Royal Society of Portrait Painters 2014 RP

2014

Annual Exhibition 2014 Royal Society of Portrait Painters 17 Carlton House Terrace, London SW1Y 5BD Tel: 020 7930 6844 www.therp.co.uk www.mallgalleries.org.uk

Cover painting ‘Emma Jane’ by Antony Williams RP PS NEAC

ISBN 978-0-901415-27-1

The Royal Society of Portrait Painters is a Registered Charity No. 327460 Royal Society of Portrait Painters Patron: Her Majesty The Queen

Advisory Board Council

Lord Armstrong of Ilminster GCB CVO Paul Brason Lady Bacon Saied Dai

Anne Beckwith-Smith LVO Robin-Lee Hall

Dame Elizabeth Esteve-Coll DBE Melissa Scott-Miller

Lord Fellowes GCB GCVO QSO Michael Taylor Anupam Ganguli Antony Williams Damon de Laszlo Hanging Committee The Hon. Sandra de Laszlo Tom Coates Philip Mould Simon Davis Sir Christopher Ondaatje CBE OC Melissa Scott-Miller Mark Stephens Toby Wiggins Daphne Todd OBE PPRP NEAC Hon. SWA Gallery Manager President John Deston Alastair C. Adams Exhibitions Officer Vice President Alistair Redgrift Andrew James Press and Publicity Honorary Secretary Richard Fitzwilliams Simon Davis Liberty Rowley Honorary Treasurer Commissions Consultants Jason Walker Annabel Elton Honorary Archivist Sophie Hill Toby Wiggins

3 Deceased Honorary Members Past Presidents Honorary Members 2014

Sir Lawrence Alma-Tadema OM RA RWS 1891 – 1904 A. Stuart Wortley William Bowyer RA RP RWS NEAC

Maurice Bradshaw OBE 1906 – 1910 Sir W. Q. Orchardson RA HRSA Leonard McComb RA Hon. RBA

Derek Clarke RP RSW ARSA 1910 – 1924 Sir James J. Shannon RA Tom Phillips CBE RA Hon. PS

Sir George Clausen RA 1924 – 1930 Sir William Orpen KBE RA RHA Tai-Shan Schierenberg

Sir Arthur Cope RA 1932 – 1940 Sir John Lavery RA RSA RHA Etc John Wonnacott CBE

Cowan Dobson RBA 1944 – 1948 George Harcourt RA William Dring RA RWS 1948 – 1953 Augustus John OM RA Members 2014 Hugh de T. Glazebrook 1953 – 1965 Sir James Gunn RA LL.D Alastair C. Adams PRP President Kenneth Green 1965 – 1971 Sir William Hutchison PPRSA Jane Bond RP NEAC Sir James Guthrie PRSA RA 1971 – 1980 Edward Halliday CBE PPRBA Jason Bowyer RP PNEAC PS Allan Gwynne-Jones DSO RA 1980 – 1983 Norman Hepple RA Paul Brason PPRP J. McLure Hamilton 1983 – 1991 David Poole ARCA Keith Breeden RP Claude Harrison ARCA 1991 Edward Hall Peter Brown RP NEAC PS Hon. RBA ROI Augustus John OM RA 1991 – 1994 George J. D. Bruce George J. D. Bruce PPRP Dame Laura Knight RA RWS 1994 – 2000 Daphne Todd OBE Tom Coates RP PPPS PPRBA RWS Leonard C. Lindsay FSA 2000 – 2002 Paul Brason PPNEAC RWA Sir William Llewellyn PRA 2002 – 2008 Andrew Festing MBE David Cobley RP RWA NEAC Sir John Everett Millais PRA Anthony Connolly RP A. T. Nowell Past Vice Presidents Saied Dai RP NEAC Herbert A. Oliver RI 1898 – 1934 The Hon. John Collier OBE Sam Dalby RP AGBI Steward 2013-14 Sir Edward Poynter PRA RWS 1934 – 1944 George Harcourt RA Simon Davis RP RBSA Hon. Secretary Hugh G. Riviere 1944 – 1952 Sir Oswald Birley RA Frederick Deane RP Carlos Sancha 1952 – 1953 T. C. Dugdale RA John Edwards RP C. Sanders RA 1953 – 1957 Simon Elwes ARA Andrew Festing MBE PPRP John S. Sargent RA RWS 1959 – 1964 Sir William Hutchison PPRSA Richard Foster RP Howard Somerville 1966 – 1980 Norman Hepple RA David Graham RP Trevor Stubley RBA RSW RWS 1980 – 1985 John Ward CBE RA RWS Valeriy Gridnev RP PS ROI A. R. Thompson RA 1985 – 1991 George J. D. Bruce Robin-Lee Hall RP G. F. Watts OM RA 1991 Edward Hall Geoffrey Hayzer RP T. Fiddes Watt RSA 1991 – 1994 Richard Foster Sheldon Hutchinson RP J. McNeill Whistler HRSA LL.D 1994 – 1999 Trevor Stubley RWS RBA Andrew James VPRP Vice President Walter Woodington RBA NEAC 1999 – 2001 Paul Brason Brendan Kelly RP

2001 – 2002 Andrew Festing MBE Peter Kuhfeld RP NEAC

2002 – 2008 Susan Ryder NEAC James Lloyd RP 4 June Mendoza AO OBE RP ROI Hon. SWA Honorary Friends Sir Kirby and Lady Laing Anthony Morris RP NEAC Ms Christina Leder Ms Philippa Abrahams Michael Noakes RP Professor Kenneth McConkey Ms Anne Allport Anastasia Pollard RP David Messum Esq. Sir Ian Amory David Poole PPRP ARCA Dr Mark Moody-Stuart The Rt. Hon. Lord Archer of Susan Ryder RP NEAC Ms Jans Ondaatje-Rolls Weston Super Mare Melissa Scott-Miller RP NEAC Richard Ormond Esq. Ms Pim Baxter Stephen Shankland RP William Packer Esq. NEAC Hon. RBA Hon. PS Keith Benham Esq. Jeff Stultiens RP James Partridge OBE DSc. Baroness Bottomley Benjamin Sullivan RP NEAC Ms Liz Rideal Gyles Brandreth Esq. Jason Sullivan RP Alasdair Riley Esq. Robin Buchanan-Dunlop Esq. Michael Taylor RP The Hon. Maurice Robson Gerald Carroll Esq. Daphne Todd OBE PPRP NEAC Hon. SWA Sir Timothy Sainsbury Colonel William Chesshyre Jason Walker RP Hon. Treasurer Dr Charles Saumarez Smith Mrs Peter Cookson John Walton RP Sir David Scholey Conrad Dehn Esq. Emma Wesley RP The Lord Selborne Ms Susan Engledow Toby Wiggins RP Hon. Archivist Robin Simon Esq. Ms Katherine Eustace Antony Williams RP PS NEAC Peyton Skipwith Esq. Michael Fawcett Esq. Neale Worley RP Peter Spira Esq. Lord Fellowes of West Stafford Robbie Wraith RP Prof. Dame Marilyn Strathern Ms Moira Field The Lord Vinson of Roddam Dene LVO DL Ms Frances Gandy Associate Members Ian Wallace Esq. Dr Rita Gardner Anthony Weale Esq. Frances Bell Assoc RP Martin Gayford Esq. Duncan Wilson Esq. David Miller Assoc RP David Goldstone Esq. Andrew Wilton Esq Philip Harley Esq. Sir Max Hastings Sir Michael Holroyd David Houchin Esq. Ms Sarah Howgate Ms Dotti Irving Mrs Lucy Jenkins Dr Gillian Jondorf

The Rt. Hon. Tessa Jowell MP Sir Henry Keswick

The Lady Fellowes LVO

5 SHAPING THE FUTURE OF ART The Threadneedle Prize 2014

The Threadneedle Foundation is pleased to support Mall Galleries and The Threadneedle Prize, a leading competition for ﬁgurative and representational painting and sculpture.

Since its establishment in 2008 The Threadneedle Prize has become recognised as one of the country’s major art prizes and a vibrant and engaging forum for creative talent. As well as supporting new techniques that stretch the potential of young, emerging and established artists, it provides an exciting and varied exhibition for everyone to see.

threadneedle.com/foundation | threadneedleprize.com

Dead Labour/Dead Labourer - Clare McCormack, Joint winner Threadneedle Prize 2013

Important information: Threadneedle Asset Management Limited (TAML) registered in England and Wales, no.3701768, 60 St Mary Axe, London EC3A 8JQ. TAML is authorised and regulated by the Financial Services Authority. Threadneedle Investments is a brand name and both the Threadneedle Investments name and logo are trademarks or registered trademarks of the Threadneedle group of companies. threadneedle.com T4230 President’s review of the year

