MAXWELL DOIG front cover Lord’s Mill in Winter (no. 7)  1 Sandstone Barn MAXWELL DOIG acrylic on canvas on panel 1 97 x 72 cms 38 x 28 ⁄2 ins 2020

www.messums.com 12 Bury Street, St James’s, London SW1Y 6AB Telephone: +44 (0)20 7287 4448 Foreword

It’s always interesting to watch the way an artist develops and grows. And it’s especially interesting seeing one who was once

3 Pelvis, 1989 so preoccupied with the human form that as a student he studied monotype human anatomy move away from painting figures to painting 1 79 x 61 cms 31 ⁄8 x 24 ins buildings instead. True, his central concern with the figure had always been the architecture of its form, with all its various positions and angles, rather than with the individual personality of the model (he was certainly never a portraitist). Yet in a way Maxwell Doig is still painting figures: in his attention to their character and individual detail, his buildings and boats and abandoned objects seem almost like individuals, in the same way Paul Nash once described trees as being like people to him, each with their own particular personality. Perhaps, then, painting people was Doig’s route to now painting the buildings he records in his distinctive, inimitable manner. Certainly he himself feels that he has brought the awareness of balance and poise gained from his early anatomical studies whilst a post-graduate student at the Slade School of Art into these new works that have preoccupied him for the last six years. Indeed, as good as his paintings of people were, in buildings he has perhaps found his true subject. As he acknowledges, he has always had a fascination with them, and he is only surprised that he didn’t start painting them sooner. It wasn’t until he was approaching his fifties that he first saw them as an appropriate subject for his art. With the growing feeling that he had taken the figure as far as he could, he 2 Church with Holly Tree, Fylingthorpe 4 Stilts I, 1989 acrylic on canvas on panel monotype was gradually losing interest in painting people. It was then that he 1 1 7 82.5 x 61 cms 32 ⁄2 x 24 ins 74 x 53 cms 29 ⁄8 x 20 ⁄8 ins was struck by the idea of painting buildings instead. He had always been interested in the shape of a suddenly glimpsed gable end, or the decayed surface and texture of the 5 Twilight Gable End with Trees derelict factories that surrounded him in the town where he grew monotype on Velin Arches cream paper 1 38.1 x 29.2 cms 15 x 11 ⁄2 ins up and still lives – Huddersfield, in West Yorkshire. The turning point came in 2014, however, with a derelict house not far from home that particularly interested him. ‘The building itself I had always liked and photographed for years,’ he remarks. ‘The transition moment happened in the studio, when I realised I could use the surfaces and textures I normally used in the background for figures, as the central subject.’ This building became the large painting Gable End – the first of a series of studies of one side of this house viewed at different times of day and in subtly different lights. ‘It was,’ he acknowledges, ‘a turning point for me.’ And it all came so easily. When he started painting buildings he found it all perfectly natural – like he had always been doing it. So much so that it surprised him that he hadn’t started doing it much earlier. They were and still are often the sort of places passersby simply overlook. One of the wonders of this part of Yorkshire is the sudden transition from urban to rural: the industrial revolution kicked

6 Yore Mill at Aysgarth, North Yorkshire  7 Lord’s Mill in Winter monotype on Velin Arches cream paper acrylic on canvas on panel 1 1 38.1 x 29.2 cms 15 x 11 ⁄2 ins 122 x 97.8 cms 48 x 38 ⁄2 ins off around here partly because of the easy access to water power, and large buildings can be stumbled upon in unexpected locations. ‘They’re so big many people just seem to overlook them,’ Doig remarks of the old mills that dot the landscape. ‘With the exception of Peter Brook in the 1950s and ‘60s, nobody paints them.’ One that features strongly in this exhibition is Lord’s Mill, a Grade II listed building in the village of Honley, not far from Huddersfield. Built in the early 1790s and subsequently expanded, it was in use until at least the 1950s, when its roof was destroyed by fire. It is now abandoned – boarded up and graffitied. ‘It’s like I’m the only person  8 Abandoned House above Marsden, 2 who’s really looked at it,’ he observes. ‘It’s nearly as old as America acrylic on canvas on panel – it’s amazing! But it just goes unnoticed – the location’s fantastic, in 58.4 x 81.3 cms 23 x 32 ins a wooded valley, really romantic. It’s like a Bruegel, or one of those early painters from Ghent – valley, wood, river, rolling hillsides.’  9 Lord’s Mill with Fence in Snow acrylic on canvas on panel 1 101.6 x 75 cms 40 x 29 ⁄2 ins Certainly when seen like this they are the Modern Romantic’s equivalent of Tintern Abbey, the Welsh monastic ruins captured so famously by J.M.W. Turner in the 1790s, just when buildings like Lord’s Mill were going up (built, like Tintern, on the wealth generated by wool). And when seen up close there’s plenty there too to attract the attention of the discerning artist: old roof lines, patches of plaster, mould and decay, the sandstone of the region carrying its age interestingly, telling the stories of these places, their history, the records of past industry and past lives. These stones certainly speak.

