
the works (intimacy) can increase this rapport.
Upton’s move to Mousehole in the early 1990s, with his friend, Sally Fleetwood, was therefore watched with
interest by friends in London to see how he would engage with or seek to subvert the traditions of painting on the
peninsular. Previously very much an urban artist in terms of his inspiration, to their surprise his subject became
the landscape of Cornwall and his approach was marked by the same considered placement of paint in small
planes of colour, one next to another. But for the first time Upton, by then very ill with diabetes, found a new
freedom in his use of colour and his Cornish paintings are celebrations of the swiftly changing light across the
cliffs and hills, of the bustling ports of Newlyn and Mousehole and the woods of Lamorna.
Rose Hilton
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Hilton’s work exhibits an on-going quest for new ways to express her distinct balance of tone, colour and bold
geometry. This imbues her signature nudes, interior studies and marine landscapes with liminal quality: a
sense of being poised between the ethereal and the everyday. Her new work continues to reflect her deep
admiration of Bonnard, Braque and Matisse and evokes the rhythmic abstraction of her late husband Roger
Hilton, which re-emerges in her paintings with a distinctly feminine energy.
The Tate St Ives’s 2008 retrospective chose paintings that reflect the increasingly abstract nature of Hilton’s
work, though she rarely abandons figuration entirely. Best known for her sensual nudes and lusciously
coloured interiors, there were also numerous landscapes on display, in which the leap towards abstraction is
perhaps most apparent.
Born in Kent, Hilton attended Beckenham Art School before going on to the Royal College of Art where she
won the Life Drawing and Painting Prize as well as the Abbey Minor Scholarship to Rome. On her return to
London she started teaching as well as showing with the Young Contemporaries. It was during this period
that she met and married Roger Hilton – and for the next decade she supported him through failing health
and a flourishing career, also raising two sons. There was little time to pursue her own career as a painter
during this time.
Exhibiting regularly at Messum’s since 1989, Hilton has steadily built a reputation as a major St Ives artist and
a singular painter of sensuous and exquisite images.
Charlotte Sorapure –
Ballyhoo
Michael Forster –
Landscape 1978
Frank Phelan –
untitled abstract
Woodland glade
Garden landscape
Studio (square)1978
Michael Forester
Moorland Copse 1980 (trees)
Michael Forester - Untitled 1995
Row of houses
Series of 3 (1994)
Row of houses
Series of 3 (1994)
Rose Hilton The Harbour
Ursula Leach
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Ursula Leach – Lives in Camborne Village and her artworks are inspired by the local landscapes
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Ursula makes prints and paintings responding to farmed landscapes. Living in a mostly arable
landscape I necessarily engage with current farming techniques as well as the natural changes
that occur. The work is intended to be a document as well as an expression. Colour has become
increasingly important to me as an expression of mood and atmosphere. Pictorial structure and
the edge of the image offer exciting scope to explore the space and scale in a landscape of huge
fields. I have become interested in buildings on the land, structures whose uses are sometimes
obscure. Recently the work has become radically simplified and more abstract although always
retaining a vestige of figuration and therefore more reliant on the colour being exactly right to
elicit the response I am looking for. Processes and techniques Oil paint on canvas. Layering the
paint. A lot of editing. Carborundum prints for painterly marks. Etchings with carborundum.
Influences environmental, semi-abstract. Fieldshape tbc
Spring 1 tbc
Celtic Cross
There were mines
Dark Tree and
winter wheat
Isolated Barn
Beetle Bank 1
Wild Oats
London Taxidermy
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London Taxidermy was founded by Alexis Turner who has been buying, selling and hiring
Natural History for over twenty years.
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After studying Law and Art History at University, Alexis became a 1980’s Society DJ and TV
presenter. He also designed a London Wine Bar and was a Director of a successful Company in
Mayfair.
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We are a member of The Guild of Taxidermists and advised by The Taxidermy Law Co.