Hello and welcome to the 123rd Royal Society of Portrait Painters Annual candidates list. Once making it on to the Open exhibition. The collection of work reflects some of the finest candidates list, artists are invited to present a portfolio at the subsequent AGM for portraits being made today, both nationally and internationally. The members to vote on. If a candidate receives portraits on show are drawn from both members and non-members alike. more than 50% of the votes from the artists This year we received in the region of 1,600 portraits from our open represented, then, they are made a member. submission, with a final 85 making it through to the walls. This year, in order to provide more support for those coming close to membership, we Congratulations go to the successful artists reintroduced our ‘Associate Members‘ as the process of selection was thorough scheme. This offers artists not reaching the but as ever, many good works did not make 50% mark but falling between 40 and 50 it through. Places in the exhibition are hotly percent of the vote, the chance to exhibit contested and many exhibiting artists go on with us and benefit from the same resources to sell their work or receive commissions as members for a fixed period of three through the Society’s active and effective years. Two associate members were made commissions service. For many, this year, in the form of Frances Bell and commissions provide a vital income with David Miller. We wish them every success. which to supplement their practice, and the RP is keen to provide practicing artists with Changes to Council a range of opportunities and support to take The 2013 AGM saw us say goodbye and their careers further. many thanks to Susan Ryder and Anastasia Pollard, who stepped down from the Council In order to provide this resource, much time upon completion of their two-year rotation. has been spent this year at a Council level working towards gaining sponsorship for We thank Saied Dai, Paul Brason and our Annual Exhibition and year round Antony Williams for taking their place, and activities. We are delighted to be able to Alastair Adams, President of the RP look forward to their contributions over the continue to award our generous and coming two years. As ever, in a Society like established prizes at exhibition time, and New member 2013 ours, progression is essential, and I thank this year, we are happy to announce a The Society is small in terms of its number Council members for giving their time when fledgling partnership with Seven of members. In fact, our memorandum and often it involves a day away from the studio. Investment Management. Their support will articles state that a maximum number of help the Society to grow a year round artists we can have at any one time is 60. As Sadly, long-standing member of the RP, profile and keep us in good shape running such, we do not make many new members Derek Clarke, passed away in February this the Annual Open Exhibition. This, in turn, and places are hotly fought. This year, I am year at the grand age of 101. His subjects will help us to continue to raise the profile happy to announce that Sam Dalby was included the composer Elizabeth Poston, of portraiture from both a creative practice elected to be a member at the 2013 AGM. Basil Hume and the botanist, Professor perspective and a valuable medium that The process of applying for membership is Nicholas Ridley. A passionate advocate of offers insight into the lives of others, straightforward. If an artist is selected to drawing, a discipline acquired from whoever they may be! exhibit, then, they can request to be on the rigorous training at the Slade School of Art

7 President’s review of the year continued…

in London, he is fondly remembered by his was a poignant year for him as he stepped specific events to you. Feedback on the fellow members. down as Principal of Heatherley’s after many nature of these has been identified as a years of service. We also thank his sitter for result of an ongoing project established by 2013 prizewinners taking the time to attend the reception and RP Commissions Consultant, Annabel Congratulations go to our 2013 prizewinners say a few words about his experience. John Elton. Annabel successfully secured funding (see page 14). As ever, we are incredibly writes about the painting and reception from Creativeworks London to work with grateful for the generosity of our sponsors later in the catalogue, suffice to say that the Dr Sara Ayres of Kingston University on a for their support and belief in the Society’s People’s Portraits collection is well worth a project surveying artists and commissioners remit. These prizes are incredibly valuable visit if you are ever in Cambridge. in order to gain feedback on the Society’s to the recipients, many of whom establish activities. As such, we have established a careers from being showcased in this way. Thanks go to Martin Gayford, art critic for timetable of events beyond the Annual Open We are delighted to be able to open up both the Telegraph, Spectator and currently, Exhibition. Dates for your diary include: artistic and commission opportunities Bloomberg News, and the subject of Saturday 10 May 2014 accordingly. paintings by Lucian Freud, for opening and Portrait Drawing Masterclass with speaking at the event. Details of how to get Saied Dai RP 2013 saw a record number of entries for the to the People’s Portraits collection can be Bulldog Bursary Scheme and congratulations found on the RP website. Thursday 15 May 2014 go to Sarah Jane Moon, the final recipient. Portrait Drawing Masterclass with Sarah writes about her experiences later in Family Familiar Robin-Lee Hall RP the catalogue, and once again, we are grateful The work of members is always in demand, Saturday 17 May 2014 for the opportunity to be able to support an and fulfilling those demands for work can be Love and Legacy: Reasons for Commissioning artist in this way. Sarah has used her bursary a stretch. At the time of writing, we have two in a Digital Age with Dr Sara Ayres to buy herself time-out to paint more exhibitions in progress as members are also intensively as well as make use of the offer collaborating on a show to be held at the Saturday 17 May 2014 of mentoring support from members. This The Gallery at Winchester Discovery Centre, Portrait Portfolio Reviews with year, artists can make use of our online where we have portraits by 18 members on Andy James VPRP and selected members submission process to enter for the Bursary. display around the theme of ‘Family Saturday 6 September 2014 Applicants for The Bulldog Bursary can apply Familiar’. The aim of the collection is to ‘Narrative Painting and Drawing… Comics online at registrationmallgalleries.org.uk exhibit paintings of those close to the artists and Portraiture’. A talk by Simon Davis RP between now and 19 May 2014, 12 noon. – paintings that represent poignant career After an initial shortlisting, four artists will turning points or that remember important Saturday 6 December 2014 be invited to attend interviews in London in figures in the artists’ development. The Portrait Drawing Masterclass with early July when the selection panel will exhibition takes place alongside Winchester’s Antony Williams RP make their final decision. ‘Portraits 2014’ Festival and runs to 11 May 2014. Details can be found on the RP website. Booking People’s Portraits Please be sure to book in advance as places The People’s Portraits collection at Girton Workshops and talks are limited. Further information and prices College Cambridge has enjoyed continued As part of our expanding diary of year round can be found at www.therp.co.uk, or by support and popularity. 2013 saw a painting events, made possible by the excellent new contacting Elli Koumousi email: of Stuart Thorne by John Walton donated to Learning Centre facilities at the Mall [email protected] or the collection. We thank John for this in what Galleries, we are proud to promote some telephone: 020 7930 6844.

8 Changing Faces and the RP

Last year, the 2013 Changing Faces came out of an interest in how, as a culture, commission prize was won by Andy James we capture things in paintings that say for his intimate painting of his father. Andy something about the values of the society in is exhibiting the commission in this year’s which we live. show. It is worth mentioning a little more about the relationship between Changing From the perspective of a portrait painter, Faces and the RP, and the nature of our the interpretation of features through paint collaboration. Clearly, there are many areas has the ability to translate what might be where the two share common interests, and regarded as unconventional when seen there is much that portrait painters, those through the lens of a camera, into a living with facial difference, and the viewer colourful, gestural and expressive surface. can gain from the relationship that portrait Because portrait painters are looking to painting creates as a cultural lens. convey the intangible aspects of personality, often their portraits go beyond mere Since the inception of the commission prize, representation to address the character of a growing collection of work around facial the sitter. For the viewer, portraits of those difference has been established. Portraits with facial difference offer the permission to contributed include work by Andy James, stare. Many people find themselves staring Benita Stoney, Antony Williams, Mark at someone with an unusual appearance – Roscoe, and not to mention portraits an awkward and uncomfortable experience for everyone concerned. A portrait, though, allows an intense gaze, enabling the viewer to explore and find connections in a way ‘Victoria Wright’ by Antony Williams that is mutually respectful. In this way, portraits become a mediating tool that can created away from the prize by artists like open a dialogue with the viewer and help to Alastair Adams and Tim Benson. Let’s also overcome communication barriers. not forget Daphne Todd’s portrait of James Partridge, the CEO of Changing Faces, who says: “It seems to me that one of the greatest advantages that portrait painters have is the chance to develop a relationship, which makes the whole process that much more meaningful. The relationship is the complex bit for somebody with a facial disfigurement because so much comes through the face. I think there is a huge value in the art of portraits because of that time to build relationships”. The RP’s interest in working with Changing Faces ‘Bill Cooper’ (in progress) by Andy James Victoria Wright sits for Antony Williams

9 Painting not decorating

Newest member of the RP, Sam Dalby, tells us of his journey into My association with the RP began in 2009, portraiture and how the Society has helped him, slowly but surely, piece when I trekked to London with a self- portrait to submit as my application for the together a career as a professional portrait painter. Bulldog Bursary. I had been handed a flyer during a life drawing session, and casually thought it might be worth a shot. I was shocked and delighted to be shortlisted, and although my bid was unsuccessful, I felt encouraged by the reaction to my work from the RP members on the interviewing panel.

Following the interview, I was offered the chance of mentoring by RP members, and was determined to make the most of the opportunity. I visited Toby Wiggins, Andrew James, Antony Williams and Saied Dai – all gave generously of their time and expertise. I gained a real insight into the working life of a professional artist, and received some crash course tuition to which I still owe a great debt.

I have succeeded in having paintings accepted for every annual RP show since 2010, and in early 2013, secured my first commissions via the RP, a series of drawings Sam Dalby at work in his studio of Fellows of Trinity College Cambridge.

I graduated in 1997, with nothing It was going to take a lot of work to improve, After my election to the RP, things moved resembling an artistic practise. Rightly or so I began to teach myself the basics, quickly, and within five months I had shut wrongly I felt that I was a worse artist at the attended regular life drawing sessions, down my decorating business for good. I’d end of my Fine Art degree course than I sought out advice and guidance from other always wondered how I would make the had been at the start. I found myself living artists, and mounted exhibitions with friends. transition to full-time artist. In the end, it back at my parent’s house, and my holiday With much trial and error, I started to build simply pushed everything else out of the way. job of painting and decorating became my an ad hoc but functioning artistic practice. full-time job. I didn’t paint or draw for a As I was having trouble producing more Over the five years of contact I’ve had with year, and I can remember the sinking than one painting of a decent standard a the RP, I’ve matured greatly as an artist. I feeling when starting back at some year, I was slow to start entering open would like to thank the Royal Society and its rudimentary self portraits. My draughtsman- competitions, but having a work selected members for all that they’ve done for me, ship had atrophied, and I had no idea how for the 2003 BP Portrait Award confirmed and I look forward to making my own to help myself. portraiture as the focus of my efforts. positive contribution.