 10 Mill Roof 2  11 Newsome Mill, March 2017 monotype on Velin acrylic on canvas on panel Arches cream paper 66 x 91.5 cms 26 x 36 ins 38.1 x 27.9 cms 15 x 11 ins

12 Barn Wall Palimpsest acrylic on canvas on panel 61 x 83.7 cms 24 x 33 ins Doig makes a great deal of the sudden juxtaposition – so frequent in this part of Yorkshire – between the urban and the rural. Seeing his work as ‘essentially romantic’, he does not look at these buildings or the detritus of heavy industry as an intrusion upon the landscape, but rather as partners and complements to it. The Colne Valley was another of West Yorkshire’s centre of industrial activity. But as Doig remarks of the scrapheap he discovered there that is also the subject of a number of paintings and prints in this show, ‘it fits really nicely with the landscape – big chunks of heavy machinery, the abstract, geometric shapes.’ The same is true of the boats he saw on the Isles of Arran and Mull during a trip to Western Scotland in 2019: they fit neatly in to their similarly rugged landscape, one that has been the place of human habitation and activity for centuries. They are like the past life of the mills and the scrapheaps after snow – a jigsaw of pattern that reflects poignantly on former glories. 13 Winter Scrapyard in Snow monotype on Velin Arches cream paper 3 1 40 x 29.2 cms 15 ⁄4 x 11 ⁄2 ins

14 Yorkshire Cobble acrylic on canvas on panel 15 Steamroller with Snow and Trees 63.5 x 90.2 cms acrylic on canvas on panel 1 1 25 x 35 ⁄2 ins 75 x 96.5 cms 29 ⁄2 x 38 ins 16 Salen Fishing Boats with Rising Tide, Isle of Mull. acrylic on canvas on panel 1 88.9 x 67.3 cms 35 x 26 ⁄2 ins His feeling that he was doing something worthwhile in this new direction was confirmed a few years ago when Doig discovered what he calls ‘the subtle, quiet’ work of the English painter Algernon Newton (1880–1968). To my mind, Newton was one of the finest RA’s of the twentieth century, his oddly brooding and slightly surreal paintings of urban canals, suburban houses and bare English countryside not having quite the attention they deserve – though he is highly collectable. ‘There’s a particular stillness and quality of light which resonates with me in both his landscapes and architectural works,’ Doig explains. He was particularly struck by Newton’s observation that ‘[t]here is beauty to be found in everything, you only have to search for it; a gasometer can make as beautiful a picture as a palace on the Grand Canal, Venice. It simply depends on the artist’s vision.’* This confirmed to him that he was on the right track; he now sees his purpose as capturing the grandeur of these overlooked and 17 Pennine Hillside with Church Spire seemingly ordinary places before they’re pulled down. monotype on Velin Arches cream paper 1 38.1 x 29.2 cms 15 x 11 ⁄2 ins *Newton’s remark echoes a similar observation made by his contemporary, the poet Edward Thomas, who, unlike Newton, was not to survive active service in the First World War: ‘Anything, however small, may make a poem; nothing, however great, is certain to.’

