2015
AN EXCLUSIVE COLLECTION
2015
An exclusive collection of
12 fine art reproductions
from the work of some
of Britain's leading
contemporary artists.
BOUGAINVILLEA ARCH
L A TA B L E D E M I C H E L
BY I L A N A R I C H A R D S O N
BY J E R E M Y B A R L O W R O I
A massive, vibrant-red bougainvillea frames the azure sea surrounding
a Greek island at noon on a very hot summer day.
A small but intimate restaurant on the main street in St Remy-deProvence, typifying the sunshine and shadows that draw me back to this
wonderful town time and again.
Ilana Richardson is a renowned artist, based in Brighton, England.
She enjoys an international reputation, with exhibitions in England,
France, Germany, the USA, Canada and Japan. Her paintings and
prints attract a huge following all over the world. Ilana’s work is
included in many collections and she regularly undertakes commissions
for clients ranging from multinational concerns to private individuals.
Her inspiration comes from her love of travel, choosing countries that
let her passion for light and colour be expressed to the full. She is at
her best depicting the interplay of light and shadows, and favours
subjects which contrast lush vegetation with the whitewashed walls of
Mediterranean architecture or the vibrant colours of Mexican houses.
Ilana’s extraordinary ability to re-create the warmth and colour of
the places she travels to makes her work irresistible to collectors.
Onlookers can feel the heat and are drawn into the light and warmth.
T H E S T U D I O TA B L E
BY T E R E N C E C L A R K E
Whilst staying in the South of France, I made a little studio in my room
and my sister brought some flowers in. The light was streaming in from
the right. I used intense colour to represent the light and simplified the
flowers. I also simplified the perspective to give the background a
graphic impact and contrast the explosion of flowers with the more
geometric structure of the table and far window shutter. The painting
is about colour as light. The freedom of the brushwork and looseness
of the drawing liberates the colour to allow the intense contrasts and
vibrant mark making to bring a vivid quality to a very simple subject.
The painting is about colour, composition and a kind of perfect
explosive balance.
Ever since leaving the Royal College of Art my work has been concerned
with colour. The influences on my approach are obvious and include early
Matisse and Scottish painting. I try to balance what I observe with an
intense expression of light and colour. The difficulty is in maintaining this
sensitivity to the real facts before me whilst liberating the colour in a
poetic or creative way. This interplay of drawing and painterliness is the
essence of my work. The development of the colour is a complex but
instinctive process which requires constant adjustment and reworking.
I often find that the success of a painting is down to just a few small
touches of colour right at the end of the period of work. No colour is of
itself colourful. It depends always on its relationship with all the other
colours on the canvas.
AMALFI DRIVE
BY M I K E B E R N A R D R I
The majority of my subjects are, in some way, based on coastlines.
The Amalfi coast is one of the most spectacular that I have experienced.
When observing the subject which was to be the basis for my painting,
I was drawn to the patterns and structures created by the way the
buildings were built into the steep cliff face and by the contrasting
textures and colours. In the painting I also wanted to capture the way
the white buildings were bathed in warm Italian sunlight and were
contrasting with the deep blue sky. The Amalfi coast is certainly one
of the most inspiring places for me as an artist and I never fail to find
new viewpoints and subjects each time I visit.
Mike Bernard trained at the West Surrey College of Art and Design,
Farnham, followed by post graduate studies at the Royal Academy
Schools. Since then he has exhibited at the Royal Academy Summer
Exhibition, Mall Galleries, Royal Festival Hall and many other galleries
in London and the provinces. Mike was elected a member of the Royal
Institute of Painters in Watercolours in 1977 and in 1999 he was awarded
their Kingsmead Gallery Award. Mike enjoys experimenting with media
and techniques, often using mixed media incorporating collage and
acrylics. He also uses oils and watercolour. Within his paintings he tries
to develop exciting textures and light, combining these qualities into
original semi-abstract images.
One of the country’s most distinguished landscape painters, Jeremy
Barlow has exhibited widely both in this country and in Europe.
His distinctive handling of perspective and dramatic yet sensitive
treatment of light and shadow artfully lead the viewer into his paintings.
He studied at Northampton School of Art and in 1977 moved to Germany
to concentrate on painting German, French, Belgian and Dutch landscapes.