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Can take commissions
Jungle
nymph
Goliath beetle
landscape
Beetle yellow wings
Grasshopper portrait
Goliath beetle
portrait
Moths trio
Grasshopper landscape
Beetle portrait red
frame
Moth white wings
Leaf insect red frame
Leaf insect black
background
Winged insect black
background
David Walsh
Landscape artist, working with traditional oil paints and also with hand-made pastels of pure
pigment. I work outside in all seasons to really see and respond to the landscapes and weather –
with intellect and soul.
Barley fields,
high summer
Barley fields,
early summer
Looking south over
Rushmore, late spring
Autumn trees and
lake, St Giles park
River through
St Giles park
Winter sea,
Dorset
Looking south over
Rushmore, Dorset
Bluebell wood
Ham hill from Okeford
hill, Dorset
Cranborne,
Summer
River Thames
River Avon, Britford,
Nr Salisbury
Summer trees by lake,
St Giles park
Fonthill lake,
winter
Spring poplars by
lake
Late spring Wiltshire
downs
(awaiting image)
Wild grasses
(awaiting image)
Winter trees by lake,
St Giles
Way through through the
trees, St Giles park
Chalke valley,
Wiltshire downs
Winter poplars by
lake
Reflections,
winter trees
(awaiting image)
Cob Gallery
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The Cob Gallery was established in 2011 by gallerist Victoria Williams and acclaimed playwright
Polly Stenham. Curator Cassie Beadle joined the gallery in 2013. The Cob Gallery is a young,
female led space which champions young emerging multidisciplinary artists and creatives. The
space was founded on the principle of creative collaboration, adhering to a culture
of collaboration between artist and gallery. Exhibiting both emerging and more established
artists, including Noemie Goudal, Walter Hugo and Zoniel, Adeline de Monseignat, Juergen
Teller, and William Burroughs.
Kate MccGwire
Kate MccGwire is an internationally renowned British sculptor whose practice probes the beauty
inherent in du- ality, employing natural materials to explore the play of opposites at an aesthetic,
intellectual and visceral level. Growing up on the Norfolk Broads her connection with nature and
fascination with birds was nurtured from an early age, with avian subjects and materials a recurring
theme in her artwork. Since graduating from the Royal College of Art in 2004 her uncanny
sculptures have been exhibited at the Saatchi Gallery (London), the Mu- seum of Art and Design
(New York), Musée de la Chasse et de la Nature (Paris) and most recently at the Venice Biennale,
2015 Dwell nimbus 2011
Urge 2009
NancyFouts
NancyFoutsisconsideredamoderndaySurrealist,withherworkfrequentlyexploringthemesof
>me,reli-giousiconography,natureandhumour.Thear>stworkstypicallywitheveryday
objects,injec>ngthemwithheruniquewitandmanipula>ngtheminsuchawaythatweseem
torecognizethemforthefirst>me.Duringthe1960sFoutsco-foundedthepioneeringdesign
andmodel-makingcompanyShirtSleeveStudio,crea>ngsemi-naladcampaignsforTateGallery
andalbumcoversforsignificantbandsincludingJethroTullandSteeleyeSpanamongstothers.
Examplesofthear>st’sworksaretobefoundinprivatehomesandestablishedcollec>ons
acrosstheglobe,includingthatoftheVictoria&AlbertMuseuminLondon.
“IlovetheworkofNancyFouts,shemakestheeverydayobjectextraordinary”SirPeterBlake
Missing
image
BuYerfly
boatorange
black
BuYerflyclock
white
Rabbit&
curlers
Birdonhand
granade
BuYerflyclock
Powderclock
TheBirthOfvenus,
withoutvenus
AlexanderJames
AlexanderJamespayshomagetothes>lllife‘Vanitas’worksofthe17thcenturyDutchMasters.
