ANNUAL REPORT 2007 ADRODDIAD BLYNYDDOL 2007
CONTEMPORARY ART SOCIETY FOR WALES CYMDEITHAS CELFYDDYD GYFOES CYMRU SUMMER EXHIBITION July 4th - August 16th
Peter Brown ‘Choppy Sea, Back Beach’ Oil on Canvas 10" x 30" KYFFIN WILLIAMS RA - RETROSPECTIVE EXHIBITION August 22nd - September 13th
Kyffin Williams ‘Mombresia’ Oil 30" x 20" contemporary art society for wales cymdeithas celfyddyd gyfoes cymru
Charity No: 247947
OFFICERS OF THE SOCIETY AT 31st DECEMBER 2007 Patron The Right Honourable The Earl of Snowdon
President Mrs D M D Evans
Vice Presidents Mr Arthur Giardelli MBE Mr Ken Spurlock MBE
Chairperson D Gareth Davies Vice Chairperson Professor Bryan Hibbard
Treasurer Mr Peter Clee 1
Events Secretary Dr Christine Evans
Membership Secretary Mr Bernard H Rees Yr Hen Sgubor, Flemingston CF62 4QJ Tel: 01446 751253 Email: [email protected] Secretary Jean A Williams 6 Le Sor Hill, Peterston Super Ely, Llanbedr-y-Fro, Vale of Glamorgan CF5 6LW Tel: 01446 760476 Email: [email protected] Assistant Secretary Nesta James Llwyncelyn, 14 Grove Road, Pontardawe SA8 4HH Tel: 01792 863884 Email: [email protected]
Executive Committee Professor Tony Curtis, Dr Peter Davies, Dr Dan Evans, Mr William Gibbs, Dr Sandra Harding, Mr Stanley Jones, Ms Dilys Jackson, Dr Tudor Jones, Mrs Maureen Kelly Owen, Mrs Madge O’Keeffe, Dr Anne Price-Owen, Mrs Margaret Pyke, Mrs J M Rees-Mathews, Mr Alan Spiller, Dr Peter Wakelin
Auditors KTS Owens Thomas Limited (Chartered Accountants)
Produced by Platform One, Monmouth 01600 714600 2
Judy Buxton Midsummer Roses II
Situated in the heart of the Wye Valley, Mill House is a gallery with a difference.
Set in three and a half acres of picturesque grounds, complete with mill ponds, the large stone, former mill owner’s property is also a family home. Once renovations are complete the gallery will move into the grade II-listed paper mill, adjacent to the house. The renovation will provide two floors of exhibition space together with an artist-in-residence suite.
Due to the phenomenal success of the Whitebrook gallery a second gallery has been opened at The Celtic Manor Resort Mall, Newport. For further details or to view current works on sale please visit us on-line at www.deniseyapp.com
DENISE YAPP | CONTEMPORARY ART Mill House, Whitebrook, Monmouth NP25 4TX 01600 860950 also at The Celtic Manor Resort, Newport 01633 410488 www.deniseyapp.com Email: [email protected] ANNUAL REPORT 2007 CHAIR CHAT
My first year as your Chairman has come to an end and happily I am You will have noticed that the 2007 Annual Report differs from in a position to record another successful twelve months of Society previous ones. The Chair’s report (essentially that of the Executive) activity. After a short period ‘out of harness’ following ten years as is more management orientated to begin reflecting more formal Secretary, at my first Executive Meeting I was very pleased to see requirements. Fortunately, it no longer needs to concentrate on so many familiar faces around the table. There was an immediate the art, education and social events of the year as these now are comforting sense of ready support and it soon became obvious that admirably covered in the annual Newsletter. However, on occasions the few new members, already known to me as stalwart CASW the Chair will wish to cover additional concerns. I feel sure the members, had strengthened an already effective Committee. On membership would wish me to avail myself of this opportunity their behalf it is my pleasure to present the Society Report for to convey on the Society’s behalf, apologies to Bernard Rees for 2007. the failure of the audio- visual equipment on the occasion of his Buyer’s Presentation. I can also record his deft and skilful coping so Our deliberations and decisions, as usual and as appropriate, that we were all enjoyably instructed. were conducted and taken within the framework of the Society’s Constitution and with due regard to our charitable status. Members are most welcome to convey to the Executive any Fundamental to these considerations and to the ability of CASW suggestions they may have concerning the running of the Society to promulgate its objects and associated objectives is sound financial whether it be management issues such as the size of the Executive management and so it is seriously satisfying for the Executive or on events, lectures and visits programmes. Contributions to the to feel able to unreservedly commend to the membership the Newsletter are always welcome. Please contact the Secretary if you financial accounts. A purposeful attitude is developing which seeks wish to express views on the running of the Society – after all it to encourage positive spending to allow CASW to progress a is yours. changing role to meet an ever evolving contemporary art scene. In such an approach there is a potential danger of financial laxity and CASW’s debt across a wide spectrum of activities to so many for some to treat expenditure too casually. The Executive is mindful continues unabated. I am so fortunate to chair such a team and of these temptations and will resist. such a Society.
The other major management issue which received general attention is the size of the Executive. At 24 – 7 officers,17 members - many are concerned that it is in danger of being too large for efficient decision making. With all members entitled to speak on any/all issues, discussions could take considerable time, immaterial of the complexity of the agendum. Furthermore, there is an unwritten 3 obligation for members to take meaningful part in such discussions. No formal discussion has yet taken place though there is an intention to do so. At present there is an increasing tendency to use small working groups, reporting back to the Executive to help with decision making. The Executive is conscious that both mechanisms require careful attention to transparency and accountability issues.
The year’s more important decisions are:-
• Improvement to our system of purchasing and distribution of artworks and their use in the intervening period. These include short term loans, exhibitions and the possible appointment of a part-time curator to drive these forward and explore better collection use.
• The establishment of a purchase reserve fund to assist Welsh institutions to access larger grant sources.
• The appointment of Mr William Gibbs as Buyer for 2008
• The commissioning of a special Gregynog Studio book of essays and accompanying print portfolio to celebrate the Society’s 70th Anniversary.
In presenting this Report for 2007 we trust it will secure your confidence in the Executive’s management of the Society
D.Gareth Davies CASW Chair
An exhibition of entries to our annual art competition, throughout July and August 2008.
The theme for this year’s competition:
*The West Wales Summer Art Exhibition is arranged by the Picton Castle Trust. It is open to professional and amateur artists working in Wales, and offers a £1,000 prize fund. For details of next year’s Exhibition, please provide us with your contact details.
Exhibitions by invited artists from May to September. See www.pictoncastle.co.uk for details.