10 The Bulldog Bursary 2014

The Bulldog Bursary, which I was much larger, my application of paint freer, painters of people; that elusive connection, thrilled to be awarded in the and my confidence in whom and how I an attempt to bridge the inexorable gap paint, much bolder. I am learning to indulge between self and other. I feel particularly summer of 2013, ostensibly my penchant for narrative, and as such, I’m privileged to glimpse these highly personal provides financial and professional currently in the nascent stages of several worlds and to be the recipient of so much support to an emerging portrait large-scale group portraits in domestic generosity of spirit and encouragement. settings. I am excited, optimistic and painter who will benefit from it in enthusiastic about the remainder of the These and other opportunities afforded by some significant way. bursary year and future painting projects the Bulldog Bursary have been pivotal in and discoveries. my progression as a painter, and I am In my case, the financial support has hugely grateful to both The Bulldog Trust provided manifest relief in assisting with and the RP for their support on various the purchasing of necessities such as fronts. In awarding the bursary to a young stretchers, canvas, paint, brushes, framing, queer woman, the RP have demonstrated transportation, space and time in which to their willingness to embrace and nurture produce work, and the professional support diversity in a comprehensive way which has brought connections, projects and bodes particularly well for the future health opportunities. Beyond this, however, the and prosperity of both portrait painting in bursary has nurtured a sense of community this country and of society itself. I would and camaraderie. wholeheartedly recommend the bursary year to all emerging portraitists as an In a profession comprised of individuals enriching and bolstering experience that who work in disparate, idiosyncratic and can provide solid foundations for life as a often solitary ways, it has been a vital link to professional portrait painter. those who have forged a career in painting people before me, and has further fostered Sarah Jane Moon a real sense of communal engagement in a ‘Nazita’ by Sarah Jane Moon shared endeavour. Partly fueling this excitement is the regular The bursary has allowed me to step back contact with members of the RP that the from my usual frenetic existence of part- bursary has allowed as part of their time work as a gallery technician, medical mentoring scheme. I have had enriching transcriptionist and props manufacturer in and reinvigorating conversations with order to focus on producing paintings that several members that traverse painting, have been percolating in my subconscious politics, backgrounds, futures and always for some time. These are mostly of friends back to painting, and hope to have many and peers, those involved in creative more in the coming months. An artist’s pursuits who frequently exist beyond studio space can be full of anecdotal heteronormative circumscription and who intimacies and, in itself, functions as a kind hold my affection, respect and admiration of portrait; a picture of a life lived in pursuit as individuals. My canvases have become of that something that we are all after as Sarah Jane Moon, winner of the Bulldog Bursary 2014

11 The tailor, the beekeeper and the portrait painter

To start at the beginning, this of the 30s, found himself a job in London, so Ursula by Memling in Bruges. Here you painting came about because my we moved south. Shopping and window have two major influences in my art shopping in Oxford Street became one of education, and looking back, I don’t think wife Alice liked Stuart’s honey and I my mother’s delights, and circumstances that I have ever entirely escaped from them. had failed in my duty to contribute dictated that I should be with her during a painting to the People’s Portraits holiday periods which was an absolute bore, I started my serious art education with the until a shop assistant, on being informed by rival gang at the Ruskin School, Oxford, and collection held at Girton College, my mother that I was interested in art, after a year and a half in the world of the Cambridge. suggested that her little boy (I was as tall as dreaming spires, came down to earth at the my mother by then) should visit the Wallace Slade in London. There, I met fellow student I started life on what could be described as Collection just behind the shops. Within no Zelma Blakely, who, in later days, became a ‘good wicket’; my father was a talented time at all I found myself in paradise. I well-known for her wood engravings. She amateur artist and a superb draughtsman, forgave the shop girl for calling me a little was however, a skilled painter in egg and he supported me all down the line. I boy, and I entered a new world full of tempera; gesso grosso and gesso sottile remember him telling me that you can draw delights and the beginning of a new era in applied in sequence over old pillow cases anything if you can draw hands. If early my life. My parents discovered that they glued to wooden panels was a quite school reports remarked on an intelligent could drop me off at a London Gallery or impressive bit of preparatory work. I am a boy but bone idle, by the age of ten, I was Museum for the day with a packet of system painter rather than a spontaneous producing evidence that this was not quite sandwiches, which I was often wont to eat combustion artist. I do not work wet into true. Throughout the summer holidays I in the gallery attendants’ snug with a cup of wet. It was suggested that some of the drew and painted virtually non-stop, and at their tea. A happy interlude ruined all too Flemish primitives could have used egg the beginning of the Autumn Term was able soon by the war. under-painting, anyway, whether this was to cover the walls of the school art room true or not I started using egg for my with the product of eight weeks’ hard work. My childhood imagination had been fired under-painting as this had the advantage of I was also pretty good at history and could by Arthur Rackham’s trees. My father had a drying fast and would then bond perfectly write a quite respectable essay, but in goodly collection of books illustrated by with an overlay in oil making possible, very mathematics I was an absolute disaster him. Magical winter trees, which, with the luminous transparent glazes without from the word go. I remember having a aid of the Brothers Grimm, lead me into the disturbing the underpainting. All that being nightmare, when we had just moved from dark woods of mediaeval Germany where said however, Stuart’s portrait is entirely in fractions to decimals, and I couldn’t prevent angels and faeries were one and the same, oil. A detailed monochrome painting before Mussolini from invading Abyssinia because and Christian miracles and pagan magic he went on holiday to Madeira with a I was stuck on 9.99 recurring and couldn’t found themselves together in artists like golden glaze of suntan applied on his return get back to ten. As a self-employed artist I Mattias Grünewald. About the same time, to a by then completely dry underpainting. am obliged to produce an annual tax return I was befriended by Emile Cammaerts, the I painted the picture in Stuart’s workshop, and that little pocket sized electronic Belgian poet and Art historian, who lived in and passers-by could see us through the substitute for the abacus saves me many our village. Firstly, he taught me French – I shop window: Stuart on his bench and me further nightmares. still have his booklet of irregular verbs – at my easel – needle and paintbrush and then when I was at the Slade, gave working side by side! I left the Wirral, where I was born, when I inspired lectures on the Flemish School, was eleven, and my father, after many years from the powerful work of Rogier van der Over the years, I have rather neglected our unemployment during the great depression Weyden to the almost pretty shrine of St village, giving much of my time to my studio

12 and art school in Chelsea, and now, all of a sudden, Radlett was buzzing around me, Stuart seemed to know everybody and everybody certainly knew him. So a new dimension was added to my life. And today, I suspect a new dimension is being added to Stuart’s life. As he said to me “I hated school and the day I left I burnt my tie” to which his wife Maureen now added “This is the nearest thing he will ever get to going to Cambridge University!”

Stuart and I are both romantics, and he has a small ‘Tailor of Gloucester’ mouse in his window. I again look back to my father’s influence and Tenniel’s illustrations of ‘Alice Through The Looking Glass’, in particular in the chapter ‘Wool and Water’ the picture of Alice finding herself rowing between tall rushes with a ghostly background of the sheep’s shop interior – a compound only possible in dreams. So here we have Stuart’s dream, the pattern on the wallpaper transforming itself into a chestnut in full blossom and a tailor’s bench gently changing into a soft green lawn with bee hives, oh and finally, one must not ignore the fine St Albans District bee keeper’s challenge cup won by Stuart in 2011.

I enjoyed working side-by-side with a fellow craftsman, and I hope the picture and its message will give pleasure to many visiting the People’s Portraits collection at Girton in the years to come.

John Walton

Learn more about the People’s Portraits at: www.girton.cam.ac.uk/girton-today/ artefacts/peoples-portraits ‘Stuart Thorne: Tailor and Beekeeper’ by John Walton

13 Annual Open Award Winners 2013

From top left to right: ‘Alison’ by Tim Benson VPROI, The Arts Club Charitable Trust Award in association with The Arts Club; ‘Melvin’ by Kelvin Okafor, The de Laszlo Foundation Award; ‘Self-portrait’ by Jan Mikulka, The ‘Self’ Prize; ‘Olivia Roberts (Changing Faces Commission)’ by Mark Roscoe, The Ondaatje Prize for Portraiture; ‘Mary Spencer-Watson, Sculptor’ by Toby Wiggins RP, The Prince of Wales’s Award for Portrait Drawing; ‘My Father’ by Andrew James VPRP, The Changing Faces Prize.

14 The Love and Legacy Prize

Seven Investment Management (7IM) provides investment services for a whole range of clients – from family businesses to sports people, from ‘tech’ entrepreneurs to journalists, large company chairmen to pensioners, trusts, charities and many more besides.

The original seven of us set up our business 12 years ago, because – simply put – we couldn’t find an investment company that we could trust with our own pension monies. Today, we manage £6bn for clients who like our straightforward approach – to managing money, to talking to them without jargon and acronyms, and to being wholly transparent about what we charge for it all.

Often what triggers that initial client conversation with us is one of those ‘life events’: A birth, a death, the sale of a business, a promotion, a relocation… And frequently what lies beneath the numbers, the future goals, the harder edged conversations is ‘Love and Legacy’, the desire to provide for a family, secure a future or protect the fruits of a working life.

We are delighted to be sponsoring the Royal Society of Portrait Painters this year and the ‘Love and Legacy’ prize is, strangely enough, one that really strikes a chord with 7IM. After all, we originally started out running our own families’ monies, with all the responsibilities that entails.

15 The Ondaatje Prize for Portraiture in association with The Royal Society of Portrait Painters

The President, Council and members are most grateful to Sir Christopher Ondaatje CBE OC, and the Ondaatje Foundation for their generous sponsorship of this major annual award to the painter of the most distinguished portrait of the year.

The prize was launched in 1995 and took the form of a commission to paint our Patron H.M. The Queen, for the Society. From 1996, the Prize has taken the form of a cheque in addition to the Society’s Gold Medal.