Vanitashad
itsrenaissanceinthe17thcentury,whenDutchar>stsbecamefocusedonthethemeof
mortalityusingnaturalspecimenssuchasflowerscutfromtherootandstar>ngtowither,or
piecesofdecayingfruittoexpressame-mentomori–areminderoftheinevitabilityofdeathin
allthingsliving.Moreover,“precious”metals,andobjetsd’artwereusedtoremindtheaudience
ofthemeaninglessnessofasuperficialexistence.Jamesusesperiodprops,foodandrealinsects
thatformhiscarefullyconstructedtableaus.JamesbreedsthebuYerfliesaswellasgrowsallof
thefloraandfaunawhichfeatureinhisworks.Theses>lllifescenesareallcreatedunderwater
anddocumentedwithasinglephotograph.Jamesusesatechniquewhichhecalls‘pain>ngwith
light’.Thisreferstoame>culousprocessdisturbingthewaterssurfacetension,ripplinglight
acrossthesubjectusingpaintbrushesorhisbarehands.Hedoesthiswhilstexposingontothe
camerafilm.Thissubtledistor>onoflight&movementfromthewaterskine>cenergycreatesa
uniqueandpainterlyeffect.Thefinalimagesarefreefromallpost-produc>onmethods,either
tradi>onalordigital.
AlexanderJames
MorphoAmathonto
0220fromswarm
Gracefrom
vanitas
Isisbound
fromvanitas
Vitriouslove
fromvanitas
EmperorsTruth
fromvanitas
Love&Chaucer
fromVanitas
Lovesresurrec>on Isola>on
fromvanitas
Prosperity
fromvanitas
Thegreat
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Percep>on
fromvanitas
BenAshton
BenAshtonisaLondonbasedvisualar>stspecialisinginhyper-realistportraiture.Ashton’swork
combinespre-cisioninexecu>onwithhumourandcharacter,balancingemo>veresponsewitha
strongcontextualfounda>on.BenAshton’sextraordinarysubmissionforthe2015BPPortrait
Awardisproudlyonexhibitat10CastleStreet.
PrincessJuliain
meadhamkirchhoff
George
Maz
Walter&Zoniel
WalterandZonielareanar>s>cduowhohaverevitalisedtechniquesandprocessesofearly
photographyaretransformedintoacrucibleofcrea>vity.WalterandZonielsubversivelyreintroducetheroleofthecrafsmanthroughearlytechniqueslikeambrotypes,>ntypes,salt
printsandpigmentprints.WalterandZonielpushthemediumofphotographyagainstitselfand
awayfromthedigi>sedeveryday.
Onexhibitat10CastleStreetisanexampleoftheirself-developedtechniqueofthe
“photographicfresco”–characterisedasanastonishinglyinven>veblendofMichelangeloand
ManRay.ThesefrescoesformedthecoreofWalterHugo&Zoniel’sexhibi>onattheCobGallery
‘DevelopingShadows’whichwascomposedofportraitsofar>stswholivedandworkednearto
theirformerstudioineastLondon.Theimagesweredevelopeddirectlyontothewallsofhisthe
subjectsworking-space,sprayedwiththechemicalsnormallyfoundonphotographicpaper.The
finishedworkconsistsoffragmentsofthewallitself,extractedshortlyinadvanceofthe
building’sdemoli>on.Theduocon>nuetoreceivemuchacknowledgementfortheirinterac>ve
publiccommissionsfor
artins>tu>onsincludingTATEandtheVictoriaandAlbertMuseumaswellastheirpar>cipa>on
ininterna>onalbiennalefes>vals.
Walter&Zoniel-Developing
shadows
HannahBays
HannahBaysisapainterwhohasrecentlygraduatedfromtheRoyalAcademy.TheCobGallery
eagerlyan>ci-pateherfirstsoloexhibi>onatthegallerypremisesin2016.
HannahBays-Desiringmachine2015
NatalkaStephenson
NatalkaStevensongraduatedfromtheRoyalCollegeofArt.Aselec>onofthear>sts‘Terrarium
Studies’are
ondisplayattheclub.Theseriescanbereadasanar>s>ccatharsisinconfron>ngherchildhood
fearofplants.Stevenson’saccompanyingcolorfulpastellandscapesarereminiscentofRousseau.
Rotwinter2013
No7Terminus2013
Rotovergrown,2014
No6Valerian
2013tbc
NinaFowler
WendyBevan’ssignaturePolaroidphotographicworkexplorestheiden>tyofwomen,theiconic
femaleimage,andthecharacterisa>onofthefemmefatale;ofenusingfashionascostume.