Picton Castle Gardens, Gallery and Restaurant, The Rhos, near Haverfordwest, Pembrokeshire SA62 4AS
T: 01437 751326 E: [email protected]
Open Tuesdays to Sundays & Bank Holiday Mondays; 10.30am—5.00pm; entry £4.95 adults; £4.75 seniors; £2.50 5-15s 4
Summer Group Exhibition 28th June to 20th September New Work from all the Gallery’s artists Attic Gallery 14 Cambrian Place, Swansea SA1 1RG Those Who Dance are Thought to be Mad by tel 01792 653387 Those Who Cannot Hear the Music www.atticgallery.co.uk acrylic 28 x 29ins. David Carpanini open: Tues - Sat westwalesartscentre
‘Porthclais, December’ Mixed Media on Paper 57 x 76 cm
DAVID TRESS EXHIBITION OF NEW PAINTINGS AND DRAWINGS
JULY 20th - AUGUST 23rd
West Wales Arts Centre,16 West Street, Fishguard, Pembrokeshire SA65 9AE tel: 01348 873867 web: www.westwalesartscentre.com email: [email protected]
TRESS AD 08 1 21/5/08, 10:09 am CONTEMPORARY ART SOCIETY FOR WALES
STATEMENT OF FINANCIAL ACTIVITIES (Incorporating an income and expenditure account) for the year ended 31 December, 2007
TOTAL TOTAL INDEPENDENT 2007 2006 EXAMINER’S REPORT Notes £ £ TO THE TRUSTEES OF CONTEMPORARY ART Incoming Resources SOCIETY FOR WALES
Donations and other receipts: I report on the accounts of the Ordinary membership 7,943 9.378 Trust for the year ended 31 December 2007, which are set Donations and other receipts 2,819 3,053 out on pages 6 and 7. Respective responsibilities of trustees and Independent groups donated surpluses 1,500 5,500 independent examiner. As the charity’s trustees you are Activities for the furtherance of charities objects: responsible for the preparation of the accounts. You consider that an Educational events 18,150 10,096 audit is not required for this year under section 43(2) of the Charities Activities for generating income: Act 1993 (the Act) and that an Advertising Revenue 1,050 750 independent examination is needed. It is my responsibility to examine Investment Income the accounts (under section 43 of the Act), to follow procedures laid Bank interest 3,971 3,262 down in the General Directions Other Receipts: given by the Charity Commission (under section 43(7) (b) of the Act) Gift Aid Tax Refund 1,446 1,363 and to state whether particular matters have come to my attention. Basis of independent Total incoming resources 36,879 33,402 examiner’s statement Resources Expended My examination was carried out in accordance with the General Charitable Expenditure (7,125) (25,318) Directions given by the Charity Commissioners. An examination Administration Expenditure (21,288) (15,061) includes a review of the accounting Total resources expended (28,413) (40,379) records kept by the charity and a comparison of the accounts 6 presented with those records. It Net incoming/outgoing resources for the year 2 (8,466) (6,977) also includes consideration of any unusual items or disclosures in the Fund balances brought forward 81,578 88,555 accounts, and seeking explanations from you as trustees concerning Funds balances carried forward 90,044 81,578 such matters. The procedures undertaken do not provide all the BALANCE SHEET as at 31st December, 2007 31st December, 2006 evidence that would be required in an audit, and consequently I do FIXED ASSETS 3 504 630 not express an audit opinion on the view given by the accounts. Independent examiner’s CURRENT ASSETS statement In connection with my Work in progress 4 11,366 - examination, no matter has come to Debtors 5 811 500 my attention: (i) which gives me reasonable Cash at bank 10,013 13,167 cause to believe that, in any material respect, the trustees National Savings Investment Bonds 68,000 68,000 have not met the requirements 90,190 81,667 to ensure that: • to keep accounting records (in CREDITORS/amounts falling due within one year 6 (650) (719) accordance with section 41 of the Act); and Net current assets 89,540 80,948 • accounts are prepared which Net assets less current liabilities 90,044 81,578 agree with the accounting records and comply with the accounting requirements of the REPRESENTED BY Act; or (ii) to which, in my opinion, General Fund 70,044 81,578 attention should be drawn Purchase Reserve Fund 7 20,000 - in order to enable a proper understanding of the accounts 90,044 81,578 to be reached.
KTS Owens Thomas Limited May 2nd 2008 These financial statements were approved by the board of trustees on 14th March 2007 and duly signed.
CHARITY INFORMATION 31st December 2006 CHARITY NUMBER 247947 REGISTERED OFFICE 6 Le Sor Hill, Peterston-Super-Ely, Vale of Glamorgan CF5 6LW BANKERS Barclays Bank plc, Cardiff Business Centre, Cardiff ACCOUNTANTS KTS Owens Thomas Limited, The Counting House, Celtic Gateway, Cardiff CF11 0SN
Constitution Objects The objects of the Society shall be to foster and promote the maintenance, improvement and development of artistic taste, and the knowledge, understanding and appreciation of the arts among the people of Wales and for this purpose, but not otherwise, the Society shall have power to purchase contemporary works of art of accepted importance and to arrange for exhibitions of such works for the benefit of the public, and to present them to Welsh public charitable institutions. NOTES ON FINANCIAL STATEMENTS 31 December 2007
1 ACCOUNTING POLICIES Basis of accounting The financial statements are prepared in accordance with applicable accounting standards and follow the recommendations in Statement of Recommended Practice: Accounting by Charities (SORP) issued in 2005 and in accordance with the requirements of the Charities Act 1993.
The financial statements have been prepared under the historical cost accounting rules.
Incoming resources Incoming resources are accounted for on an accruals basis. Depreciation Depreciation of fixed assets is calculated to write off their cost or valuation less any residual value over their estimated useful lives as follows: Office equipment 20% reducing balance Current Assets Works of Art acquired by the society are accounted for as revenue expenditure as all works are purchased for the express purpose of presentation to Welsh public charitable institutions in accordance with the Constitution. No value, therefore, is place on works of art awaiting presentation at the end of the financial year. Presentations are made periodically and it is anticipated that the next presentation will be made in 2012.