 18 Hade Edge House, May acrylic on canvas on panel 66 x 91.4 cms 26 x 36 ins

19 Gasometer II acrylic on canvas on panel 3 122 x 90 cms 48 x 35 ⁄8 ins One noticeable development in Doig’s work since his previous exhibition at Messum’s in 2018 is his widening viewpoint. These recent paintings often incorporate more of the landscape, as the artist has stepped back from buildings that previously almost completely filled the frame and in which the heavily textured surface of stone and plaster could be read almost as landscapes in themselves. This widening of view in part reflects his increasing confidence and ever growing technical ability as an artist. But he has also become even more interested in atmosphere, ‘in doing more with light and mood – pushing it all a bit further,’ as he says. This concern with varying and changing impressions and effects of light and ambiance is seen most clearly in the series of paintings of the early nineteenth-century lighthouse at Flamborough Head, not far from Bridlington, on the North Yorkshire coast. This is a place he has known since first making holiday visits there as a child, and his new works advance on the paintings of the same building exhibited in 2018. As the artist explains,

I wanted to explore it further by painting it at different times of the day and with different weather conditions. For example, Early Morning at Flamborough Head Lighthouse (dark blue sky, bright white lighthouse) is a view from the east at 6 am, summertime. Sea Fret at Flamborough Head Lighthouse (pale, misty image of lighthouse) was painted in winter, whilst Late Afternoon at Flamborough Head Lighthouse was painted in spring ... I love to paint white buildings, especially lighthouses – the way they reflect light, especially when the sky is darker than the lighthouse. It’s an exciting contrast to the sandstone buildings of my native West Yorkshire, which tend to absorb light. Alongside this, the coastal weather at Flamborough is constantly changing. The position of the lighthouse and shape of the landscape means the viewpoints and angles are many.

20 Lighthouse with Morning Shadows, Flamborough Head I acrylic on canvas on panel 1 74.9 x 61 cms 29 ⁄2 x 24 ins With his insatiable attention to detail and his fascination with light and atmosphere, we are reminded of another West Yorkshire artist, the Victorian painter John Atkinson Grimshaw (1836–1893). Though he particularly loved to paint by night, the parallel with Doig is most notable in the latter’s monotypes. In these one-off works such as Twilight Gable End with Trees and Winter Scrapyard in Snow Doig skillfully uses black and white to convey a deep sense of mood. They are a fantastic compliment to his colour work. Doig is certainly not standing still. With his growing confidence together with his keenness both to continue exploring his own back yard whilst simultaneously widening his travels further afield, it is exciting to see what he will do next. David Boyd Haycock Author and curator

21 Sea Fret at Flamborough Head Lighthouse acrylic on canvas on panel 1 80 x 61 cms 31 ⁄2 x 24 ins 22 Lighthouse with Morning Shadows, Flamborough Head II acrylic on canvas on panel 76.2 x 61 cms 30 x 24 ins 23 Early Morning, Flamborough Head Lighthouse II acrylic on canvas on panel 1 61 x 82.5 cms 24 x 32 ⁄2 ins 24 Late Afternoon, Flamborough Head Lighthouse acrylic on canvas on panel 1 61 x 82.5 cms 24 x 32 ⁄2 ins 25 Pennine Farmhouse, Holme 26 Old House Façade near Rawtenstall acrylic on canvas on panel acrylic on canvas on panel 1 63.5 x 86.4 cms 25 x 34 ins 82.5 x 61 cms 32 ⁄2 x 24 ins 27 Gable End, October 28 Moorland Gable End acrylic on canvas on panel acrylic on canvas on panel 1 101.6 x 74.9 cms 40 x 29 ⁄2 ins 66 x 86 cms 26 x 34 ins 29 Rusting Steamroller 30 Steamroller with Snow acrylic on canvas on panel acrylic on canvas on panel 1 1 53.3 x 75 cms 21 x 29 ⁄2 ins 82.5 x 61 cms 32 ⁄2 x 24 ins 31 Winter Gate House 32 Clock Tower, Luddenden Foot acrylic on canvas on panel acrylic on canvas on panel 1 1 1 100.3 x 72.4 cms 39 ⁄2 x 28 ⁄2 ins 91.5 x 67.3 cms 36 x 26 ⁄2 ins 33 Old Mill Wall, Stalybridge acrylic on canvas on panel 1 77.5 x 61 cms 30 ⁄2 x 24 ins 34 Mill Wall Palimpsest acrylic on canvas on panel 71 x 101.6 cms 28 x 40 ins 35 Cellars Clough Mill, Marsden II acrylic on canvas on panel 86.4 x 55.9 cms 34 x 22 ins 36 Cellars Clough Mill, Marsden acrylic on canvas on panel 1 75 x 101.5 cms 29 ⁄2 x 40 ins 37 Fishing Harbour Wall, Brancaster 38 Palimpsest Wall with Trees acrylic on canvas on panel acrylic on canvas on panel 1 74.3 x 61 cms 29 ⁄4 x 24 ins 63.5 x 73.7 cms 25 x 29 ins 39 Moorland House in Winter acrylic on canvas on panel 121.9 x 94 cms 48 x 37 ins  40 Winter Gable End above Heptonstall monotype on Velin Arches cream paper 27.9 x 38.1 cms 11 x 15 ins