Bevanisyoungar>stofstartlingachievement,havingexhibitedinterna>onally,andproduced
photographicandfilmworkforapanoplyof>tlesincludingVogueItalia,POPandi-D.Her
photographicsubjectshaveincludediconicfigureslikeTildaSwintonandDebbieHarry,whileshe
placesherselfinanar>s>clineagethattakesinotherfemalear>stssuchasMayaDeren,
FrancescaWoodmanandClaudeCahun.
Sold
Marlene
Iwakeupscreaming
Iwakeupscreaming(mirror)
WendyBevan
WendyBevan’ssignaturePolaroidphotographicworkexplorestheiden>tyofwomen,theiconic
femaleimage,andthecharacterisa>onofthefemmefatale;ofenusingfashionascostume.
Bevanisyoungar>stofstartlingachievement,havingexhibitedinterna>onally,andproduced
photographicandfilmworkforapanoplyof>tlesincludingVogueItalia,POPandi-D.Her
photographicsubjectshaveincludediconicfigureslikeTildaSwintonandDebbieHarry,whileshe
placesherselfinanar>s>clineagethattakesinotherfemalear>stssuchasMayaDeren,
FrancescaWoodmanandClaudeCahun.
Image
missing
OrlandoIII2014
OrlandoII2014
Exordium2010
OrlandoI
2014
Fullflowermoon
AlanRankle
AlanRankleismostofendefinedasalandscapepainterrevitatlisingthegenrebychallenging
anduproo>ngtradi>onalwaysofpain>ng.Ranklepaintsiconicandpowerfuloilsoncanvas,
ofenbasedlandscpaesfoundinLanguedoc,whichreferenceTurnerandotherclassicists.
SignificantforRankletooarefigureslikeJosephBeuys,AnselmKieferandAntoniTapies,ar>sts
whou>lisedfoundmaterialswhiledealingwithques>onsofdeepsocialimportance.“Rankleis
movedbythesenseofotherness,themagic,brutalityandwildernessofthenaturalwords;and
yetatthesame>mefollowstheformalismofhisheroFrancisBacon.Hepaintsastheroman>c
po-etswriteverse.Wild,untamed,adventurousyetatthesame>meelegant,restrainedand
withperfectnarra>veform.”
RiverAmericaI
RiverAmericaII
RiverAmericaIII
StudyfortheJourney
forthecity
LukeEdwardHall
LukeEdwardHallisaninteriordesigner,ar>standone->mean>quedealer.Hefoundedhis
eponymousrangeofhomewaresandfabricsin2014andworkedfortheinteriordesignerBen
Pentreathfortwoyearsbeforeset->nguphisownstudiointheautumnof2015.CurrentlyLuke
isworkingontheinteriordecora>onofaGeorgiancountryhouseinKentandseveralprivateand
commercialartworkcommissions,includingillustra>onsfortheParkerPalmSpringshotelin
California.EdwardHall’sdelicatelineillustra>ons,reminiscentofCocteauandMat-isseexplorea
fascina>onwithClassicalidealsofbeauty.
LukeEdwardHall
LeGun
Establishedin2004,artcollec>veLEGUNcreateidiosyncra>cimagery,whichblendsapunk,
occult,popandsurrealistaesthe>c.Theycommunallyexecutelarge-scaledrawings,muralsand
three-dimensional'drawn'installa>ons,andhaveexhibitedinterna>onallyatloca>onsincluding
TheMuseumofMankindinLondon,ArtBrussels,ArtBasel,andgalleriesinParis,Berlin,Tokyo,
Istanbul,andBeijing.TheyalsoproducetheartannualLEGUN,whichenjoysinterna>onalcult
status.
LeGuncomprisesofNealFox,RobertGreen,BillBragg,ChrisBianchi,andStephanievon
Reiswitz.