This year, 2014, sees the prize money at £10,000.

Previous Prize Winners 1995 Antony Williams 1996 Desmond Healy 1997 Thom Winterburn 1998 Paul Brason 1999 John Ward CBE 2000 Leonard Rosoman OBE RA 2001 Daphne Todd OBE 2002 Martin Yeoman 2003 Michael Reynolds 2004 Howard J. Morgan 2005 John Wonnacott CBE 2006 Saied Dai 2007 Tom Coates 2008 James Lloyd 2009 Anastasia Pollard 2010 Robin-Lee Hall 2011 Tai-Shan Schierenberg 2012 Antony Williams 2013 Mark Roscoe The de Laszlo Foundation Award

The Society wishes to acknowledge the considerable interest shown by The de Laszlo Foundation in encouraging young artists and furthering the aims of The Royal Society of Portrait Painters.

We are pleased to announce that the Silver Medal together with a cheque for £3,000 will be awarded to the artist, aged thirty five or under, judged to have submitted the best portrait.

The President, Council and members wish to express their gratitude to The de Laszlo Foundation for instigating this award.

Previous Prize Winners (Awarded by The Carroll Foundation until 2003) 1990 David Quirke 1992 Nahem Shoa 1993 Richard Smith 1994 Haydn Cottam 1995 Antony Williams 1996 Frances Turner 1997 Francis Terry 1998 Andrew James 1999 James Lloyd 2000 T. M. J. Leveritt 2001 James Schneider 2002 Benjamin Sullivan 2003 Francisco Centofanti 2004 Brendan Kelly 2005 Emma Wesley 2006 Frances Bell 2007 Patrick Bremer 2008 Ruth Murray 2009 Emma Wesley 2010 Norman Long 2011 Martha Zmpounou 2012 David Sargerson 2013 Kelvin Okafor The Changing Faces Prize

The Changing Faces Prize is a £2,000 commission to paint a portrait of a person who has a facial disfigurement for the Changing Faces Collection. The Collection aims to ensure that people with unusual faces are fairly represented in modern-day portraiture.

Each year, as our commissioned artist reveals their work, we are reminded of the power of portraiture to challenge assumptions and expectations about what it means to have an unusual appearance. As well as the scar or the birthmark, the artist and his subject also help you to see a confident communicator, an attractive person with skills, talents and personality, and an individual who has a valid place in the world.

The Changing Faces Prize is awarded to the artist whose portrait most powerfully conveys the energy of their subject, the directness of their gaze and an attitude that exudes openness and confidence.

We look forward to congratulating the Prize winner.

James Partridge OBE, DSc (Hon), FRCSEd (Hon) Founder and Chief Executive, Changing Faces

Previous Changing Faces Prize Winners 2002 Michael Taylor 2003 Jason Bowyer 2004 Alastair C. Adams 2005 Jean-Paul Tibbles 2006 Toby Wiggins 2007 Brendan Kelly 2008 Hynek Martinec 2009 Anthony Connolly 2010 Antony Williams 2011 Benita Stoney 2012 Mark Roscoe 2013 Andrew James CLARENCE HOUSE The Prince of Wales’s Award for Portrait Drawing

The President, Council and members are deeply grateful to H.R.H. The Prince of Wales for The Prince of Wales’s Award for Portrait Drawing, a framed certificate and a cheque for £2,000, which is made annually.

Previous Prize Winners 1999 Nicholas Cochrane 2000 Tom Coates 2001 Sheldon Hutchinson 2002 Peter Kuhfeld 2003 Warren Baldwin 2004 Anthony Connolly 2005 Toby Wiggins 2006 Thomas Lumley 2007 Saied Dai 2008 Peter Brown 2009 Neil B. Helyard 2010 Louise Yates 2011 David Miller 2012 Anthony Connolly 2013 Toby Wiggins The Royal Society of Portrait Painters is extremely grateful for the generosity of the Bulldog Trust in setting-up the Bulldog Bursary for Excellence. This is a bursary of £5,000 given annually to an up-and-coming portrait painter. The winner is chosen by the President and Council of the RP after a national call for entries. As well as receiving the Bursary, during the year the recipient is mentored by members of their choice from the Society.

The winner for 2013-2014 is Sarah Jane Moon.

The Bulldog Trust support the development of talent across the arts, they set up the Bulldog Bursary with the RP to encourage the perpetuation of the skills and excellence involved in professional portraiture. We are delighted to be able to offer the winner the truly unique opportunity of learning this art from the UK’s master portrait painters themselves.

The bursary is selected in May each year, and anyone interested in entering should call the Federation of British Artists on 020 7930 6844, follow the link at www.therp.co.uk or email: [email protected].

Previous Prize Winners 2007 Joseph Galvin 2008 Daniel Shadbolt 2009 David Caldwell 2010 Clara Drummond 2011 Rebecca Francesca Cartwright de Fontenelle 2012 Olha Pryymak 2013 Sarah Jane Moon The Arts Club Charitable Trust Award in association with The Arts Club

The President, Council and members would like to express their thanks to The Arts Club Charitable Trust and The Arts Club for their award of £1,000 to the most deserving artist in the exhibition, as judged by representatives from the Charitable Trust.

Artists General Benevolent Institution Royal Society of Portrait Painters

Patron: H.R.H the Prince of Wales You may consider making a bequest to the Royal Society of Portrait Painters, which specifically promotes traditional values in Founded in 1814 by JMW Turner, the Artists General Benevolent figurative painting and receives no public funding. Institution provides help to professional artists and their dependents in times of difficulty. If you would like further information, please write to:

Funds are always needed and donations of any amounts are Simon Davis gratefully received and acknowledged. Hon. Secretary Royal Society of Portrait Painters Please send your donation to: 17 Carlton House Terrace London SW1Y 5BD The Secretary Artists General Benevolent Institution Telephone 020 7930 6844 Burlington House, Piccadilly London W1J 0BB

Registered Charity No. 212667 Registered Charity No. 327460 Alastair Adams PRP

Professor Peter Matthews, Emeritus Professor, Anne Marie Davies St John’s College, Cambridge 60 x 52 cm (24 x 20 ins) 70 x 55 cm (28 x 22 ins) Oil Charcoal and chalk

By permission of the Master and Fellows of St John’s College, Cambridge

22 Shirley Pearce, Vice Chancellor of Loughborough University 2006-2012

120 x 100 cm (48 x 40 ins)

Oil

By permission of Loughborough University

23 Frances Bell Assoc RP

Rachel

33 x 53 cm (13 x 21 ins)

Charcoal

24 Mark

108 x 103 cm (43 x 41 ins)

Oil

25 Jane Bond RP NEAC

John Franklin, Headmaster of Ardingly College 1998-2007

81 x 74 cm (32 x 29 ins)

Oil

26 Jason Bowyer RP PPNEAC PS

Self-portrait

81 x 56 cm (32 x 22 ins)

Pastel and ink

27 Paul Brason PPRP

Bernard and Sarah Taylor

122 x 152 cm (60 x 48 ins)

Oil

28 Felix and Lucian

46 x 61 cm (18 x 24 ins)

Oil

29 Keith Breeden RP

Rt Hon Sir Menzies Campbell CH CBE QC MP

76 x 61 cm (30 x 24 ins)

Oil

Courtesy of The National Liberal Club

30 Steve Caldwell

Jay

30 x 24 cm (12 x 9 ins)

Acrylic

31 Peter Brown RP NEAC PS Hon RBA ROI

When everyone has gone to bed, I draw the kids. These are two studies of Hattie, my eldest daughter, and Ella, my youngest daughter, painted in December and June 2013 respectively.

Hattie Asleep Ella Asleep

47 x 38 cm (19 x 15 ins) 47 x 38 cm (19 x 15 ins)

Pencil Pencil

32 Ella and Ned Looking at Pictures on Lisa’s Phone with Mad Cat

65 x 78 cm (26 x 31 ins)

Oil

I started this painting as I love the space looking down onto the hallway. I saw Lisa showing the kids some photos one Sunday afternoon, and it seemed perfect to ask them to pose. We only have one cat: Connie (Hattie’s really) and she is mad. She appears twice.

33 Peter Clossick NEAC

Lyds

44 x 44 cm (17 x 17 ins)

Oil

34 James Hague

Mette

90 x 120 cm (35 x 47 ins)

Oil

35 Tom Coates RP PPNEAC PPS PPRBA RWA RWS

Bernard Dunstan RA NEAC Leopold Antelme MA TD

61 x 76 cm (24 x 30 ins) 51 x 61 cm (20 x 24 ins)

Oil Oil

An artist I have known for many years – I admire his A most thoughtful person: Military, law, and a writer art and dedication to others. – but most of all, a very good neighbour.

36 Jonathan Viera, Opera Singer

76 x 61 cm (30 x 24 ins)

Oil

I met Jonathan at a wonderful evening of music, showing all his talent with full variety of voice: opera, blues, and the actor within him.

37 David Cobley RP NEAC RWA

Professor Quentin Skinner Sir Christopher Hum KCMG

92 x 61 cm (36 x 24 ins) 92 x 66 cm (36 x 26 ins)

Oil Oil

38 His Honour Judge Peter Beaumont QC

102 x 87 cm (40 x 34 ins)

Oil

39 Anthony Connolly RP

Georgia McVeigh

95 x 75 cm (37 x 30 ins)

Oil

40 Drawings for The Portrait of Dr Victoria N. Bateman, Fellow of Gonville and Caius College, Cambridge

Pencil

My husband asked me to think of something special that I would like as a birthday present. I had no hesitation in answering: a portrait. I have always greatly admired the skills of portrait artists, but lack any artistic talent of my own. My view was that if you cannot yourself create a masterpiece, the next best thing is to be part of a creation! The female nude is a mainstay in art but can still provoke divergent views particularly when it is of a contemporary woman. To me, it is liberating. I wanted the portrait to be "honest" – I wanted it to depict me rather than an outfit bought from the High Street.