He returned to England in 1983 and since then has exhibited at many
major venues including the Royal Academy of Arts, the Royal Institute of
Painters in Watercolours, the Royal Society of Marine Artists and the Royal
Society of British Artists. In 2008 he was the recipient of a fellowship
granted by the San Ei Gen Foundation, an institution set up to foster
cultural exchange in the arts between the UK and Japan. His work is
represented in public, private and corporate collections worldwide. He is
an elected member of the Royal Institute of Oil Painters.
B E N E AT H T H E P I E R – C L A C T O N
REFLECTIONS ON THE SHORE –
ARISAIG
D I S TA N T R AT H L I N I S L A N D W I T H
PURPLE FLOWERS
BY R O B E R T K E L S E Y D A , M U n i v , PA I , F R S A
BY J U D I T H I . B R I D G L A N D
Just beyond the village of Arisaig, on the road to Mallaig, you will find
the beautiful stretch of beach called Camusdarach. I have been inspired
by this coast for more than 40 years now, and it has been the source for
many of my paintings during this time. The sky produces a constantly
moving light show, as the clouds brush the hills of the distant islands of
Eigg and Rum. In the middle distance, two beachcombers are reflecting
on the far off vista, while they themselves are reflected on the wet sand.
I visit Northern Ireland every year, and it is always exciting to revisit
favourite spots along the Causeway Coast. This was painted by the
path leading towards the famous Carrick-a-Rede footbridge. There are
beautiful views from the cliffs out over the sea towards Rathlin Island,
with colourful flowers blowing in the breeze. On a clear day you can see
the Mull of Kintyre, or even as far as the Scottish islands of Islay and
Jura. It truly is spectacular.
Robert Kelsey was born in Glasgow and graduated from Glasgow School of
Art in 1970. A full-time painter, he specialises in landscape subjects and
seascapes from the coasts around Britain, Southern Europe and the
Caribbean. His paintings reflect his love of light and colour, with rich
pigments applied boldly, reflecting the influence of the Scottish Colourists.
Much in demand, his work is to be found in many private and corporate
collections throughout the world. Thompson’s Gallery, Marylebone,
represent him in London. Visit his website at www.rkelsey.com.
Judith was born in 1962 in Australia, and trained in Glasgow, Scotland,
where she now lives and works, owning her own studio. Her bold, colourful
Scottish landscapes have led to exhibitions in Scotland, London and the
rest of the UK and Ireland, as well as further afield in America, Russia and
Sweden. Working in oils, bold, vigorous rhythmical strokes of impasto
paint reflect nature’s contrasts and harmonies. The ever-changing light
illuminates fields, mountains, hedgerows and the sea, with the expanse of
the natural forms contrasting with complex abstraction to give a strong
sense of place. Winner of the prestigious 1999 MacRoberts Open Prize
and 2009 RGI House for An Art Lover Award, Judith’s work can be found
in the headquarters of The Royal Bank of Scotland and Sophos Plc, the
collections of British Midland, Arisaig Partners (HK) Ltd, MacRoberts
Solicitors, Sir and Lady Menzies Campbell, The University of Strathclyde
and Glasgow Caledonian University, and privately worldwide.
CAFÉ, BRIGNOLES
BY J A C K M O R R O C C O
BY A N D R E W M A C A R A R B A , N E A C
Clacton Pier, together with other piers in Britain, is an iconic symbol
of the British seaside. I think it makes a great subject to paint in the
summer when the sun is shining and there are many children playing
under and around this structure.
Born in Derbyshire, in 1944, Andrew Macara has exhibited at many
venues including the Royal Academy Summer Exhibition, the Royal
Society of British Artists, New English Art Club and he is listed at the
Courtauld Institute. He says: “Respect for the two dimensions of the
picture plane are paramount and I attempt to tread the fine line between
the figurative and abstract in order to attain this. It is not easy to
produce this result, especially whilst using light and shade as an
important subject in itself in the construction of a painting. I believe
that painters who achieve this may be creating a purer form of painting.”