2 NET INCOMING/ 2007 2006 6 TRADE CREDITORS 2007 £ £ OUTGOING RESOURCES 2007 2006 Net incoming/(outgoing) resources £ £ before transfers is stated after charging: Other Creditors 650 719 Accountants’ remuneration 650 550 650 719 Depreciation of tangible fixed assets 7 ANALYSIS OF MOVEMENT OF FUNDS
Owned assets 126 158 General Purchase Grant Total Fund Reserve Fund Balance 1 January 2007 81,578 - 81,578 Office TOTAL 7 Movement in resources: 3 FIXED ASSETS Equipment £ £ Incoming 36,879 - 36,879 COST Outgoing (28,413) - (28,413) as at 1st January, 2007 3,729 3,729 Transfer (20,000) 20,000 - Additions - - Balance 31 Dec 2007 70,044 20,000 90,044 as at 31st December, 2007 3,729 3,729 The Purchase Grant Reserve Fund has been set up by appropriating the sum of £20,000 from the General Fund for the express purpose of assisting eligible Welsh institutions to access other large grant sources of funding for DEPRECIATION the acquisition of appropriate artworks. as at 1st January, 2007 3,099 2,941 ANALYSIS OF EXPENDITURE
Charge for the year 126 158 CHARITABLE EXPENDITURE 2007 2006 £ £ as at 31st December, 2007 3,225 3,099 Purchase of works of art 1,680 21,312 Prize to student artists 500 500 NET BOOK VALUE Donations to Art Groups 5,000 1,500 as at 31 December, 2007 504 630 Arthur Giardelli DVD (55) 2,006 as at 1st January, 2007 630 788 7,125 25,318 4 WORK IN PROGRESS 2007 2006 ADMINISTRATION EXPENDITURE Gregynog Book and Print Project £ £
Work in progress 11,366 - 2007 2006 £ £ 11,366 - Administration expenses 4,851 4,404 Website expenses 135 1,755 To celebrate the 70 years for the Society, the Society has commissioned a series of essays on art in Wales and a portfolio of four original prints from renowned Welsh Sundry Expenses 302 547 artists. The book of essays and the portfolio of prints is a joint CASW/Studio Gregynog publication in a limited edition which will be launched in July, 2008. All Accountancy Fees 650 550 expenditure on this project in 2007 has been shown as “Work in Progress” and will Insurance 159 161 be dealt with after publication in the Annual Report and Accounts for 2008. Educational event expenses 15,065 7,486 2007 2006 5 TRADE DEBTORS Depreciation of equipment 126 158 £ £ 21,288 15,061 Other debtors 811 500 811 500 No expenses have been paid to Trustees during the period CASW PURCHASES 2006 - BUYER’S PRESENTATION Bernard Rees Exhibition of work and presentation at the AGM held at The Dylan Thomas Centre, Swansea, Saturday 21st July 2007.
Croeso i Abertawe. Welcome to Swansea. I have chosen Swansea as being created in Wales, and the artists who are making them, I can the venue of this AGM, and the presentation of my purchases, as I inspire you to purchase for your own collections. have close family connections with this part of Wales. I was born Art is about images and I make no apologies for the number of in Briton Ferry, Neath. My father’s parents lived in Crynant, where images you are about to view. he was born, and I spent most of my holidays with them until my I have purchased works from 5 painters and 5 sculptors. grandmother died when I was 15. My grandmother, one of nine children, was born in Penllergaer, and I had many relatives living in PART I: PAINTINGS and around Swansea and the Gower. As a child I spent many happy My first painter is Glyn Morgan hours in Swansea, and have never forgiven those responsible for Born in Pontypridd 1926 closing my beloved Swansea to Mumbles railway. Cardiff School of Art 1942-4 I felt very honoured when I was chosen to be the Buyer for 2006, Camberwell School of Art 1947-8 but was also very conscious of the qualifications and experience East Anglia School of Painting and Drawing of my distinguished predecessors. Tony Curtis, in his speech at the Benton End, Suffolk (with Cedric Morris Society’s Annual Dinner last year, said that he had failed Art at O and Lett Haines) Level. I have to admit that I didn’t even sit it. At the end of my third Goldsmiths’ Company Fellowship to work year at Cardiff High School I was faced with a dilemma: I had to and study in Crete 1968 choose between Art and Music for what was then the Matriculation. Lecturing during summer at Aegina Arts Centre, Greece 1972 I loved both subjects. As I was having piano lessons from the school’s Lives in Hadleigh, Suffolk music master I did not have a realistic choice: music it had to be. But Previous purchases by CASW: I never lost my love of art and in the summer of 1952, when I was ‘Piazza Benedetto Cairoli’ 8 18, I purchased and read Herbert Read’s ‘The Meaning Of Art’ and pencil drawing purchased by David Bell 1950 ‘Contemporary British Art’, and Eric Newton’s ‘European Painting ‘Chelsea Flour Mills’ and Sculpture’. My interest in modern art was aroused. 1952 was oil purchased by Rollo Charles 1955 significant to me for another reason: the arrival in the National Museum of Wales of the Gwendoline Davies Collection. The On the 7th January 2006 I went to the National Library of Wales in Museum became my art school and I lost count of the numerous Aberystwyth to view the CASW Exhibition of works purchased by visits I made to gaze, spellbound, at its collection which expanded in its Buyers in the previous five years. Sharing the same gallery was 1963 with Margaret Davies’s bequest, and in 1984 with the arrival Glyn Morgan’s 80th Birthday Retrospective Exhibition. I wondered of the Derek Williams collection of modern British pictures. if a painting by Glyn had been purchased by CASW. Neither When I was appointed I naturally felt some qualms. The experience the President nor the Chairman thought one had, but Glyn was of previous buyers was prodigious. I was not an artist, an art historian, insistent that 2 works had been purchased but over 50 years ago. I or an art critic. I was simply an art lover who was fortunate enough was convinced that this was an opportunity not to be missed to add to be able to be an art collector, at a modest level, who had decided a painting from Glyn’s maturity. to collect mainly modern artists who were Welsh, or had Welsh Glyn’s father said to him: ‘You’re quite good with your hands. Why connections. don’t you become a garage mechanic?’ Fortunately for art lovers, I have not had any personal policies for buying. I considered that Glyn ignored this paternal advice, and instead became a student the Society’s own policy as stated in its Constitution: ‘to purchase at Cardiff Art School, when Evan Charlton was the Principal, and contemporary works of art of accepted importance’ was clear Ceri Richards taught illustration. While at Cardiff he met Esther enough, but I did feel that it was important to consider the needs and Grainger, and through her he was introduced to the Welsh painter requirements of the galleries and museums which would eventually who would perhaps be the greatest influence on his work, Cedric be the recipients of my purchases for their own collections. Morris, and in the summer of 1944 Glyn booked a week at his My purchases are divided equally into two parts: paintings and painting school in Benton End, Suffolk. Richard Morphet said: sculptures. I have long felt that sculpture was the Cinderella of the ‘Morris’s legacy can be seen clearly in the pupil’s concern with applied arts, possibly because private collectors think of sculpture vibrant colour and with plants, animals, and birds. That Morgan in terms of large works being housed in large public buildings, but was taught also by Ceri Richards seems more than accidental. The I hope to prove to you today that there are many sculptures which two share preoccupations with water, music, and with the dynamic are on a smaller scale and are suitable for collections in the home. thrust of organic life. Rich though it may be in English references Hopefully in bringing to your attention the quality of sculpture Morgan’s art is true to a Welsh tradition of dream and imagination.’ 9
Glyn Morgan: The Trumpets Of The Dead 1998 oil on canvas 80 x 93cms
My second painter is Claudia Williams For some years Claudia split her time between France and Wales, Born in Purley, Surrey 1933 and this is reflected in the subject matter of her paintings. She is Received a Training Scholarship to pre-eminently a figurative painter looking at life from the point of Chelsea School of Art 1950-53 view of a wife and mother, painting scenes in the home or on the Married to the Welsh landscape beach. The sea fascinates her and an enduring theme in her work is painter Gwilym Prichard. bathers. She is thrilled by everything to do with the sea, and often paintings come from earlier experiences playing on the beach as a child, or playing or watching over her own children exploring the delights of the sea shore. Sometimes humorous incidents creep into Previous purchase by CASW: the work such as a yapping dog in the background, or a self portrait ‘Washer Woman’ seen in the mirror at the hairdresser’s salon, red in face and at the watercolour purchased by Lady Anglesey in 1992 mercy of the hairdresser’s scissors.