Dr Victoria N. Bateman

41 Saied Dai RP NEAC

Portrait of The Artist’s Wife

80 x 65 cm (31 x 26 ins)

Oil

42 Jonathan Miller

118 x 76 cm (46 x 30 ins)

Oil

43 Sam Dalby RP

Self-portrait

100 x 70 cm (39 x 28 ins)

Oil

44 Bill Charlton

91 x 65 cm (36 x 26 ins)

Oil

45 Simon Davis RP RBSA

Moustakali Vaishali

23 x 23 cm (9 x 9 ins) 61 x 47 cm (24 x 19 ins)

Oil Oil

486 Dead Girl IV

46 x 30 cm (18 x 12 ins)

Oil

47 Andrew Festing PPRP

Alan Florence of The Arctic Convoy Self-portrait

81 x 71 cm (32 x 28 ins) 56 x 41 cm (22 x 16 ins)

Oil Oil

48 Ronnie Kulla

81 x 86 cm (32 x 34 ins)

Oil

49 Richard Foster RP

Lislee

120 x 150 cm (47 x 59 ins)

Oil

Jasper Fritze

53 x 43 cm (21 x 17 ins)

Watercolour

50 The Stanton Family

90 x 110 cm (35 x 43 ins)

Oil

51 David Graham RP

Pearl

76 x 61 cm (30 x 24 ins)

Oil

52 Matador

140 x 97 cm (55 x 38 ins)

Oil

53 Valeriy Gridnev RP PS ROI

Expecting

90 x 146 cm (35 x 57 ins)

Oil

54 Piotr – Father of my Friend

61 x 101 cm (24 x 40 ins)

Oil

55 Robin-Lee Hall RP

Pat and Her Very Expensive Hat

76 x 60 cm (30 x 24 ins)

Conté crayon

56 Nashunmenghe

Woman in Cardigan

44 x 54 cm (17 x 21 ins)

Oil

57 James Lloyd RP

Sarah Donaldson Hannah

140 x 104 cm (55 x 41 ins) 76 x 61 cm (30 x 24 ins)

Oil Oil

58 Cressida and Lucian

81 x 117 cm (32 x 46 ins)

Oil

59 June Mendoza OBE RP ROI Hon SWA

Andy Grappy and Sousaphone

107 x 152 cm (42 x 60 ins)

Oil

Why one should want to paint a sousaphone is surely self-evident. This one is mastered by the delightful Andy Grappy, who, with unfailing grace and patience, preferred always to wear this heavy piece of bombast and sinuous shapes so he could hold the correct pose for me.

Roughing in the initial composition, I found, without surprise, that I had shot the bell too close to the top edge of the canvas; but I then decided it was right, both compositionally and journalistically for such a strong shape and subject.

Andy, who also plays other brass instruments, works with the big London orchestras, and is Head of the Southwark Centre for Young Musicians.

60 Trader Faulkner, Actor, Author

145 x 120 cm (57 x 47 ins)

Oil

Trader, an old chum from theatre days, arrived at his book launch in the wall-to-wall red apparel, so, naturally, we had to do the portrait.

Regaled with anecdotes of his acting days with the Oliviers, Gielgud, et al, we painted in his small top-floor flat, which bursts with theatre memorabilia everywhere except on the ceiling (background sorted!).

We are supposed to suffer for our art. So I suffered. Every session required trudging (eventually) up 98 steps, which Trader, 85, did with ease. I would arrive at the top at least five minutes after him, and Trader would already have made the tea.

61 Anthony Morris RP NEAC

Summer Drinks with the Neighbours

91 x 104 cm (36 x 41 ins)

Oil

62 Stephen Bingham and Brenda Stewart, Rehearsing

91 x 105 cm (36 x 41 ins)

Oil

Stephen Bingham (violin) and Brenda Stewart (viola) met and studied at the Royal Academy of Music 1981-1985, where they won prizes for orchestral leading and string quartet playing.

In 1985, Stephen formed the Bingham String Quartet, which has become one of the foremost in the UK, with a reputation for both classical and contemporary repertoire.

The Quartet has toured extensively in the UK, and also performed in Europe, Australia and the Middle East, and appearances in London including concerts at the Purcell Rooms and St Martin-in-the- Fields.

Stephen and Brenda are married and live in Huntingdonshire.

63 Michael Noakes RP PPROI

President Nelson Mandela addressing Rhodes Scholars in Westminster Hall

127 x 108 cm (50 x 43 ins)

Mixed media

On loan from the House of Commons

64 Sir Roger and Lady Bannister

76 x 102 cm (30 x 40 ins)

Pencil and charcoal

Commissioned by Harris Manchester College, Oxford

65 Anastasia Pollard RP

Cowgirl and Chihuahua

31 x 26 cm (12 x 10 ins)

Oil

66 The Button Thief

26 x 23 cm (10 x 9 ins)

Oil

67 Susan Ryder RP NEAC Hon SWA

Harry, Meg and Daisy Sellers Mr Stephen Goodhart and Mrs Julie Goodhart, Joint Heads of Swanbourne House School 117 x 102 cm (46 x 40 ins) 1996-2013

Oil 96 x 112 cm (38 x 44 ins)

Oil

68 The Edwards Family

112 x 127 cm (44 x 50 ins)

Oil

69 Melissa Scott-Miller RP NEAC

Cordelia

76 x 51 cm (30 x 20 ins)

Oil

70 Adele Wagstaff

Soni

35 x 45 cm (14 x 18 ins)

Oil

71 Daphne J Todd OBE PPRP NEAC Hon SWA

Ian Davenport, Headmaster, Crispian Collins, Esq Blundell’s School 76 x 61 cm (30 x 24 ins) 97 x 117 cm (38 x 46 ins) Oil Oil

72 Dr Stephen Spurr, Headmaster, Westminster School

188 x 120 cm (74 x 47 ins)

Oil

By kind permission of the Governors

73 John Walton RP

The Seventh Square

61 x 56 cm (24 x 22 ins)

Oil

74 Stephen Roberts Borthwick BSc CPhys FRSA

56 x 46 cm (22 x 18 ins)

Oil

75 Emma Wesley RP

The Yellow Shirt: Portrait of Richard Morgan

90 x 60 cm (35 x 24 ins)

Acrylic

76 Graeme Wilcox

Frank

137 x 92 cm (54 x 36 ins)

Oil

77 Toby Wiggins RP

Andrew McKimm

25 x 36 cm (10 x 14 ins)

Oil

78 Lydia McKimm

25 x 36 cm (10 x 14 ins)

Oil

79 Antony Williams RP NEAC PS

Emma Jane

38 x 41 cm (15 x 16 ins)

Egg tempera

80 Charles Cator and Stephen White: A Diptych

61 x 102 cm (24 x 40 ins)

Egg tempera

81 John Wonnacott RP

Sir Edwin Manton

92 x 76 cm (36 x 30 ins)

Oil

In the 1980s, the Chairman of AIG, Sir Edwin Manton, Jim to staff and friends, bought my south-facing window painting of the Thames Estuary from a show at Marlborough New York. When I visited New York in 1999 for the opening of my show at Herschel & Adler, Sir Edwin asked me to his Pine St office to see the painting. He then purchased a companion window painting from the new show and commissioned me to paint a cityscape from his 69th floor balcony looking from Manhattan over the East River to Brooklyn. In breaks from painting we drank English tea together, talking mostly about his magnificent collection of British art and about his childhood in Leigh- on-Sea, where I have lived for the past forty years. I drew and painted Sir Edwin in front of my window painting as we talked.

One of the resulting heads hangs in the Manton Entrance to Tate Britain, and the painting in this current show is destined for the Sterling & Francine Clarke Art Institute Williamstown, which is fortunate to have been the chosen home for Sir Edwin’s collection.

82 Self-portrait

69 x 28 cm (27 x 11 ins)

Oil

There are few years when I have not continued to paint the constantly changing tidal drama from my studio window. Through the early 2000s, I made a long series of self-portraits in front of sections of the same window, reveling in sunsets, sunrises, storms and, as in this painting, dazzling light reflected from sea and mudflats.