Therealitystageplay,
2014
Themaskedcelebrity
soiree,2014
Theweddingoftherake&the Therakeandtheharletmeetat
bedlem
harlot,2014
Guilded-CharloGe
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Guildedwasfoundedin2010byCharloYeBowater.Thenameofthecompanypayshomage
tothetradi>onofar>s>cguilds,conferringbothanetworkaswellasthesealofsuperior
crafsmanship.
ThefocusofthebusinessistopromotethehigheststandardsofBri>shcrafsmanshipand
ar>stryworldwide.Guildedfostersbothnewandemergingtalentaswellasestablished
makers,providingthemwiththeopportuni>estopresenttheirdesignsinterna>onallyandto
aYractcommissionsthroughouruniquemodelwhichproac>velyencouragescrea>ve
development
BloGKerrWilson
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“BloYKerr-Wilsonisthemostinnova>veshellar>stworkingtoday.”
(IngridThomas,authorofTheShell,Thames&Hudson).
Kerr-Wilson’sfascina>onwithshellsbeganasayounggirl,informedbyherloveofgroYoes,
folliesandanysecretplaceinagarden.Later,whenstudyingforherdegreeattheGoldsmith
ArtCollegeofLondonshekeptherhobbytoherself,whileshestudiedthesculpture.Shell
workhadacquiredakitsch-factorinfigura>veworksincethe1970sandtodatenoshell
ar>sthadsucceededindispersingthissen>ment.Despitethis,Kerr-Wilsoncreatedherfirst
totalshellinteriorinherownLondonflatinresponsetoacompe>>onrunbythepres>gious
publica>onWorldofInteriors,whichshewon.Evenhavingbeenawardedsuchsignificant
recogni>on,theaccoladewass>llnotbroadlyappreciatedbyhercollegecontemporaries.
However,Kerr-Wilson’ssecretobsessionsurvivedskep>cismandinterna>onalcommissions
pouredin.Sincethat>me,shehastravelledtheworldcrea>ngshellinstalla>onsandframed
individualworks.
Kerr-Wilson’sdesignsareinformedbythemathema>calnatureofshellsandtheirmovement
andcolour.ItwasacommissionintheCaribbeanthatini>allyfreedKerr-Wilsonfromthe
tradi>onaluseofmanydifferenttypesofshellinonepieceofwork.Forthefirst>meshe
beganusingtwoshellsexclusively,thecommonmussel(My>lusedulis)andtheabalone
(Halio>s).Bivalveshells,suchasmussels,havealefandrighthalf.Bythecarefulseongof
hundredsofthesehalves,theresul>ngcomposi>onsgiveanillusionofmovement-shells
sweepinginonedirec>onandthenreversing,asiftossedinthesea.!
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ThisgraphicstyleisonethatKerr-Wilsonhascon>nuedtoexplore.“Oneofthemost
startlingaspectsofKerr-Wilson'sworkisitsgraphicquality.Shehascreated,forexample,a
circleofpurplish-bluemusselshellsnexttowavesofminiaturewhiteabalone.Froma
distance,itappearsasanalmostsoliddisc;onlyoncloserinspec>ondoestheviewerseethe
medium.Eventhen,theshellshaveanintricatesenseofmo>on,sothatsomedoubtremains
astowhatyouareactuallyseeing."It'salltodowithhowthelightplaysonthepiece,"she
says.”(Extractfrom“ContemporaryNatural”–Thames&HudsonLtdbyPhyllisRichardson
andSolvidosSantos)
Kerr-Wilson’spicturesarealsoinspiredbythedrawingsofErnstHaeckel(1834-1919,
zoologist)andthesketchesofNigelPeake.However,Kerr-Wilsonkeepsinmindtheenergy
andvisualimpactofaschooloffishallmovingtogetherlikeone.Withthisshebringstomind
fluidmovementandiridescencereminiscentofthesea,anideaperfectlydis>lledintheuse
ofperhapsherfavouriteshell,themussel.Theappealofthispar>cularshellisnotjustthe
factthatitisbi-valve,butitsiridescenceandstrongcoloursofblue,purple,blackandwhite.