I have met Claudia and her husband, the painter Gwilym Prichard, At one time she tended to paint very static groups of figures, several times at various galleries and exhibitions over the past few influenced by Piero della Francisca, but gradually other influences years, and we have become friends. When talking to her shortly made themselves apparent and after visiting the Chagall Museum in after I was appointed as Buyer, she mentioned that CASW had southern France, and appreciating the tremendous movement and purchased one of her watercolours, but not an oil painting. In view flow in his work, her painting changed. of Claudia’s long and distinguished career as a painter this seemed to me to be a grave omission, and I grasped the opportunity to remedy it. Claudia Williams: Drawing 1998 oil on canvas 129 x 96cms
My third painter is Phil Nicol Born in Caerphilly 1953 Cardiff College of Art 1972-6 Now lecturer in Fine Art at the University of Wales Institute, Cardiff Director of BayArt Gallery, Cardiff Bay Purchase Prize University of Glamorgan 1998 Artist’s Bursary from the Arts Council of Wales 1999 10 Gold Medal for Fine Art at the National Eisteddfod 2001 Previous purchase by CASW: ‘Make Up’ oil on panel purchased by Michael Williams in 1993
I first became really aware of Phil Nicol’s work when I attended a series of lectures on contemporary Welsh artists given in Cowbridge by the late Claire Rendall, when she showed slides of several of his paintings. I was immediately attracted to these haunting images of industrial and urban landscapes, which conveyed such a powerful sense of loneliness and even desolation. I then met Phil when he gave a lecture in the National Museum on his painting ‘Paw’, for which he had been awarded a Gold Medal at the National Eisteddfod, and which was then purchased by the Museum. I knew that Michael Williams had purchased on oil called ‘Make Up’ in 1998 but I was determined to purchase one of the larger paintings I had seen at his exhibition in the Newport Museum and Art Gallery in January 2005. I think that Hugh Adams in his brilliant survey of contemporary Welsh Art ‘Imaging Wales’ perceptively and accurately captures the distinctive characteristics of Phil’s work: ‘Phil Nicol is a painter of the Phil Nichol: Home 2004 oil on linen 152 x 183cms frozen moment, of silence, and of absence. The eeriness of Delvaux and Magritte, in which light, almost stage light, as in a proscenium- bound mise-en-scène, is of the essence. Some of his works recall the ensembles of Edward Hopper for similar reasons, but Nicol’s painting has until very recently been even more unpopulated. This has had the effect of forcing the viewer’s attention on the invisible figure which is present: the artist, and of course on the realisation of the tacit conspiracy constructed between artist and viewer.’ My fourth painter is Iwan Gwyn Parry Born in Holyhead, Anglesey 1970 Bangor Technical College 1987-89 Cardiff Institute of Higher Education (1st class degree) Chelsea School of Art (Painting MA) 1993 Gold Medal 2nd Prize National Eisteddfod 1999 Now lectures at Colleg Menai, Bangor
I became aware of Iwan’s work through the Martin Tinney Gallery where he has exhibited since 2003 in joint, summer, and Christmas exhibitions. Early in my year as Buyer I mentioned my interest in purchasing one of his paintings for CASW to Martin Tinney, and he gave me the delightful news that Iwan would be having his first solo exhibition in January 2007. Perfect timing! The North Wales coastline has been an important theme in his paintings. Iwan states that what has attracted him to the kind of landscape he paints over the last few years is the contrast between stunning natural scenery and industrial landmarks which now have their own kind of beauty. He is not interested in painting a nostalgic picture of rural Wales: what interests him is the whole landscape and he points out that this is what interested Turner too. On the morning of the opening of the exhibition in the Martin Tinney Gallery I received my copy of Galleries which contained a review of the exhibition by David Moore (my predecessor as Buyer) and which perfectly describes Iwan’s paintings. ‘...these remarkable landscapes and seascapes are a highly imaginative response to a coastal terrain familiar to the artist. Gorse burning coastal landscapes would seem to be a metaphor for the invincibility of the elements. Fire, air, earth, and water coalesce, the paintings crackling with heat. Red flames pour like lava from land and sea. A scorching gash of blood-like flame sears a dark hill flank. The land breaks up whilst fire and smoke dissipate seaward. There is a strong sense of mysticism, the paintings suffused with ethereal vapours and incandescent light...’
11
Iwan Gwyn Parry: Summer Coastline With Distant Horizon 2006 oil on canvas 76 x 101cms My fifth painter is Sarah Snazell Born in Abergavenny 1965 Died in Abergavenny 1999 Newport College of Art (foundation course) Leeds University (BA Hons and Master’s degree) Lived in Leeds and founded the Jackson Yard Artists’ Studio
Previous purchase by CASW: ‘Blind Man’s Bluff’ mixed media purchased by Dr Anne Price- Owen in 2000
This is a special purchase. As I said earlier I was always conscious that my purchases would be allocated to galleries and museums and that their requirements should be kept in mind. In a conversation with Ruth Lambert of the Museum of Modern Art in Machynlleth I asked her if she had any gaps in her collection. Without hesitation she replied: ‘Sarah Snazell’, and told me that one of her paintings was for sale in Yorkshire. I then purchased that painting and I have allocated it to MOMA: to fill that gap, and to return one of Sarah’s paintings to Wales. When Sarah died at the tragically early age of 34, Welsh Art lost a promising and talented artist. Sarah painted mainly in oil on very large canvasses, often using the Black Mountains 12 around Abergavenny as a background. She was honoured by being made a member of the Royal Cambrian Academy, the youngest ever. After her death the late Sir Kyffin Williams paid tribute to her as ’a true talent and lovely person’, and said ‘in the Academy we felt strongly that we wanted to look to the future and we saw that future in Sarah.’ If you wish to learn Sarah Snazell: Lost Words 1997 mixed media 48 x 59cms more about her I strongly recommend Anne Price-Owen’s superb article in Planet February 2000 in which she surveys Sarah’s career as an artist and analyses several of her paintings. She described her as ‘one of the most original and talented feminine figurative painters to have emerged from Wales in the past decade. Her approach is from a feminine perspective and her subject is herself mostly in a Welsh landscape. Her Welshness and her concept of Wales are nonetheless reflected in the pictures where, literally and metaphorically, they mirror her vision.’ The painting I have purchased ‘Lost Words’ is about the historic loss of the Welsh language to large parts of the population of Wales. Her grandfather could understand his Welsh hymn book, but two generations later the language had been lost. One figure in ‘Lost Words’ is gagged, denied speech, the other is speaking mountains - a symbol of place. PART II: SCULPTURES
When I was first appointed as the Buyer, I was determined to look at sculpture in Wales and to include sculptures in my purchases. One of the artists I had in mind, whose work I knew and admired, was Robert Harding. Then I learned that my predecessor, David Moore, had purchased one of his pieces for CASW in 2005, and sculpture rather receded to the back of my mind while I was chasing around Wales looking at paintings. Then halfway through my year in June 2006 I received my copy of Planet and there on page 26 was an article entitled ‘Inheritors Of The Vulcan Tradition’ by none other than Robert Harding. This reawakened my interest in sculpture, and my quest to meet sculptors and see their work dominated the second half of my year. In his article Robert surveyed the materials available to sculptors and wrote about the history and development of cast iron as part of the sculptural repertoire. He pointed out that sculptors have avoided using iron ore as a material for their work because of its intractability, preferring the materials used in building, which are more malleable wood, stone, clay, and plaster. Bronze was used by foundry men working strictly according to the designs of the artist. Wrought iron is never molten and has to be hammered and rolled into shape, not poured into moulds. I should give you a brief explanation of cast iron moulding. The cupola is a type of furnace, similar to the blast furnace in that it uses coke and air, but much smaller. It is not used for melting ore: scrap is melted instead. The ladle has to be kept hot over the exhaust coming out of the top of the cupola. When the iron is ready the soft clay plug holding the iron is knocked out this is known as tapping the cupola and the iron then flows into the ladle. Finally the iron is poured from the ladle into the pre-prepared sand moulds. This is a time of suspense for the artist wondering whether it has succeeded or not. Although all the sculptors whose work I have purchased have worked with cast iron, and have at times worked together, not all of my purchases are in that medium. I have also purchased sculptures in bronze and stone.