 41 Moorland Gable End with Roof Beam acrylic on canvas on panel 1 1 74.9 x 87.6 cms 29 ⁄2 x 34 ⁄2 ins

 42 Storehouse, Linthwaite acrylic on canvas on panel 1 101.6 x 74.9 cms 40 x 29 ⁄2 ins 43 Winter Pennine Farm acrylic on canvas on panel 1 61 x 82.5 cms 24 x 32 ⁄2 ins 44 Moorland Gate With Snow 45 Winter Gate With Trees acrylic on canvas on panel acrylic on canvas on panel 1 1 54.6 x 73.6 cms 21 ⁄2 x 29 ins 69.8 x 101.6 cms 27 ⁄2 x 40 ins  46 Abandoned Farm, North Pennines, Late Spring acrylic on canvas on panel 53.3 x 73.7 cms 21 x 29 ins

 47 Abandoned Farm with Drystone Wall, North Pennines acrylic on canvas on panel 1 77.5 x 61 cms 30 ⁄2 x 24 ins 48 Salen Fishing Boats, Isle of Mull 49 Upturned Rowing Boat at Machrie, Isle of Arran acrylic on canvas on panel acrylic on canvas on panel 71.1 x 61 cms 28 x 24 ins 61 x 86.4 cms 24 x 34 ins  50 Loch Lighthouse at Ardrishaig  51 Palnackie Harbour near Solway Firth acrylic on canvas on panel acrylic on canvas on panel 1 1 1 86.4 x 64.7 cms 34 x 25 ⁄2 ins 100.3 x 74.9 cms 39 ⁄2 x 29 ⁄2 ins 52 Yorkshire Coble, Port Mulgrave I, 2015 53 Abandoned Croft, Isle of Mull acrylic on Velin Arches cream paper acrylic on canvas on panel 7 3 1 53 x 73 cms 20 ⁄8 x 28 ⁄4 ins 64.7 x 86.4 cms 25 ⁄2 x 34 ins 54 Southwold Lighthouse, Early Morning I monotype on Velin Arches cream paper 1 40.6 x 29.2 cms 16 x 11 ⁄2 ins

56 Boats at Southwold Harbour monotype on Velin Arches cream paper 1 55 Southwold Lighthouse, Early Morning II 29.2 x 38.1 cms 11 ⁄2 x 15 ins monotype on Velin Arches cream paper 1 40.6 x 29.2 cms 16 x 11 ⁄2 ins MAXWELL DOIG