Thelight,catchingthesurfaceoftheshells,emphasisestextureandformandKerr-Wilson
playswiththistocreatestudiopiecesthatbringshellworktoamesmerisingartform.Inthe
main,Kerr-Wilsonworksoncommission;however,Kerr-Wilson’smostrecentworkisa
seriesofframedpiecesen>relyofherownconcept.Itistheseextraordinaryworksthat
breaktheboundariesofherchosenmedium.Kerr-Wilson’sworkisalsofeaturedinthe
followingpublica>onsaswellasnumerousmagazinenewspaperar>cles:
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Thames&Hudson,TheShell,2007,byIngridThomas-amuch-documentedbookonshells
andtheiruseinarchitecture,furnishingsandcrafthroughthecenturies.BloY’scontribu>on
tothisartformfeaturessignificantly.
VogueUK“GoldenGlory”LabyrinthCountryLife–ArabellaLennox-BoydandJonathanSelf
focusonfollies,mazes,treehousesandgroYoesandothergardenwondersatourfantasy
estate.”
“DiscoveringWelshGardens”-byStephenAndertonandCharlesHawes
“TheShell-AWorldofDecora>onandOrnament”byIngridThomas
CountryLife“TheOxfordCompaniontotheGarden”editedbyPatrickTaylor.Oxford
UniversityPress(2006)
“IrishGardens”byOldaFitzgerald
“Shell-housesandGroYoes”(ShireAlbum)byHazelleJackson
Theworksdisplayedat10CastleStreetarerarestudiopiecesavailabletopurchase.Kerr-
Wilsonworksprincipallytocommission,whetherapplyingshellsdirectlytoawallsurfacein
complexpaYerns,orfulfillingframedcommissionsinavarietyofspeciestobeairfreighted
allovertheworld.InthelasttwoyearsshehastravelledaswidelyasHawaii,Thailand,the
SouthofFranceandPalmBeachtorealisecommissionsforprivateclients.
Guilded–BloGKerrWilson
Lifed
Flow
TomPalmer
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Madetoorderwithop>onalvaria>onsinshape,scaleandframematerial.
Water-silveredglass,layeredwith>ntedresinsetwithinanasymmetrichandcarvedwood!
andpolishedgessoframe.
GuildedexclusivelyrepresentsBri>shar>stTomPalmer(b:1986)whoworks
withtradi>onsofcrafsmanshipandmaterialexperimenta>on,fusedwithcontemporary
design,tocreateworkspanningthespectrumoffineanddecora>vearts.
Hisexplora>onsofmaterialsandprocessesrangefromsubtlerepresenta>onsof
constella>onsandnebulas,capturedwithinamirrorbylayersofpurefluidreflec>vecolour
ofsilverandresin,toorganicallyformedtablesofengineeredantler,andripplingscreensof
carved,scorchedwood.
Whenanewtechniqueisdevelopeditisrealisedinafinishedpiecesuchasthismirrorwhich
isavailabletopurchaseasseenortobecommissioned,asithasbeen,inawidevarietyof
guises.Pleasenotebespokecommissionsarepricedindividually.
NebularMirror
BellaWest
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Notedforitsgreatsensi>vity,BellaWest’sthoughtprovokingweddingandportrait
photographydrawstheviewerintocreateanemo>veresponse.Heruseofloca>on,light,
styleand>meless,yetcurrent,nostalgiaprovidesadefini>veanduniquequalitytoherwork.
Totrulyappreciatelightandspace,Bella’sportraitsareallshotonloca>on,usingthe
elements,seasons,toneandcolour.Herflairforquietobserva>onenableshertocompose
imageswithinhercamerawithliYleintrusion.Introducingfreshideasandconceptstoeach
assignment–fromweddingstoportraitureandfineartcommissions–Bella’sstyleof
photographyisdrivenbyherethosofproducingcurrentimagerythatretainsastrong
classicaledge.