O L D M A N , O L D L A DY A N D C AT
IN THE GARDEN
BY PA U L A N I G H T I N G A L E
This painting pleased me greatly in the way I used colour and form to
capture the impact of the brilliant flowers in the rambling garden against
the green shed heightened by the low evening sun. A very bent old man,
maybe in his nineties, was pushing a barrow up and down the pathway
near the shed, and the old lady was nearby, just at the back of the
garden, but somehow the painting would be nothing without them there,
either in shapes, composition or literally. Nearer the foreground, close
to the knockout blast of colours coming from the flowers, lounged and
stalked a large ginger cat, seemingly confident also in his important
addition of his colour and timeless domination of the scene. It took me a
long time to paint, with many considerations en route. I was transfixed by
the image and worried that I leaned over the wall and stared rather too
long, scribbling and photoing, so I purchased an enormous orange
pumpkin from a green wooden barrow by the garden gate, which I had
to carry miles back to my boat on the Norfolk Broads!
Paula Nightingale has been painting since early teenage years. Being a
passionate explorer of art, Paula decided to continue the artist path,
graduating from Beckenham School of Art, followed by the Royal College
of Art (1st Class Hons). From there she did a year’s Scholarship at the
Akademie der Bildenden Kunst in Munich, where she explored the
techniques of etching. After settling at Aldeburgh during the early 1970s,
the Suffolk coast has been the artist’s continuing inspiration. Her best
work is produced on site, when painting can become an almost spiritual
experience. It is said that Paula captures the timeless quality of this
county. Paula’s work was presented at numerous exhibitions around
England. Having painted all over Europe for many years, she now mainly
works in Suffolk.
An oil study painted in 2011 of a café in Brignoles in Provence.
Jack was born in 1953 into a painting dynasty. He is part of the Morrocco
family, his mother Rozelle was an artist and by the age of seven he was
painting in oils. Indeed, everyone in his wider family had a house with a
studio in it. At seventeen, Jack was to enter the Duncan of Jordanstone
College of Art, Dundee. Here he studied under his uncle Alberto
Morrocco, Jack Knox, David McClure and Dennis Buchan. Jack attributes
the development of his painting skills to the very rigorous art education
that he received at art school. He recounts the broad range of techniques
that he was expected to master, including graphic design, illustration,
textiles, life drawing, painting, portraiture, still life and photography. Jack
went on from art school to lecture part-time at Dundee. In this period,
many of the artists had to subsidise their painting with teaching. Jack
didn’t particularly like teaching, instead he became a freelance graphic
designer and progressed on to start his own Design Consultancy, which
he ran for 12 years. During this period he continued to paint and submit
to the annual RSA and RSW shows. It was Rozelle, his mother, who lured
Jack back into full-time painting. She had committed to a show at an
Edinburgh Gallery and approached Jack to help her by sharing the show
with her, as she could not meet the quantity of paintings required by the
gallery. She did the same thing with an Aberdeen Gallery and Jack found
himself back in full-time painting – his first love. Indeed, he was offered
solo shows subsequently by each of the galleries. Jack is a versatile
painter; able to paint in multiple genres, however it was around six years
ago that he found his journey into landscape, which is underpinning his
most successful period.
BRIGHTON BEACH, AUG 09
BY C O L I N R U F F E L L F R S A
Brighton beach is seen from the promenade above Brighton Fishing
Museum. Fishing boats used to be launched from this spot, but now the
boats are mainly moored in the marina.
Colin Ruffell has been making paintings and prints for fifty years.
In hindsight, he can see how and why his body of work has developed,
because many interesting things have inspired it: pure chance; being
born and raised in London; further travel; his kids and a cat; technical
developments; and peer group and collectors’ feedback. His manifesto is
that he is just going to carry on in the same way, looking for new things.
Colin thrives on variety, from abstract to naïve, from big to small, from
thick impasto to thin washes, from a glass of Guinness to Big Ben, from
nostalgia to fantasy. He has painted using knives, brushes, rollers, fingers
and sponges. He has made his own prints using silkscreen, litho, computers
and photography. He delights in, and wonders about the latest technology
that enables artists like him to produce the best quality and most versatile
prints ever. Worldwide members elected Colin Ruffell ‘Master of The Fine
Art Trade Guild’ in 2008.