My first sculptor is Harvey Hood Born in Staffordshire 1946 Birmingham College of Art (Dip AD) 1965-9 Royal College of Art (MA) 1969-72 Head of Sculpture at the University of Wales Institute Cardiff 2000 Now concentrates on his own work, running the Berllanderi Sculpture Workshop near Raglan, and lecturing in Europe, North America, and India Fellow of the Royal Society of British Sculptors 13 Harvey commissioned the first two cupolas in Britain which were built at his Berllanderi Sculpture Workshop near Raglan by two American sculptors, Charles Hook and Deborah La Grasse. His first experiments with cast iron prompted Matthew Tomalin to develop iron in the Brecon Beacons, and has been investigated by other sculptors including Richard Renshaw, Dilys Jackson, and Andrew Griffiths whose work I have purchased. Harvey has been running the cast iron workshops at Berllanderi, which are attached to his home, since 1994. In moving to sand moulding and cast iron the unique materials and the techniques have given him more opportunity to exploit the process. He likes the way such a debased material gains oxygen to create such a rich red patina: in other words it is left to rust. As Robert Harding wrote, the tendency of iron to rust might worry some but to an artist such as Harvey Hood it is the soul of the material ‘the pure element of iron breathes the oxygen we breathe’. Harvey has had many exhibitions worldwide including Europe, Japan, and the USA. Landmark Wales has selected several entry points into Wales for major sculptural works with the aim of reinforcing ‘the sense of pride in our community in Wales’, and Harvey was recently one of four sculptors out of eighty shortlisted for the Landmark Wales site at the Dixton Roundabout in Monmouth.
Harvey Hood: Celtic Aura 2006 cast iron and elm 48 x 50 x 14cms My second sculptor is Matthew Tomalin Born in Kent in 1945 Sussex University (1st class honours degree) Studied jewellery at the Sir John Case College, London
For some years after leaving the Sir John Case College Matthew produced jewellery in precious metals in his own workshop. In the early 1990s he began to develop larger suspended kinetic and mobile pieces, and then experimented with cast iron. After a two month residency in America funded by a Winston Churchill Travel Fellowship, working with some leading American iron-casters, in 1999 he built his own small cupola (which incorporated the best features of some cupolas he had seen in the USA) and other equipment needed to make sand moulds and casting iron. Since then he has had regular pours at his studio near Brecon casting sculpture and a range of vessels showing his training and experience as a jeweller in their delicate designs and patterns, and continuing with the development of his mobiles. His current practice across both sculpture and craft production illustrates the versatility of the medium, in particular to be both precise and organic and to take complex pattern and texture as well as polish. Matthew is the only Welsh artist working almost exclusively in iron. Cast iron, of course, is an engineer’s material. The bright rims of vessels acknowledge this, and the bright details on these and on other pieces may suggest forms that have been cut into, or worked on to reveal what went on inside. Bright, liquid iron flowing from a furnace has an elemental appeal, but at the same time part of its appeal for Matthew is its ordinariness: it is an unpretentious everyday industrial metal, with which he tries to do things that are not quite ordinary.
(Left) Matthew Tomalin: Bowl With Fragments Series II 2006 cast iron and copper 12 x 25 x15cms
14 (Right) Rocker Series VI 2006 slivered cast iron, steel, nickel and acrylic 80 x 53 x 10cms
My third sculptor is Richard Renshaw Born and brought up in Holderness, East Yorkshire Manchester University (B.Sc. Hons in geology) 1971
At an early age in East Yorkshire Richard became intrigued by the shells and fossils in nearby gravel pits deposited by the melting glaciers of the Ice Age. When at Manchester University he was able to pursue his interest in rock climbing and mountaineering. He worked briefly as a trainee geophysicist, until he realised that a career and security were not priorities, and for the following 15 years he led a transient existence taking on a variety of labouring jobs, mostly in the construction industry, to be able to finance climbing trips to mountain ranges all over the world including Everest. When living in Cardiff he became interested in wood carving, and taught himself the techniques. After a few years he felt he needed to explore beyond the confines of traditional carving, and became interested in contemporary art. Henry Moore’s 90th birthday exhibition at the Royal Academy made a profound impression on him, and in the summer of 1993 he and his family moved to Powys to an old farmhouse near Tretower on the western side of the Black Mountains. This affords him plenty of work space, and being close to the surrounding wild life is a constant source of inspiration. Working on a larger scale in stone and iron as well as wood he is becoming increasingly interested in the interaction of sculpture and landscape. My fourth sculptor is Dilys Jackson Born in Sri Lanka Came to live in Wales where her parents had been born and brought up Slade School of Fine Art (Dip Fine Art) 1956-60 Swansea College of Art 1961/62 University of Wales (Dip Special Education) 1971/72 Open University (BA Psychology) University of Wales Institute Cardiff (MA Fine Art) 1987/88 Member of the Royal British Society of Sculptors Member of the 56 Group
Dilys was well known to me and is a member of CASW. I had visited her studio some time before when taking advantage of an open day of the artists’ studios in Cardiff Bay, and been attracted to her work. She has been engaged in casting work in bronze since 1990. She became interested in casting iron when she worked first as Artist in Residence, and then as Environmental Arts Manager, for Groundwork Bridgend Neath and Port Talbot. With members of the community she undertook various public works which were cast in iron. The Groundwork Trust was based in the restored Engine House of an old ironworks in South Wales, and her understanding and interest in the iron casting process increased as she learnt more of its history from that site. She first became involved in the whole process of mould- 15 making and casting iron at The Berllanderi Sculpture Workshops run by Harvey Hood. She attended an iron pour and later participated in an US/UK cast iron residency there.