Theresultisbeau>fullyobserved,bespoke,individualandtobecherished.Bella’sworkis
exhibitedextensivelyandpublishedinprintandonline,andherworktakesheraroundthe
worldasanimagemaker,lecturerandjudge.Bellagainedafellowshipwiththe
Bri>shIns>tuteofProfessionalPhotographywithacollec>onofnaturallightportraitsof
children.ShecurrentlysitsontheBoardofDirectorsoftheIns>tute.
BellaWest
AB16–
Unicorn
jumping
AB4–Rabbit
sideon
Rabbithead
withgun
AB5
AB19
SallyMclaren
Themomentofdawn,aferanightofgentlerain,whenthelandsparkleswithafreshnessasthe
sunriseswithliYleglobulesofshiningwateroneverybladeofgrassorleaf.ThemomentwhenI
catchmybreathwithanawarenessofthelayersofhistoryasItakeinalandscapeeitherfamiliar
ornewandgazeinsilenceatitswonder,feelingthespacesinbetweentheair,thewarmth,the
storyitholds.ThegaspofjoyIfeelatthebeautyoflandorseaorsky,thefeelofthewindorthe
rainonskin.Theirresis>bleneedtodancewitheachdaydifferentfromthelast,thatmomentat
duskwhenthedayfadessuffusingtheairwithadifferentlight.Thesearethesensa>onsIhope
torecordandconvey.
Twilight
DarkSky
Cloud
AnegusDewar
Ihavebeenapaintersincemymidtwen>es,whenIfinishedmyformaltraininginItaly.Iwork
almostexclusivelytocommission,specialisinginportraiture,childportraiture,largeallegories,
muralsandanimals.IamatriplefinalistinNewYork'sannualARCsalon,theworld'smost
pres>giousandcompe>>vepain>ngcontest.Ihaveprac>cedandlovedtheindispensibleartof
draughtsmanshipenoughtoteachandwriteaboutit.
Leopard
Giraffe
Buffalooil
oncanvas
Kudu
Bigleopard
Lionhead
Buffalo
Leopardfemale
tbc
SimonGudgeon
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AleadingBri>shcontemporarysculptor,SimonGudgeonisknownforhisofenverylargescaleminimalist,semi-abstractforms,createdinhissignaturesmoothstyle.Usinga
stripped-backaesthe>c,Gudgeontakesnatureasamajorinfluence,workingdirectlyfrom
hisencounterswith,andobserva>onsof,livesubjectsandthenaturalworld.Heisperhaps
bestknownforhismonumentalsculpturesIsisandSearchforEnlightenment(placedatHyde
ParkandMillbank,London,respec>vely),aswellashissculpturesofbirdsinflightwhich
appeartodefygravity.
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Gudgeoncapturesspecificmomentsthroughthecrafingofcleanlinesthatsuggestrather
thandepictaform,amovementorafeeling,provokingastrongconnec>onbetweenthe
viewerandobject.Hesculptsprimarilyinbronze,andoccasionallyinmarble,granite,glass
orstainlesssteel.TerracoYaclay,oil-basedChavantclay,epoxyresinorfoam,areusedfor
theini>almodelling,dependingonthenatureandscaleofthesubjectandtheintended
result.
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BorninYorkshirein1958,Gudgeon‘liveddeepinthecountrysideonthefamily
farm,learningtheessen>alartsofobserva>on,evalua>onandinterpreta>onof
howanimalsandbirdsbehave,bothwitheachotherandman’.Aferstudyinglaw
atReadingUniversity,heprac>sedasasolicitor,star>ngpain>ngonlyinhis
thir>esandfirstexhibi>ngatLondon’sBaYerseaExhibi>onCentrein1992.An
impulsepurchaseofar>st’sclayattheageof40ledintohisnewcareerasa
sculptor,inwhichhewasabletorespondtothatwhichlayclosesttohisheart:the
naturalworld.SincethenGudgeonhasaYainedworldwiderecogni>on,showing
worksinLondon,NewYork,SanDiego,ParisandtheNetherlands,andproviding
worksforhighprofilecollec>ons.