83 Robbie Wraith RP

Portrait Study

61 x 43 cm (24 x 17 ins)

Charcoal

84 Beryl Tewell

61 x 51 cm (24 x 20 ins)

Charcoal

85 Anna Wimbledon

Portrait of The Artist and Her Family

120 x 120 cm (47 x 47 ins)

Oil

86 Annual Exhibition 2014 ALASTAIR ADAMS PRP SCOTT E BARTNER JANE BOND RP NEAC 1 Anne Marie Davies 9 Hedwig 3 18 Charlotte and James Oil Oil Charcoal 60 x 52 cm (24 x 20 ins) 53 x 41 cm (21 x 16 ins) 61 x 76 cm (24 x 30 ins) NFS £4,200 NFS

2 Professor Peter Matthews, Emeritus 10 Hedwig Profile 19 John Franklin, Headmaster of Professor, St John’s College, Cambridge Oil Ardingly College 1998-2007 Charcoal and chalk 49 x 39 cm (19 x 15 ins) Oil 70 x 55 cm (28 x 22 ins) £4,900 81 x 74 cm (32 x 29 ins) NFS NFS By permission of the Master and Fellows of CAROLINE BAYS PS St John’s College, Cambridge 11 Jill Bays JASON BOWYER RP PPNEAC PS Oil 20 Self-portrait 3 Shirley Pearce, Vice Chancellor of 51 x 41 cm (20 x 16 ins) Pastel and ink Loughborough University 2006-2012 NFS 81 x 56 cm (32 x 22 ins) Oil NFS 120 x 100 cm (48 x 40 ins) EDWARD BEALE NFS 21 The Ceramic Sculptor – Claire Ireland 12 Portrait of Austin By permission of Loughborough University Oil Oil 61 x 61 cm (24 x 24 ins) 4 Tony Blair 56 x 50 cm (22 x 20 ins) NFS Oil £4,000 165 x 122 cm (65 x 48 ins) 22 The Seamster – Glenndon Casey NFS FRANCES BELL Assoc RP Oil From the artist’s collection 13 Mark 61 x 61 cm (24 x 24 ins) Oil NFS URSULA ANDREJCZUK 108 x 103 cm (43 x 41 ins) 5 Mirek NFS PAUL BRASON RP Oil 23 Bernard and Sarah Taylor 14 Rachel 54 x 44 cm (21 x 17 ins) Oil Charcoal £1,100 122 x 152 cm (48 x 60 ins) 33 x 53 cm (13 x 21 ins) NFS NFS MALCOLM ASHMAN RBA ROI 24 Felix and Lucian Invited by Peter Brown RP NEAC PS TIM BENSON VPROI Oil Hon RBA ROI 15 Beth, Burns Survivor 46 x 61 cm (18 x 24 ins) 6 Clovis Oil NFS Oil 102 x 71 cm (40 x 28 ins) 49 x 42 cm (19 x 17 ins) 25 Sir Keith O’Nions, Rector of NFS NFS Imperial College, London SARA BERMAN Oil 7 Dale 16 Cat Dress 91 x 71 cm (36 x 28 ins) Pencil Oil NFS 78 x 62 cm (31 x 25 ins) 180 x 125 cm (71 x 49 ins) £1,200 £4,500 KEITH BREEDEN RP 26 Rt Hon Sir Menzies Campbell CH CBE QC MP ALDO BALDING DIANA BLAKENEY Oil 8 Self in Mirror 17 Lord Mervyn King, Governor of 76 x 61 cm (30 x 24 ins) Oil The Bank of England 2003-2013 NFS 40 x 30 cm (16 x 12 ins) Oil Courtesy of The National Liberal Club £2,750 141 x 107 cm (56 x 42 ins) NFS 27 Sketch 1 STEVE CALDWELL 45 Leopold Antelme MA TD Mixed media 36 Abbie Oil 51 x 41 cm (20 x 16 ins) Acrylic 51 x 61 cm (20 x 24 ins) NFS 40 x 30 cm (16 x 12 ins) NFS £1,200 28 Sketch 2 DAVID COBLEY RP NEAC RWA Mixed media 37 Jay 46 His Honour Judge Peter Beaumont QC 51 x 41 cm (20 x 16 ins) Acrylic Oil NFS 30 x 24 cm (12 x 9 ins) 102 x 87 cm (40 x 34 ins) £950 NFS MARTIN BROOKS 29 Study of M PATRICIA CASTELAO COSTA 47 Professor Quentin Skinner Conté 38 Ana’s Cousin Oil 43 x 43 cm (17 x 17 ins) Watercolour 92 x 61 cm (36 x 24 ins) £600 50 x 36 cm (20 x 14 ins) NFS NFS 48 Sir Christopher Hum KCMG PETER BROWN RP NEAC PS Hon RBA ROI Oil 30 After School: Hattie, Ollie and Toby MARTIN CHURCHILL 92 x 66 cm (36 x 26 ins) Oil 39 Martin NFS 35 x 48 cm (14 x 19 ins) Oil £2,950 35 x 35 cm (14 x 14 ins) ANTHONY CONNOLLY RP £4,000 31 Ella and Ned Looking at Pictures on Lisa’s 49 A 2014 Phone with Mad Cat Etching (edition of 25, 10 available) TOMAS CLAYTON Oil 50 x 40 cm (20 x 16 ins) 40 Europa 65 x 78 cm (26 x 31 ins) £395 (£295 unframed) Oil £5,850 47 x 40 cm (19 x 16 ins) 50 Dr Victoria N. Bateman, Fellow of Gonville 32 Ella Asleep £3,000 and Caius College, Cambridge Pencil Oil 47 x 38 cm (19 x 15 ins) PETER CLOSSICK NEAC 150 x 80 cm (59 x 31 ins) NFS 41 Lydia NFS Ink 33 Hattie Asleep 51 Georgia McVeigh 41 x 31 cm (16 x 12 ins) Pencil Oil £800 47 x 38 cm (19 x 15 ins) 95 x 75 cm (37 x 30 ins) NFS 42 Lyds NFS Oil 52 Untitled 2014 PATRICIA BUCKLEY 44 x 44 cm (17 x 17 ins) Pencil 34 Self-portrait in Front of my River Painting £1,700 110 x 60 cm (43 x 24 ins) Oil NFS 36 x 31 cm (14 x 12 ins) TOM COATES RP PPNEAC PPS £4,000 PPRBA RWA RWS MELODIE COOK 43 Bernard Dunstan RA NEAC 53 Barba Rossa DAVID CALDWELL Oil Pastel, ink, and bleach 35 Jenny 61 x 76 cm (24 x 30 ins) 107 x 107 cm (42 x 42 ins) Oil NFS £2,200 50 x 40 cm (20 x 16 ins) 44 Jonathan Viera, Opera Singer £1,300 Oil PHOEBE COPE 76 x 61 cm (30 x 24 ins) 54 Phoebe NFS Oil 31 x 20 cm (12 x 8 ins) £850 BELINDA CROZIER SIMON DAVIS RP RBSA REBECCA FOSTER 55 Fred the Traveller 65 Dead Girl IV 74 Christina Before She Married Oil Oil Oil 39 x 27 cm (15 x 11 ins) 46 x 30 cm (18 x 12 ins) 40 x 30 cm (16 x 12 ins) £1,850 £2,000 £2,500