Richard Renshaw: Perigee 2005 Ancaster limestone 49 x 48 x 21cms
Dilys Jackson: Arch Formation 1995 bronze 32 x 24 x 21cms Andrew Griffiths: Reliquary (War) 2006 cast iron 52 x 15 x 15cms My fifth sculptor is Andrew Griffiths Born in Wallasey 1956 and grew up in North Wales Performed as lead singer of a punk band Central School of Art and Design in London (BA Hons in Fine Art Sculpture) 1983-87 Foundry man at the A & A Fine Art Foundry in London 1987-94 Head of Sculpture at the West Wales School of the Arts in Carmarthen since 1994
Andrew first became interested in cast iron after helping with Matthew Tomalin’s cupola in Brecon. Shortly afterwards he saw an advertisement for a US / UK cast iron symposium at Berllanderi, and he was introduced to sand moulding and larger scale iron pouring. He says that having cast bronze for years the nature of using a cupola was very exciting to him, and the lack of historic weight to the iron and the immediacy of sand moulds was refreshing. So far he has only used CO2 sand and, after years of using the lost wax process, he feels it still seems magical in its speed and directness. Being able to use materials like bread and insulating foam and pull them out of moulds and get that sense of softness and texture in the casts is what excites him about using it. He finds casting with any metal, but especially iron, is satisfying in that it is a co-operative effort between sculptors, and ends in that moment of breaking open a mould to see what was liquid now solidified. Andrew is not only practising as a sculptor, but is passing on the skill to students as Head of Sculpture at the West Wales School of Art in Carmarthen which has a foundry, and where cast iron sculpture has been incorporated in the curriculum, the first art college in Britain to do so.
That concludes my presentation of the purchases I made for the Society in 2006. I hope you will enjoy them as much as I have enjoyed my year as Buyer, which gave me so much pleasure in travelling through Wales, looking at so many wonderful works of art, and making so many friends among the artists whose work I purchased. 16 17 CASW national Eisteddfod Purchase Prize Flintshire National Eisteddfod 2007
Showing contemporary artwork has helped us to create an open and welcoming space providing an opportunity to reflect on the past but also looking towards the future and we have received favourable comments about the prints from users. Ordinary members The prints seem to me to reflect layers of reality that can be imagined beneath the photographic surface. The trees bend in the wind and flotsam gets caught in their branches and is reflected in the water. The work has depth that invites the viewer to consider further and see something new and different at each viewing.
The artwork provides us with a lasting reminder of the wealth of cultural activity that led up to Flintshire hosting the National Eisteddfod in 2007 that now forms part of our recent history.” Nia Wyn Jones Community Librarian Mold
It is important to us in Flintshire that we are able to advocate and support the wealth of talent and innovation that is evident in Wales’ visual arts scene. We endeavour to create a platform for the arts at every level and to be able to display the work of an artist such as Tim Freeman is a privilege. We are very grateful to CASW for affording us this excellent 18 opportunity.
The artwork can be seen on permanent display at @nswers in Mold Library from Monday to Saturday during normal opening hours, please contact the library on 01352 754791 for further information.
Cashmore, Miss M Cattell, Mrs R B Chilcott, Mr A W and Mrs H Childs, Mr C G Childs, Mrs E C Chubb, Dr L V and Mrs M M Clee, Mr P W Cole, Miss J Confrey, Mr N P and Mrs D E Cooper, Miss E M J Corcoran, Mrs J D Cory, Mrs J G Cour, Mrs G I Courage, Mrs V M Cox, Rosamund Shelley Lady Craigmyle, Mrs S S Tim Freeman
(Above) Cross 56.3 x 76cms (Right) Valley 1 76 x 61.8cms Pool 1 76 x 64cms Pool 2 76 x 67.3cms 19
TIME IS A PLACE
The works themselves begin with walks, most recently in the hills surrounding Maesteg and along the Taff Trail close to my home in Cardiff.
I document this time with photographs, while trying not to isolate any particular scene or landmark. I’m more interested in collecting a series of images that attempt to capture the emotive nature of the walk. This gives me a sketchbook of images from which to work; open landscapes, shifting cloud patterns, tree formations, light on water etc. Back in the studio, images from many different walks are overlayed digitally, layer upon layer, until a new landscape presents itself. A new place is created by many other varied and older ones. The images are constantly in a state of becoming something else, a visual metaphor of the transient and ever changing nature of the world around us. In works such as Cross small objects (in this case stones) are collected, photographed, manipulated and placed in the work on a monumental scale as a symbolic representation of Man’s presence and culture throughout time, past, present and future.
Tim Freeman 20 Oriel Pen y Fan Gallery
35 Stryd Fawr/High Street ABERHONDDU/BRECON, Powys LD3 7AN Rhif ffon/Tel:01874 611102
E bost/E mail: [email protected] Gwefan/Website: www.orielpenyfangallery.co.uk
Dydd Mawrth/Tuesday - Dydd Gwener/Friday 10am - 5pm Bringing you a Dydd Sadwrn/Saturday 10am - 4pm selection of the finest Perchennog/Proprietor: Ann Mathias art from Wales 21 VICTORIA FEARN GALLERY
Anne Bosset 30 August - 18 October 2008 open Monday - Saturday 9.30am - 5.30pm www.victoriafearngallery.co.uk 6b Heol y Deri, Rhiwbina, Cardiff CF14 6HF 029 2052 0884 ORIEL Q –QUEENS HALL GALLERY Narberth Pembrokeshire SA7 7AS Oriel Q -The Queens Hall Gallery is light and airy with three exhibition spaces on the top floor (lift available) showing contemporary art , paintings, sculpture, ceramics and photographs, with shows changing monthly. Poetry and books from Seren are on sale, and there are regular talks by artists and authors. Membership of the Friends of the Gallery offers 10% discount on purchases, monthly invitations and a quarterly newsletter. Open 10 am – 5pm Wednesdays – Saturday. Arrangements outside these times ,contact Lynne Crompton tel.01834 869 454 [email protected] See web for previous and future exhibitions www.orielqueenshallgallery.org.uk 22 26 Wellfield Road, Cardiff CF24 3PB Tel: 029 20 480088 23 Fax: 029 20 499363
Travel Organiser for Contemporary Art Society for Wales e2042 KTS Wales Art Society Ad 28/4/08 11:04 Page 1
24 Master Peace…
…of mind for you and your business.