1993 Moves to Slaithwaite, near 2017 First solo exhibition at Messum’s,Cork Selected Group Exhibitions 2007 ‘Form London’, Olympia, Albemarle 1995 ‘Young Masters’ Group Exhibition, Huddersfield, sets up first studio. Street London. 2020 Atelier January 2020, The Studio, Gallery, London Mercer Gallery, Harrogate 1995 Completes ‘Self-portrait drawing textile Second solo exhibition at Huddersfield Messum’s, Marlow. 2007 ‘Arte Fiera’ Galleria Forni, Bologna 1995 ‘Geneva Art Fair’, Hart Gallery, worker’, first aerial view. Shortlisted for Art Gallery, entitled “A Sense of Place”. 2019 The Studio, August 2019, Messum’s, 2006 ‘Human Art’, Lucio Barbera, Sicily Switzerland Villiers David prize. 2018 Second solo exhibition at Messum’s, Marlow. 2006 ‘10th Anniversary Exhibition’, Albemarle 1994 Two Man Exhibition, Mercer Gallery, 1997 Touring exhibition, Wakefield, Cork Street, London. 2018 The Art of Giving, Messum’s, Cork Gallery, London Harrogate Harrogate, Salford, Huddersfield. Wins 2019 Co-curated David Blackburn exhibition Street, London. 2005 ‘Arte Fiera’ Galleria Forni, Bologna 1994 Group Exhibition, Hart Gallery, London Villiers David Prize. Travels extensively at Huddersfield Art Gallery. Travels to 2018 Elemental North, Messum’s, 2005 ‘Nuovo Figurazione Britannica’, Galleria 1994 ‘Art ‘94’, London Art Fair through USA (East and West Coast), the Western Isles. London. Forni, Bologna 1993 Group Exhibition, Terrace Australia and Mexico, visiting 2020 First solo exhibition at David Messum’s, 2018 New Light Prize exhibition, 2005 ‘What is Realism’, Albemarle Gallery, 1993 Manchester Art Fair anthropology museum in Mexico City St James’s, London Huddersfield Art Gallery. London 1993 ‘Laing’ Landscape Exhibition, Mall and travelling to the Gulf of Mexico. 2017 New Light Prize exhibition, Bowes 2005 ‘Summer Exhibition’, Eleanor Ettinger Galleries, London and Mercer Gallery, 1998-1999 Completes textural aerial views Solo Exhibitions Museum. Gallery, New York Harrogate inspired by travels. Villiers David Prize 2020 Messum’s, St James’s, London. 2016 New Light Prize Open Exhibition, 2005 ‘British Figurative Art’ Two Man Show, 1992 ‘Edinburgh Festival, Hart Gallery exhibition, Hart Gallery. 2018 Messum’s, Cork Street, London. Mercer Gallery Harrogate Eleanor Ettinger Gallery, New York 1992 ‘Art ‘93’, London Art Fair 1999-2001 Part-time Lecturer at Leeds 2017/18 “A sense of place” Huddersfield Art 2015 New Light Prize Open Exhibition, 2005 Holman and Fenwick, London 1991 ‘The Green Book Exhibition’, Dean Metropolitan University. Gallery. Bowes Museum, County Durham 2004 ‘London Art Fair’, Business Design Clough, Halifax 2002 Commences Association with the 2017 Messum’s, Cork Street, London. 2015 Grand Summer Exhibition, Albermarle Centre, London 1991 ‘The Sixth International Art Fair’, Albemarle Gallery. 2015 Figures in Solitude, Albermarle Gallery, Gallery, London 2003 ‘artLONDON’, Burton’s Court, Olympia, London 2002 First solo exhibition at Albemarle 2014 Contemporary Realism, Collective London 1991 Gulascy Gallery, Budapest Chronology London Gallery, London. 2014 108 Fine Art, Harrogate Exhibition, Albermarle Gallery, London 2003 ‘Summer Exhibition’, Eleanor Ettinger 1991 ‘Images of the Yorkshire Landscape’, 1966 Born in Huddersfield, West Yorkshire, 2003 Travels to Belgium, visiting museums 2013 Jersey Arts Centre, St Helier, Jersey 2013 Collective Exhibition, Albermarle Gallery, New York Civic Hall, Leeds UK. in Bruges, Brussels and Ghent, seeing 2012 Albemarle Gallery, London. Gallery, London 2003 ‘International Sumer Show’, Albemarle 1991 ‘Post-graduate Exhibition’, Slade School 1982-1984 Dewsbury and Batley Art College. works by Van Eyck and Permecke. 