56 Laura in Green 66 Moustakali RICHARD FOSTER RP Oil Oil 75 Jasper Fritze 63 x 36 cm (25 x 14 ins) 23 x 23 cm (9 x 9 ins) Watercolour £3,250 NFS 53 x 43 cm (21 x 17 ins) 67 Vaishali NFS KEVIN MA CUNNINGHAM Oil 57 Self-portrait as St Luke (Patron Saint of Artists) 76 Lislee 61 x 47 cm (24 x 19 ins) Oil Oil £3,000 60 x 40 cm (24 x 16 ins) 120 x 150 cm (47 x 59 ins) £1,800 NFS PHOEBE DICKINSON 68 Pup at Easter 77 Nicholas Heesom, Esq LANTIAN D Oil Oil 58 Passersby (No. 5) 31 x 35 cm (12 x 14 ins) 76 x 64 cm (30 x 25 ins) Oil NFS NFS 30 x 40 cm (12 x 16 ins) £8,000 MIRIAM ESCOFET 78 The Stanton Family 69 Vanitas Oil SAIED DAI RP NEAC Mixed media 90 x 110 cm (35 x 43 ins) 59 Jonathan Miller 63 x 83 cm (25 x 33 ins) NFS Oil £7,000 118 x 76 cm (46 x 30 ins) EMMA GALLOWAY NFS ANTHONY EYTON RA PS ROI 79 Self-portrait Invited by Melissa Scott-Miller RP NEAC Aquatint (edition of 8, 5 available) 60 Portrait of The Artist’s Wife 70 Hero 46 x 41 cm (18 x 16 ins) Oil Oil £120 framed (£60 unframed) 80 x 65 cm (31 x 26 ins) 59 x 48 cm (23 x 19 ins) NFS £7,000 MATTHEW GARRARD 80 Tamsin Greig SAM DALBY RP ANDREW FESTING PPRP Oil 61 Bill Charlton 71 Alan Florence of The Arctic Convoy 81 x 76 cm (32 x 30 ins) Oil Oil NFS 91 x 65 cm (36 x 26 ins) 81 x 71 cm (32 x 28 ins) £6,000 NFS PETER GOODFELLOW 62 Roger Moss OBE 81 Portrait of a Gallery Owner 72 Ronnie Kulla Pencil Oil Oil 53 x 43 cm (21 x 17 ins) 100 x 120 cm (39 x 47 ins) 81 x 86 cm (32 x 34 ins) NFS NFS NFS 63 Self-portrait 73 Self-portrait DAVID GRAHAM RP Oil Oil 82 Katherina 100 x 70 cm (39 x 28 ins) 56 x 41 cm (22 x 16 ins) Oil £8,000 NFS 51 x 41 cm (20 x 16 ins) 64 Sitting £4,500 Oil 69 x 59 cm (27 x 23 ins) £6,000 83 Matador GEOFFREY HAYZER RP 102 Troubled Flames (Study of Glen) Oil 93 Eve Mixed media 140 x 97 cm (55 x 38 ins) Charcoal 14 x 23 cm (6 x 9 ins) £15,000 75 x 60 cm (30 x 24 ins) £1,850 NFS 84 Pearl JULIE JACKSON NEAC Oil 94 Looking for Mum. Looking for Dad. 103 Nicholas 76 x 61 cm (30 x 24 ins) Oil Oil £6,000 50 x 43 cm (20 x 17 ins) 57 x 48 cm (22 x 19 ins) NFS £3,000 VALERIY GRIDNEV RP PS ROI 95 Professor Tony Badger, 85 Expecting Master of Clare College, Cambridge ANDREW JAMES VPRP Oil Oil 104 Bill Cooper 90 x 146 cm (35 x 57 ins) 125 x 100 cm (49 x 40 ins) Oil NFS NFS 104 x 84 cm (41 x 33 ins) 86 Marina NFS Charcoal NEIL B HELYARD 105 Eduardo 56 x 76 cm (22 x 30 ins) 96 Ali Charcoal £5,000 Oil 115 x 79 cm (45 x 31 ins) 40 x 40 cm (16 x 16 ins) 87 Piotr – Father of my Friend NFS NFS Oil 106 Luyiso 61 x 101 cm (24 x 40 ins) ANDREW HITCHCOCK Oil NFS 97 Julia 102 x 81 cm (40 x 32 ins) 88 Waiting Oil NFS Oil 25 x 22 cm (10 x 9 ins) 58 x 89 cm (23 x 35 ins) £950 VICTORIA JINIVIZIAN NFS Invited by Toby Wiggins RP FELICITY HOUSE PS 107 Lady Emma at Home RAOOF HAGHIGHI 98 Portrait in Boots Pencil 89 Self-portrait Pastel 41 x 45 cm (16 x 18 ins) Oil 62 x 82 cm (24 x 32 ins) £650 35 x 45 cm (14 x 18 ins) £950 £2,000 HERO JOHNSON TOM HUGHES 108 Ian JAMES HAGUE 99 Yellow Hat, Pink Monster Oil 90 Mette Oil 61 x 71 cm (24 x 28 ins) Oil 55 x 55 cm (22 x 22 ins) NFS 90 x 120 cm (35 x 47 ins) £995 £7,500 JACK JOINER MARK HURST 109 Portrait ROBIN-LEE HALL RP 100 Study of Robert Pencil 91 Pat and Her Very Expensive Hat Oil 175 x 142 cm (69 x 56 ins) Conté crayon 40 x 30 cm (16 x 12 ins) £12,000 76 x 60 cm (30 x 24 ins) £150 £1,500 JYM MICHAEL HYAM 110 The Fool JACK HASLAM 101 Soldier (Study of Bill) Oil 92 Self-portrait Mixed media 65 x 46 cm (26 x 18 ins) Pencil 29 x 23 cm (11 x 9 ins) £2,800 50 x 50 cm (20 x 20 ins) £2,500 £300 TATYANA KULIDA NICHOLAS MARTIN JULIAN GORDON MITCHELL 111 Rachael: Holding On To Joy 120 Three Taxidermists from Boston Spa Invited by Andrew James VPRP Oil Oil 129 Olesya 40 x 50 cm (16 x 20 ins) 95 x 150 cm (37 x 59 ins) Oil £1,600 £10,000 118 x 75 cm (46 x 30 ins) £10,000 PETER LAYZELL KENNY McKENDRY 112 Imogen and Sadie Magennis 121 Art and Reality, Portrait of James Simmons SARAH JANE MOON Oil Oil Bulldog Bursary Recipient 2013-2014 45 x 45 cm (18 x 18 ins) 24 x 20 cm (9 x 8 ins) 130 Dr Laura Bridgeman, Clarence Rd £4,000 £1,250 Oil 176 x 130 cm (69 x 51 ins) KEVIN LINE ARBSA JENNIFER McRAE £3,800 113 Prof David Watkins FGSM Hon ARAM Invited by Alastair Adams PRP Charcoal 122 Conversations with Duncan ANTHONY MORRIS RP NEAC 83 x 64 cm (33 x 25 ins) Oil 131 Malcolm Bell £6,000 140 x 114 cm (55 x 44 ins) Oil NFS 51 x 46 cm (20 x 18 ins) JAMES LLOYD RP NFS 114 Carl JUNE MENDOZA OBE RP ROI Hon SWA 132 Rebecca Pastel Study Oil 123 Andy Grappy and Sousaphone Pastel 56 x 61 cm (22 x 24 ins) Oil 91 x 66 cm (36 x 26 ins) £5,000 107 x 152 cm (42 x 60 ins) NFS NFS 115 Cressida and Lucian 133 Stephen Bingham and Brenda Stewart, Oil 124 Stephen Barlow, Orchestral Conductor Rehearsing 81 x 117 cm (32 x 46 ins) Oil Oil NFS 107 x 152 cm (42 x 60 ins) 91 x 105 cm (36 x 41 ins) NFS 116 Hannah NFS Oil 125 Trader Faulkner, Actor, Author 134 Summer Drinks with the Neighbours 76 x 61 cm (30 x 24 ins) Oil Oil £5,000 145 x 120 cm (57 x 47 ins) 91 x 104 cm (36 x 41 ins) NFS 117 Sarah Donaldson NFS Oil JAN MIKULKA 140 x 104 cm (55 x 41 ins) AMY MOSELEY Invited by Alastair Adams PRP NFS 135 Zambi 126 Mr Hackel Oil Oil PAT MACLAURIN 65 x 55 cm (26 x 22 ins) 115 x 90 cm (45 x 35 ins) 118 Ned, A Study £3,500 NFS Oil 26 x 21 cm (10 x 8 ins) JOHN MURPHY-WOOLFORD DAVID MILLER Assoc RP RBA £650 136 Age 45 127 Family of Three Oil Oil DAVID MAIDEN 26 x 26 cm (10 x 10 ins) 118 x 94 cm (46 x 37 ins) 119 Lucy Baker £900 NFS Oil 71 x 46 cm (28 x 18 ins) 128 The Artist’s Son with His Wife NASHUNMENGHE NFS Oil 137 Woman in Cardigan 115 x 136 cm (45 x 54 ins) Oil NFS 44 x 54 cm (17 x 21 ins) £2,000 ROBERT NEIL PRBSA 146 Not Talking IAN ROWLANDS 138 Jeweller 2 Oil 155 Hero Oil 44 x 29 cm (17 x 11 ins) Oil 70 x 60 cm (28 x 24 ins) NFS 71 x 92 cm (28 x 36 ins) NFS NFS 147 The Button Thief Oil DAVID R NEWENS SUSAN RYDER RP NEAC HON SWA 26 x 23 cm (10 x 9 ins) 139 Pedita 156 Harry, Meg and Daisy Sellers NFS Oil Oil 36 x 26 cm (14 x 10 ins) 117 x 102 cm (46 x 40 ins) CAROLINE POOLE £1,200 NFS 148 Woman in Red Trousers Pastel 157 Mr Stephen Goodhart and Mrs Julie MICHAEL NOAKES RP PPROI 91 x 131 cm (36 x 52 ins) Goodhart, Joint Heads of Swanbourne 140 President Nelson Mandela addressing £3,000 House School 1996-2013 Rhodes Scholars in Westminster Hall Oil Mixed media ALLAN RAMSAY 96 x 112 cm (38 x 44 ins) 127 x 108 cm (50 x 43 ins) 149 Amy Sleeping NFS NFS Conté On loan from the House of Commons 158 The Edwards Family 30 x 45 cm (12 x 18 ins) Oil 141 Sir Roger and Lady Bannister NFS 112 x 127 cm (44 x 50 ins) Pencil and charcoal NFS 76 x 102 cm (30 x 40 ins) GARETH REID NFS 150 Poppy BRANDON SCOTT Commissioned by Harris Manchester Charcoal 159 Noah College, Oxford 30 x 40 cm (12 x 16 ins) Oil £1,500 54 x 42 cm (21 x 17 ins) O M OWEN £5,000 142 Painting of Me MAX RENNEISEN Oil 151 Anna 160 Studio Selfie 55 x 46 cm (22 x 18 ins) Oil Oil £6,000 140 x 85 cm (55 x 33 ins) 66 x 40 cm (26 x 16 ins) £6,000 NFS SHANTI PANCHAL 143 Maya’s Long Hair MARK ROSCOE FIONA SCOTT Watercolour 152 Self-portrait 2014 161 Ted (After the Match) 101 x 81 cm (40 x 32 ins) Oil Oil £8,200 137 x 102 cm (54 x 40 ins) 127 x 90 cm (50 x 35 ins) £18,000 NFS SERGEI PAVLENKO Invited by Antony Williams RP NEAC PS ILARIA ROSSELLI DEL TURCO MELISSA SCOTT-MILLER RP NEAC 144 Maria 153 Daniel 162 Adam Oil Oil Oil 168 x 95 cm (66 x 37 ins) 56 x 46 cm (22 x 18 ins) 76 x 51 cm (30 x 20 ins) NFS NFS POA