HEAD OFFICE REGIONAL OFFICE FOR RCT, HEADS OF THE VALLEYS AND MID WALES The Counting House Celtic Gateway 18a Whitcombe Street Cardiff CF11 0SN Aberdare CF44 7AU t : 029 2082 9000 t : 01685 872 028
e : [email protected] BUDDSODDWR MEWN POBL w : ktsowensthomas.com INVESTOR IN PEOPLE LIST OF MEMBERS (in alphabetical order) AS AT 31st DECEMBER 2007
LIFE MEMBERS Asscher, Sir William Beechey, Mrs M E Elias, Mrs J E James, Mr G I and Mrs J E Baker, Miss J E Bell, Miss C T Elias, Mrs R M James, Mrs E Beck, Dr P and Mrs L Brayley, Miss G D Elwyn, Prof G James, Ms N Cleaver, Mrs M Brazier, Mrs C M Entwistle, Dr D M and James, Prof D M and Dr M E Crane, Dr J E Brett, Miss P Dr M R Jenkins, Mrs E G Davies, Dr and Mrs D K L Brown, Mr R and Evans, Dr D A Jenkins, Mrs S P Davies, Mr C J and Mrs E Blayney, Mr M Evans, Dr D E Jessop, Dr J D and Mrs A M Davies, Mr D and Mrs P Burton, Dr C W and Evans, Dr P R Jickells, Mrs N Davies, Prof and Mrs A W Mrs R A Evans, Mr D J John-Upton, Mrs A Dickens, Mr H Capel, Mrs F C I Evans, Mr J M and Mrs M A Jones, Dr T L and Mrs I Edwards, Miss V Carpenter, Mr T R Evans, Mr J W and Mrs A Jones, Miss M D H Evans, Dr D M D and Mrs E Carter, Mr B and Mrs E Evans, Mr R A Jones, Mr H O and Mrs P M Gibbs, Dr J N and Mrs E Cartwright, Mrs M Evans, Mr T D and Mrs D E Jones, Mr S O and Mrs M Gibbs, Mr and Mrs S Cashmore, Miss M Evans, Mr W Lindsay, DL Jones, Mrs E A Gibbs, Mr W M Cattell, Mrs R B Evans, Mrs M D Jones, Mrs V B Gooding, Mr and Mrs A J Chilcott, Mr A W and Mrs H Evans, Mrs S E Jones, Ms M O Griffiths, Mrs J Childs, Mr C G Evans, Mrs S M Jones, Miss R M Griffiths, Mrs M K Childs, Mrs E C Evans, Prof K T Kellam, Dr A M P and Mrs M Henderson, Prof A Chubb, Dr L V and Mrs M M Eyres, Mrs E J, MBE Kemp, Miss M Hibbard, Prof B and Dr E Clee, Mr P W Forster, Mr R A and Mrs C E Kempston, Mr W J A and Jones, Dr M B Cole, Miss J Foy, Dr G and Dr J M Mrs I H Jones, Mr H G and Mrs A E Confrey, Mr N P and Gagg, Mr R D and Mrs J V Kerrison, Mrs A Jones, Mrs G Mrs D E Gatehouse, Miss M Knight, Mr J K Jones, Mrs M Cooper, Miss E M J George, Ms E Lambert, Cpt R R and Mrs R Kernick, Miss K P Corcoran, Mrs J D Giardelli, Mr A and Mrs B Lazarus, Prof J H Lancaster, Mrs V M Cory, Mrs J G Goodridge, Mr P F and Lehtovirta, Mrs G M Mansfield, Prof and Mrs R Cour, Mrs G I Brown, Ms M A Lewis, The Hon A T Pritchard, Mr Matthew Courage, Mrs V M Greensmith, Mrs S L Lewis, The Hon R W 25 Rees-Matthews, Mrs R M Cox, Lady Rosamund Shelley Greenwood, Col GCA and and Mrs J Roberts, Mr O D Craigmyle, Mrs S S Mrs Lloyd, Mrs G F Salter, Miss V A Cramp, Mr J D and Griffin, Mr M and Mrs M E Lockyer, Dr P Stevens, Mr T J Mrs E Griffith, Dr I P and Mrs V E Looker, Mr L H Thomas, Miss E M Crouch, Mr B I and Mrs E W Griffiths, Dr M C Lovell, Mrs M Thomas, Mr B and Mrs M Curley, Mrs M C Griffiths, Mr E M and Manning, Prof W H and Thomas, Mr T and Mrs M Curran, Mr P D, QC and Mrs A L Mrs M O Thompson, Mrs T Mrs M T A Griffiths, Mrs A Markham, Mrs R H Tinney, Mr Martin Curtis, Prof T and Mrs M Griffiths, Mrs B J Marshall, Prof R J Wakelin, Dr A P and Davey, Mrs E M Haines, Dr E, PhD McDowall Mr N and Mrs F Hicks- Jenkins Mr C Davidson, Dr J M Haines, Miss A C Melling, Miss A Williams, Mrs M Davies, Dr D R and Mrs P Hall, Miss M Moore, Cdr Donald, MBE Yarr, Dr N T Davies, Dr J S Hamer, Mr N J Moore, Mr D C Davies, Dr P M and Mrs M D Hampson, Mr L T and Mrs D Morgan, Mr J K Davies, Miss E M, OBE Handy, Miss M E Morgan, Mr N R S Davies, Miss M E Llewellyn Harding, Mr R J B and Dr S J Morgan, Mrs R M ORDINARY Davies, Mr A J Harries, Mrs P M Morgans, Mr S G Davies, Mr D G and Mrs S E Hart, Mr A J and Mrs J C Morison, Mrs S J Aberg, Mr F A and Mrs K Davies, Mr H Hart, Mr R L G Morris, Miss A L Aeron-Thomas, Mr P Davies, Mr I and Mrs N D Hawksley, Mrs R J P, ARCA Napier, Dr J A and Mrs A S Alam, Mrs M C Davies, Mr R and Mrs S L Hayes, Prof T M and Mrs I M Neal, Mr S J G Allan, Mr L D and Mrs E Davies, Mr T G and Helsby, Mrs D M Neill, Mrs C M Allan, Mrs V M Mrs M M Hession, Mrs H N Ng, Dr W S and Mrs M Alston, Mr D I Davies, Mrs G P Hockley, Mr H J and Mrs B O’Callaghan, Dr U Ambegaokar, Dr U Davies, Mrs M T Hodgson, Mrs B H O’Connell, Miss G Andrews, Mr D H and Davies, Ms Marion Hopkins, Mrs I L O’Keeffe, Mrs M Mrs D A Dawson, Mr C R and Mrs B Howe, Mrs K O’Sullivan, Prof P and Mrs D Armfield, Miss D M, RA Devlin, Mrs A M Howell, Mr G E R Owen, Cllr M Kelly Arthur, Mrs E Dolby, Mr A E and Mrs B J Hughes, Mrs H J Oxland, Mrs J G M Bala, Mr Iwan Dover, Mr E and Mrs M Hughes, Mrs I S Paisey, Mrs R M Bancroft, Mrs B R H Drake, Cllr M E Iorwerth, Mr H and Mrs A Payne, Mrs K A Baxter-Wright, Mr T R and Draper, Mrs J Jackson, Ms D M Pepper, Mr M Mrs A R Edwards, Mrs M E R James, Cllr H J and Mrs R I Perkins, Mrs M M Phillips, Dr S Saer, Mr R and Mrs A Thomas, Mrs M M Yates, Mrs I Phillips, Mr R L and Mrs G C Salisbury, Mr A and Dr J Thomas, Mrs M V Yeomans, Mr G Pill, Lady R M Scourfield Lewis, Mr A Thomas, Ms T Popper, Dr H and Mrs M M J and Mrs C Thompson, Dr E N Price, Mr R J and Mrs S Short, Mr D R C and Mrs E J Tinker, Mrs D T Price-Owen, Dr A L Sinnott, Mr K F and Mrs S M Tress, Mr D H Pringle, Mr N and Mrs E Smith, Dr P M and Vaughan, Miss A L Pryce, Dr I G and Mrs B M Olafsdottir, Dr R Vickers, Mrs A H Pugh, Mrs R A Sowden, Mr J C and Mrs E Vining, Mrs C G Pyke, Mrs M C Sparkes, Mrs J Walcot, Prof P and Mrs J M E Radcliffe, Mrs B D Spiller, Mr