TUSCAN VILLAS
BY I A N E L L I O T
This oil on canvas study was inspired by my travels in Tuscany. The view
is between Lucca and the flat plains bordering Pisa. Many of the fields
here have a rich covering of wild flowers – poppies being my favourite.
Ian Elliot was born in Glasgow in 1946 and his talent, as a young Scottish
artist, was evident at an early age. He won gold and bronze medals for
art on four successive occasions before attending and graduating from
the Glasgow School of Art in 1964. Like many of today’s successful
Scottish contemporary artists, Ian Elliot left the Glasgow School of Art
and took up a career teaching modern art. He eventually became Head
of Modern Art at a large Glasgow school. Then after some years, decided
to focus full-time on painting contemporary art. Since becoming a
full-time artist in 1997, Ian Elliot has quickly established a reputation as
a popular modern Scottish artist. Ian’s contemporary paintings are now
collected by British and Scottish art enthusiasts and by collectors in Eire,
Germany, Spain, Canada and the USA. Ian Elliot now visits, and gains
much inspiration from, the island of Mallorca and from Italy and France
– sharply contrasting environments from that of his native shores.
Travelling extensively in Spain, Italy and France has developed an endless
fascination for Ian with the Mediterranean countryside and the Island
of Mallorca. He is known for incorporating the strong colours of the
Mediterranean in all his landscapes and seascapes creating a fusion of
shimmering colours, distinctive buildings of the land, and abstract
expressionistic vistas. Ian Elliot also travels extensively throughout
Scotland. He is fascinated by the visual imagery of the Scottish
landscape and produces paintings of movement, colour, rhythm and
pattern, many of which are inspired by visits to the Scottish farmlands.
CAFÉ, MENTON, FRANCE
BY M I K E B E R N A R D R I
Menton is a sophisticated French Riviera resort located close to the
Italian border, which gives the town a delightful blend of French/Italian
architecture and culture. One of the most exciting activities when I visit
historic towns or cities, like Menton, is exploring the alleyways and
squares. As well as enjoying the sights, sampling the local cuisine in the
local cafés and restaurants is also a great joy. The café in my painting
was one of my favourite haunts during my stay in Menton. As well as
providing great food and wine their menus proved great collage material
for later paintings!
Mike Bernard trained at the West Surrey College of Art and Design,
Farnham, followed by post graduate studies at the Royal Academy
Schools. Since then he has exhibited at the Royal Academy Summer
Exhibition, Mall Galleries, Royal Festival Hall and many other galleries
in London and the provinces. Mike was elected a member of the Royal
Institute of Painters in Watercolours in 1977 and in 1999 he was awarded
their Kingsmead Gallery Award. Mike enjoys experimenting with media
and techniques, often using mixed media incorporating collage and
acrylics. He also uses oils and watercolour. Within his paintings he tries
to develop exciting textures and light, combining these qualities into
original semi-abstract images.
JANUARY
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Bougainvillea Arch
By Ilana Richardson
DECEMBER 2014
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The Studio Table
By Terence Clarke
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Amalfi Drive
By Mike Bernard RI
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La Table de Michel
By Jeremy Barlow ROI
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Beneath the Pier – Clacton
By Andrew Macara RBA, NEAC
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Old Man, Old Lady and Cat
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By Paula Nightingale
MAY 2015
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Reflections on the Shore – Arisaig
By Robert Kelsey DA, MUniv, PAI,
FRSA
JUNE 2015
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Café, Brignoles
By Jack Morrocco
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Brighton Beach, Aug 09
By Colin Ruffell FRSA
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Distant Rathlin Island with
Purple Flowers
By Judith I Bridgland
SEPTEMBER 2015
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NOVEMBER
Tuscan Villas
By Ian Elliot
OCTOBER 2015
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Café, Menton, France
By Mike Bernard RI
NOVEMBER 2015
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JANUARY 2016
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31
8
9 10 11 12 13 14
46
3
15 16 17 18 19 20 21
M
F
S
WK
1
2
53
8
9
1
47
10 11 12 13 14 15 16
2
22 23 24 25 26 27 28
48
17 18 19 20 21 22 23
3
29 30
49
24 25 26 27 28 29 30
4
4
T
5
W
6
T
7
7
25th, 28th –
Bank Holiday (UK)