2012 Early Works from the David Blackburn 2013 Collective Exhibition, Albermarle Gallery, London of Art 1984 Meets David Blackburn, who becomes 2005 First exhibitions in New York and Collection at 108 Fine Art, Harrogate Gallery, London 2003 ‘Villiers David Prize-winners’, Ten Years’ 1990 Strang Print Room, University of a mentor. Bologna in association with Albemarle 2008 The Lowry Hotel Manchester 2012 Nude Collective Exhibtion, Albermarle Christies, London London 1985-1988 Manchester School of Art; Gallery. 2008 Albemarle Gallery, London Gallery, London 2003 ‘New Year, New Work’, Albemarle 1990 East West Gallery, London awarded BA (Hons) in Fine Art. 2007 Exhibits in Milan and Bologna. 2007 Studio Forni, Milan 2012 Dive, Art and Water Exhibition, Mercer Gallery, London 1990 Intaglio Gallery, London 1987 Completes first boat drawings, which Regular visits to East coast near 2006 Albemarle Gallery, London Gallery, Harrogate 2000 ‘Blake’s Heaven’ Tribute Exhibition to 1990 ‘Bankside Open’ Exhibition, London become an ongoing series. Whitby. 2004 Albemarle Gallery, London 2012 Aqueous Collective Exhibition, William Blake, Scholar Fine Art 1989 ‘Bankside Open’ Exhibition, London 1988-1990 Slade School of Art; Postgraduate 2008 Solo exhibition, Albemarle Gallery. 2002 Albemarle Gallery, London Albermarle Gallery, London 2000 Group Exhibition, Riverhouse Gallery, 1988 ‘One Hundred and Fifty Years of Art Study in Fine Art. Continues with aerial views of solitary 2001 Hart Gallery, London 2011 Korean Art Fair, Seoul, Albermarle London in Manchester’, Cavendish Building, 1989 Anatomy for Artists, University College, figures. 1999 Villiers David Prize Exhibition Gallery 2000 Twentieth Century British Art Fair, Manchester Metropolitan University London. 2010 - 2011 ‘Four British Figurative Painters’, 1999 Hart Gallery, London 2011 Albermarle Gallery, Summer Collective, London 1986 ‘Young Contemporaries’, Whitworth Art 1989 Regular visits to British Museum and Albemarle Gallery and Ettinger Gallery, 1997 Hart Gallery, London London 1999 ‘Discerning Eye’ Exhibition, Mall Gallery, Manchester Petri Museum, UCL. New York. 1997 Touring Exhibition: ‘Paintings and 2011 Elleanor Ettinger Gallery, British Galleries, London 1986 Exhibition with Photographer Andrew 1990 Commences Association with the Hart 2012 Early works from the David Blackburn Drawings 1987-97’, Huddersfield Art Figurative Painting, New York 1998 Hart Gallery Group Exhibition, Lee & Sanderson at Huddersfield Sports Gallery. collection at 108 Gallery, Harrogate. Gallery, Wakefield Art Gallery, Mercer 2010 Albermarle Gallery, 4 British Figurative Priestley Solicitors, Leeds Centre, opened by Barry Shearman MP 1990 First solo exhibition, Hart Gallery, 2013 Solo exhibition at Jersey Arts Centre, Gallery, Harrogate, and Salford Art Painters, London 1998 ‘Art ‘98’ Art Fair, Islington, London Nottingham. Wins Joseph Webb prize St Helier, Jersey. Gallery 2010 Albermarle Gallery, Charity Group 1997 Twentieth Century British Art Fair, Awards for draughtsman under 35 years. 2014 Making of the film ‘Figures in 1995 Hart Gallery, London Exhibition, London London 2015 Shortlisted for the Valeria Sykes Award 1991-1992 Awarded place at Hochshule Der Solitude’. 1994 Hart Gallery, Nottingham 2009 Albermarle Gallery, Group Exhibition, 1997 ‘Northern Light’ Exhibition, Whitehall, 1997 Winner of ‘Villiers David’ Prize Kunst, Berlin, as Artist in Residence. 2015 Solo Exhibition, Albermarle Gallery. 1992 Hart Gallery, Nottingham London London 1995 Short-listed for ‘Villiers David’ Prize Visits museums and galleries. Begins to explore architectural 1990 Hart Gallery, Nottingham 2008 Albermarle Gallery, Summer 1996 Twentieth Century British Art Fair, 1990 ‘Joseph Webb’ Prize for Draughtsman 1992 Begins to develop methods using ideas. Show,London London Under 35 Years mixed media on paper. 2007 ‘Standard Chartered’ Exhibition, London 1996 ‘Ghent Art Fair’, Hart Gallery Belgium 1989 Laura Ashley Scholarship 1988 Scholarship to the Slade School of Art, 2011 Exhibition review, ‘British Figurative 1997 Catalogue essay by Charlotte Mullins University of London Painting’ at Ettinger Gallery, New York, for touring exhibition. 