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Recently,tripstoAfrica,AsiaandAustralasiahaveenabledGudgeontobroaden
hissubjectmaYerandexperimentwithavarietyofstylesandmethods.Gudgeon
isrelentlesslyinnova>veinthestudio,aimingto‘moveawayfromthepurely
representa>onaltowardssomethingthathasadeepersubtext’.
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Hecon>nuestocreateanddevelopnewideaswhilehisworkisdisplayed
permanentlyatSculpturebytheLakes,Dorset,attheDiehlGalleryinJackson
Hole,Wyoming,andatHalcyonGallery,London.
SimonGudgeon
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Istartedthepiecebyspendingsome7meworkingonposeswithaballerinafromtheEnglish
Na7onalBallet.Ilovethesenseofmovementandtheabilitytoconveyemo7on.Thisisthe
mostcomplexsculptureIhavecreated;constructedfromover800bronzeleaves,eachhas
beenindividuallyweldedtogethertomakethefigure.ThedelicatelaGceworkcreatedbythe
leavesaddstotheetherealqualityofthepieceandallowshertoblendinwithher
surroundings.
Sylph
BrendonMurless
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Blurringtheboundariesbetweentradi>onaltechniquesandcontemporaryartwork,I
specialiseincrea>nguniquesculpturesandplasterworkforbothindoorandoutdoor
seongs,usingavarietyofmaterialsandtechniques.
OvertheyearsIhavesecuredawidevarietyofcommissionsfromprivateclients,local
gardencentresandtheNa>onalTrust.ForeachcommissionIhappilyworktoplansoroffer
myownideas,assuitstheprojectandclient.
BasedinBridport,IgrewupwithaloveoftherurallandscapeofDorset.Whileworkingfora
tradi>onalbuildingandrestora>oncompany,Idevelopedmypassionandknowledgeof
sculptureandhistoricbuilds.
Myrecentworktakesinspira>onfromthehumanformandlookingatwhatmakesushuman
physicallyandemo>onally.
TheAirwebreath
HamishMackie
• 
ThroughhisworkasasculptorHamishMackiehashadtheprivilegeofobservingwildlifein
manycornersoftheworldatfirsthand,thusbringinghispassionforthenaturalworldinto
hissculptures.Largelyself-taught,Hamish’sstyleisunique;hisworkcapturestheinnercore,
strength,andgraceofthesubject.Hissculpturesarehisowninterpreta>on,andnota
photographicrepresenta>onofthesubject,throughhiscloseobserva>onandhisexpressive
manipula>onofthematerialsHamishisabletocaptureanins>nc>vemomentofanimal
behaviour.Hamishfrequentlyworksinspontaneous,ofenunrepeatable,fluidgestures.This
confidenceisbornfrommanyyearsofmasteringhiscraf.Itisthisasser>vehandlingof
materials,whichresultinstrongdynamic,livingsculpture.Howeverhissculp>ng‘technique’
willvaryaccordingtohowheperceivesthesubject;forexample,acompactfeatheredbird
suchasanalbatrosswillbesculptedina>ghtmethod,incomparisontothefreefeathersof
anowlthatdictatealooserhandling.‘…standingattheendofaverylongprocessof
development.Hamish’ssculptureisclearlyinformedbytheworksoftheancientEgyp>ans
andtheRenaissance,throughtothemorerecentrealismanddramaofBaryeandBuggao.’
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Bornin1973,HamishgrewuponalivestockfarminCornwall,England.Hedevelopedalove
ofwildlifeatanearlyage.AferRadleyCollege,FalmouthSchoolofArtandstudyingdesign
atKingstonUniversity,itwasin1996thatHamishbegansculp>ngfull>me,thusturninghis
passionsintoacareer.In2007HamishbuiltastudioinOxfordshire,wherehenowlivesand
workswithhiswifeLauraandtheirthreedaughtersIsabella,Ma>ldaandOYerlie.Hamish
hastravelledtoAntarc>ca,theFalklandIslands,SouthGeorgia,AfricaandUnitedArab
Emiratestostudyhissubjects.“Observinganimalsintheirownenvironmentisessen>alto
understandingthesubject’sphysicalandins>nc>vetraits.
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HamishMackie
Horse
Camel