A J and Mrs B E Walker, Miss A, MBE Rees, Dr E H, JP Spottiswoode, Mr J N Ward, Mrs M Rees, Dr J I H and Mrs J E and Mrs M M Watkins, Dr W R and Dr E G Rees, Mr B H and Mrs V Spriggs, Mr P H Webster, Mr A and Mrs J Rees, Mr B I and Mrs S E Spurlock. Mr K E and Mrs K Williams, Dr D M J and Rees, Mr J E L Stafford, Mrs D Dr M V Rees, Mr W L and Starkey, Ms N Williams, Miss G E M Pugh, Mrs E J Stevenson, Mr P M Williams, Mr C F and Roberts, Mr J K and Mrs N E Steyn, Ms Z Buffin, Mr N Roberts, Prof B M and Stone, Mr G and Mrs A M Williams, Mrs M Mrs B M Sullivan, Mr P Williams, Ms J A Robertson, Mr N R E and Swaffield, Mr J A and Mrs D Williams, Ms V M and Mrs M W Taylor, Col R A and Mrs RM Muller, Ms R S Rocker, Mrs T R Tenby Museum & Art Gallery Williams. Mr A L and Mrs M Roe, Mr D M and Mrs A Tester, Mrs P Wilson, Mr F J and Mrs D Roese, Mrs C B M Thomas, Miss A J, JP Wolfle, Dr J and Mrs E E Rosen, Prof M and Mrs S Thomas, Mrs D G E Yapp, Mr C D and Mrs M H
26 NEWPORT ART GALLERY
NEWPORT MUSEUM & ART GALLERY John Frost Sq., Newport, S.Wales NP20 1PA Tel: 01633 656656
THE MUSEUM, established in 1888, houses fascinating displays, depicting Local History, Natural Sciences and Archaeology, including important material from Roman Caerwent, and the Chartist Uprising of 1839.
THE ART GALLERY presents an imaginative and stimulating programme of exhibitions, and houses collections of historic and contemporary British paintings together with ceramics and sculpture. Of particular note are the John Wait Teapot Collection and the FOX Collection of decorative art.
Open Monday - Saturday ADMISSION FREE
Café, Museum Shop and Tourist Information Centre ‘The Picture Wall’ by Thomas Rathmell 27 DATES FOR YOUR DIARY August – November 2008
Saturday August 2nd Lisvane Lunch, Professor Peter Walcot Rome of the Caesars
August 2nd - 9th National Eisteddfod of Wales, Cardiff CASW Purchase Prize
September 8th – 14th Study Visit to Rome
Tuesday September 16th Evening Lecture Series Sue Williams - Artist Small Talk, high heels:from Artes Mundi to Africa
Saturday October 11th Visit to the home of Dr Anne Price-Owen Art in a Home
Tuesday October 14th Evening Lecture Series Paul Granjon - Artist Art as Playful machines
November Day visit to London for Bacon and Rothko Retrospectives (date to be arranged)
28 Saturday November 8th Lisvane Lunch, Bernard van-Lierop Beauty in art and nature - could there be animal artists?
Tuesday November 25th Evening Lecture Series Phillip Sutton RA in conversation with Professor Tony Curtis
Evening Lecture Series are held at 7.30pm in the School of Architecture, King Edward VII Avenue, Cardiff Offering a friendly, professional and approachable service.
The gallery opened in November 2004, in the cultural centre of Cardiff, to provide a forum for established and new artists to show and sell their work. Exhibits and exhibitions cover a wide range of contemporary art including, painting, sculpture, ceramics, glass, photography as well as prints. Artists represented at the gallery include Gareth Parry, Wilf Roberts, Artists represented at the gallery include Gareth Parry, Wilf Roberts, Stephen John Owen, Nathan Ford, Liam O’Connor, David Lloyd Griffith, Stephen John Owen, Nathan Ford, Liam O’Connor, David Lloyd Ivor Davies, Warren Williams, Brendan Burns, Martyn Jones, Griffith, Ivor Davies, Warren Williams, Brendan Burns, Martyn SueJones, Williams, Sue Williams, Mark Samuel, Mark Ross Samuel, Loveday, Ross Lucy Loveday, Dickins, LucyJames Dickins, MacKeown,James MacKeown, Robert McPartland,Robert McPartla Eric Malthouse,nd, Eric Malthouse, Bev Howe, GlynBev Howe, Griffiths,Phil Nicol andBert Isaac,many others.Dilys Jackson, Michael Monaghan and many others.
Kooywood Gallery, 8 Museum Place, Cathays Park, Cardiff, CF10 3BG Tel 029 2023 5093. web: www.kooywoodgallery.com mail: [email protected] Open: Tuesday to Saturday 11.30am to 6.00pm Sunday 11.30am to 4.00pm
All works in the gallery can be purchased through the Kooywood Gallery Collector Plan, offering an interest free payment plan. W W W . A R T W A L E S . C O M
20th CENTURY AND CONTEMPORARY ART Evelyn Williams ‘Man Carrying his Wife No.2’ oil on canvas 1995 152 x 122cm oil on canvas No.2’ Wife ‘Man Carrying his Williams Evelyn
The gallery exhibits work by all the important figures in 20th century Welsh art, and the very best of the current generation of artists.
Stock includes work by Gwen John, Augustus John, James Dickson Innes, Edward Morland Lewis, David Jones, Sir Cedric Morris, Ceri Richards, Graham Sutherland, John Piper, Josef Herman, John Elwyn, Jack Jones, Ernest Zobole, Peter Prendergast, Sir Kyffin Williams, Harry Holland, Kevin Sinnott, Gwilym Prichard, Shani Rhys James, Claudia Williams, Charles Burton, Mary Lloyd Jones, Sally Moore, John Macfarlane, John Knapp- Fisher, Keith Bowen, Neil Canning, Sarah Carvell, Mike Briscoe, Mary Griffiths, Vivienne Williams, Clive Hicks-Jenkins, Sigrid Muller, James Donovan, Dick Chappell, Dewi Tudur, Iwan Gwyn Parry, Darren Hughes, Sarah Thwaites, Emrys Williams, Stephen Young and others.
Exhibitions for Autumn 2008 Darren Hughes Evelyn Williams John Knapp-Fisher Charles Burton / James Donovan
Open: Monday - Friday, 10 - 6 and Saturday 10 - 5 M A R T I N T I N N E Y G A L L E R Y 18 ST. ANDREW’S CRESCENT CARDIFF CF10 3DD Tel: 029 20641411 [email protected]
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