1987 Landscape Drawing Award, American Arts Quarterly, Summer 1997 Exhibition review by Bridget Hayden for Manchester Academy Open Exhibition 2011, Volume 28, No 3. the ‘Big Issue’ 2008 Exhibition review by Steve Pil for Artists 1997 Exhibition review by Deborah Stone for Selected Essays and Publications & Illustrators (May) the Daily Express’ 2018 Messum’s catalogue Forward by David 2007 Catalogue essay by Barbara Frigario, 1995 Provident Financial Art Collection Boyd Haycock. ‘Figures in Solitude’. Catalogue: A Celebration of 25 years of 2018 Pick of week, Art Market by Huon 2007 Exhibition review by Alessandro Collecting, critical assessment by John Mallalieu, September, Country Life Redaelli for Art magazine (October) Sheeran magazine. 2006 Catalogue essay by John Russell Taylor, 1995 Book cover: In a Rare Time of Rain 2018 “My Yorkshire” dble page spread solo exhibition, Albemarle Gallery. by Milner Place (London: Chatto & Yorkshire Post magazine, 13th January. 2006 Book cover: The Novel Now by Richard Windus) 2018 Feature in Artist & Illustrators Bradford (Oxford: Blackwell) 1995 Publication of essays: The Gaze of magazine, January. 2005 Interview with Jenny Parkin for Love: Meditations on Art by Sister 2017 Feature by Andrew Hirst, Huddersfield Huddersfield Examiner 11th February. Wendy Beckett (London: Marshall Examiner, November. 2003 Who’s Who in Art, 31st Edition, Pickering) 2017 Feature by Hilary Stelfox, Huddersfield Hilmarton Manor Press 1994 Exhibition review by Mary Sara for the Examiner, January. 2003 Christies exhibition review ‘Formal & Yorkshire Post 2017 Messum’s catalogue introduction by Dignified’ by Tim Forrest, Mayfair Life 1993 ‘A Poetic Dialogue: Seven Painters’, The Andrea Gates. (August) Hart Gallery 2015 “Maxwell Doig Disegno and a sense 2001 Exhibition review by Elspeth Moncrieff 1991 Illustrated essay by Malcolm York for of decorum” Esaay by Robert Hall (art for The Art Newspaper (No. 114, May) the ‘Green Book’ historian and curator). 2001 Front cover, ‘Galleries’ magazine with 1990 Catalogue introduction by David 2015 The Silence of Solitude: The Vision of painting ‘Warehouse Roof’. Blackburn, intro by John Hart Maxwell Doig, Catalogue Essay by 2001 ‘Profile’ by Joe Manby in Arts Review Lynne Green (May) Collections 2013 ‘Studio Visit’ critical essay by Jo Manby 2000 Book cover: Blue Fever by Clare Jersey Arts Centre 2013 Ithaca Lit, Spring. Featured artist by MacDonald Shaw (Blackwater Press) Standard Chartered Michelle Lesko 1999 Exhibition review by John Russell Taylor Holman and Fenwick 2012 ‘The Art of the Nude’ by John O’Hern, for The Times (19 January) University of Manchester ‘Amercian Art Collector Magazine’, 1999 Exhibition review by Charlotte Mullins University of London October 2012 for Galleries (January) Mercer Gallery, Harrogate 2012 Feature by Val Javin, September, 1998 ‘Sense and Sensation’, article by Houn Provident Financial Group Huddersfield Examiner Mallalieu for Country Life (June) Huddersfield Art Gallery 2012 In Conversation with Andrew Stewart, 1998 Featured artist, ‘i2i’, artist newsletter, Prudential Plc Exhibition Catalogue in conversation with Kirsty McGee. New Light Touring exhibition review, ‘City Life’, Works in private collections Manchester by Kirsty McGee (April). throughout the UK, Europe and USA 1998 Catalogue essay for ‘Villiers David’ Prize Exhibition, by Bridget Hayden

CDLXIV ISBN 978-1-910993-56-9 Publication No: CDLXIV Published by David Messum Fine Art photograph © Richard Littlewood © David Messum Fine Art back cover All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and Sea Fret at Flamborough Head Lighthouse (no. 21) retrieval system, without the prior permission in writing from the publisher. The Studio, Lords Wood, Marlow, Buckinghamshire. Tel: 01628 486565 www.messums.com Photography: Richard Littlewood Printed by DLM-Creative www.messums.com