154 Study for Queen of Sheba 163 Cordelia ANASTASIA POLLARD RP Monotype Oil 145 Cowgirl and Chihuahua 10 x 10 cm (4 x 4 ins) 76 x 51 cm (30 x 20 ins) Oil £190 £2,800 31 x 26 cm (12 x 10 ins) NFS 164 London Portrait 172 Sir Mark Prescott Bt 180 Ian Davenport, Headmaster, Oil Oil Blundell’s School 61 x 91 cm (24 x 36 ins) 150 x 130 cm (59 x 51 ins) Oil NFS NFS 97 x 117 cm (38 x 46 ins) In conjunction with the commission for NFS CAROLINE SEILERN-ASPANG The Jockey Club 165 Nino 181 The Rev. Duncan Dormor Charcoal Chalk and charcoal EDWARD SUTCLIFFE 47 x 65 cm (19 x 26 ins) 66 x 61 cm (26 x 24 ins) 173 Lord Kinnock £600 NFS Oil By kind permission of St John’s College, 25 x 20 cm (10 x 8 ins) JONNY SHAW Cambridge. Photography by Hugh Gilbert £6,500 166 Deryugina Pencil ALEX TZAVARAS ELIZABETH THAYER 58 x 69 cm (23 x 27 ins) 182 Rafael 174 Doug NFS Charcoal Charcoal 65 x 55 cm (26 x 22 ins) 36 x 46 cm (14 x 18 ins) TAI SHAN SHIERENBERG Hon RP NFS £2,500 167 Dr Archie Prentice, President of the Royal College of Pathologists 175 Marcia JOS VAN RISWICK Oil Oil 183 Portrait of Dutch Girl 81 x 66 cm (32 x 26 ins) 61 x 80 cm (24 x 31 ins) Oil NFS £3,500 40 x 29 cm (16 x 11 ins) £2,500 TOMOKO SMITH JEAN-PAUL TIBBLES 168 Self-portrait 176 Niki 2013 ADELE WAGSTAFF Watercolour Oil 184 Soni 58 x 68 cm (23 x 27 ins) 121 x 98 cm (48 x 39 ins) Oil £500 NFS 35 x 45 cm (14 x 18 ins) NFS SUE SPAULL YANKO TIHOV Invited by Tai Shan Shierenberg Hon RP 177 Yoana JASON WALKER RP 169 Baroness Helena Kennedy QC Pencil 185 Dan Lugg Oil 23 x 16 cm (9 x 6 ins) Oil 95 x 71 cm (37 x 28 ins) £950 122 x 122 cm (48 x 48 ins) NFS £7,500 DAPHNE J TODD OBE PPRP 186 Self-portrait MINNA STEVENS NEAC Hon SWA Oil 170 Self-portrait 178 Crispian Collins, Esq 122 x 122 cm (48 x 48 ins) Oil Oil £6,000 43 x 33 cm (17 x 13 ins) 76 x 61 cm (30 x 24 ins) £1,750 NFS 187 The Old Cornish Couple Oil 179 Dr Stephen Spurr, Headmaster, JEFF STULTIENS RP 53 x 69 cm (21 x 27 ins) Westminster School 171 Cindi Goodridge (Bajan Portrait Series) NFS Oil Oil 188 x 120 cm (74 x 47 ins) 76 x 61 cm (30 x 24 ins) JOHN WALTON RP NFS NFS 188 Stephen Roberts Borthwick BSc CPhys FRSA By kind permission of the Governors Oil 56 x 46 cm (22 x 18 ins) NFS 189 The Seventh Square TOBY WIGGINS RP JOHN WONNACOTT RP Oil 198 Andrew McKimm 208 Self-portrait 61 x 56 cm (24 x 22 ins) Oil Oil NFS 25 x 36 cm (10 x 14 ins) 69 x 28 cm (27 x 11 ins) NFS NFS TOBY WARD AFAS NEAC 199 Lydia McKimm 209 Sir Edwin Manton 190 Gerhard Oil Oil Oil 25 x 36 cm (10 x 14 ins) 92 x 76 cm (36 x 30 ins) 114 x 79 cm (45 x 31 ins) NFS NFS £10,000 200 Study of a Girl Aged 11 – Sophie Gunner RODGER WORTH COLIN WATSON Oil 210 Otters 191 Karima and Maryam 18 x 12 cm (7 x 5 ins) Acrylic Casein and oil £1,200 46 x 34 cm (18 x 13 ins) 61 x 46 cm (24 x 18 ins) £1,100 £4,500 GRAEME WILCOX 201 Frank ROBBIE WRAITH RP FLORA WATSON Oil 211 Beryl Tewell 192 Studio 26 137 x 92 cm (54 x 36 ins) Charcoal Oil £9,500 61 x 51 cm (24 x 20 ins) 120 x 140 cm (47 x 55 ins) NFS £2,899 ANTONY WILLIAMS RP NEAC PS 202 Antonia Looking Up 212 Lester Brookes EMMA WESLEY RP Egg tempera Charcoal 193 Andrew Strauss 61 x 61 cm (24 x 24 ins) 61 x 51 cm (24 x 20 ins) Pencil £24,500 NFS 106 x 82 cm (42 x 32 ins) 203 Emma Jane 213 Portrait Study NFS Egg tempera Charcoal 194 Claire Taylor 38 x 41 cm (15 x 16 ins) 61 x 43 cm (24 x 17 ins) Pencil £22,500 NFS 106 x 82 cm (42 x 32 ins) 204 Charles Cator and Stephen White: A Diptych 214 Portrait Study NFS Egg tempera Oil 195 Richard Morgan 61 x 102 cm (24 x 40 ins) 48 x 38 cm (19 x 15 ins) Pencil NFS NFS 106 x 82 cm (42 x 32 ins) 205 Study for Andrew NFS P L WRIGHT Pencil 215 Nicholas 196 The Yellow Shirt: Portrait of Richard Morgan 52 x 43 cm (20 x 17 ins) Oil Acrylic £3,850 40 x 30 cm (16 x 12 ins) 90 x 60 cm (35 x 24 ins) £3,000 NFS PAULA WILSON 206 Combing my Hair CRAIG WYLIE JOHN WHITTALL Oil Invited by Simon Davis RP RBSA 197 Self-portrait 21 x 13 cm (8 x 5 ins) 216 EW (Cave) Oil £1,600 Oil 104 x 91 cm (41 x 36 ins) 210 x 135 cm (83 x 53 ins) £12,000 ANNA WIMBLEDON POA 207 Portrait of The Artist and Her Family Oil 120 x 120 cm (47 x 47 ins) NFS Changing Faces – a new perspective on disfigurement

Over one million people in the UK have journey as I shed tears. My mother then a disfigurement. Some are born with a decided that enough was enough and birthmark or congenital condition; sought help. others acquire scarring, asymmetry or Changing Faces offered me support reduced movement as a result of from the age of eleven to 14. Sharing accidents, violence, warfare, cancer my feelings with one of their team and surgery, facial paralysis and skin learning techniques to tackle the stares conditions. was immensely helpful. I don’t feel Every day they are vulnerable to I’d be the person I am today without staring, bullying, prejudice and their help.” discrimination – on the street, at school Changing Faces thanks the Royal Society and in the workplace. For 20 years, of Portrait Painters for continuing to Changing Faces has been transforming raise awareness of our work. lives with empowering support while promoting fair treatment and equal We rely entirely on donations to opportunities through our Face continue supporting and representing Equality campaign. people with disfigurements.

Michael, a psychology student, who Changing Faces has facial burns, says: The Squire Centre “‘When I was eleven, I had a horrible 33-37 University Street experience on a train. I was sitting next London WC1E 6JN to my Mum and I could feel the piercing Tel: 0845 4500 275 glares of everyone around me. I www.changingfaces.org.uk couldn’t handle it so I pulled my coat www.facebook.com/changingfacesuk over my head and left it there the whole @faceequality

Chief Executive and Founder: James Partridge OBE

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THE LEADING PAINTING HOLIDAY DESTINATION Inspirational courses for both beginners and serious artists in Umbria with exceptional tutors ituated in the Umbrian hills, the ‘green heart of Italy’, our private 220 acre estate is the stunning backdrop for Sour painting, sculpture and writing courses. These residential holidays include seven days’ accommodation in our home, an 18th century country house, where the atmosphere is relaxed and stress-free, offering the perfect setting for you to enjoy and develop your creative skills under expert tuition from leading artists and tutors such as Andrew James , Antony Williams , Hashim Akib , Kelly Medford , Janette Phillips , Caroline Bays , Patrick Cullen, Adele Wagstaff, Simon Keeley and Jean Haines! Prices start from £985 for a general course and £1,285 for a Master Class, fully inclusive of tuition, all art materials, full board accommodation, superb local cuisine, wine, free bar and local tours. All one-week courses offer incredible value for money! For more details of all 2014/2015 courses email: [email protected], call Italy: 0039 0763 837347, cellphone: 0039 345 876 8311 or visit: www.arteumbria.com Please follow us on Twitter @ArteUmbria and our Facebook page Arte Umbria

“The best kept secret in London”

From bespoke dinners and lavish cocktail receptions, to charity fundraisers and corporate receptions, the Mall Galleries offers friendly, ﬂexible and exclusive evening event hire, all set against a background of contemporary art.

With 500sq metres spread over three galleries, we offer a stylish and versatile setting in a Grade I listed Regency Terrace in the heart of Central London.

To discuss your event, contact Olivia Ladbrooke-Chartres 020 7930 6844 [email protected] www.mallgalleries.org.uk

Created for you

Be bright. Be different. Mall Galleries’ Commissions Service help create and source bespoke works of art to suit purpose and place. Wear your work of art. Contact us to ﬁnd out more: Shop online for beautiful bags and accessories 020 7930 6844 www.brightcolours.co.uk [email protected] Enquiries: [email protected] Twitter: @bebrightcolours FB: www.facebook.com/beBrightColours Painting by Lucy McKie ROI

Commissioning a portrait

Francis Bacon’s three-panel portrait of his deadline for completion. Some of these usually be discussed and, if the meeting friend, Lucian Freud, may have achieved a considerations will immediately eliminate goes well, there is a further discussion record price in the auction room, but like some artists from the selection process. about the timing and number of sittings. It other portraits that are normally is only after you have explored these commissioned, it was painted for reasons of Our website (www.therp.co.uk) is a good options and the first sitting is booked that a commemoration and affection. However, starting point and also gives information deposit is usually taken. unlike a car that deteriorates with time or a about fees and other in-depth information. classic wine that is gone after you’ve enjoyed Selecting online can be hard work, so we With sittings, each artist works in a it, a portrait will last for generations. offer a personal service by which we will send different way. Some like a high input from Commissioning a portrait may seem like a you a shortlist, based on your brief. We also the sitter or commissioner, others like more substantial investment, but with the help throughout the commission process. artistic freedom. Some will only work from enjoyment it brings defrayed over the years, Initial face-to-face consultations are the most life, while others will work only from their a good portrait can also represent great value. rewarding and take place in our London own photographs; some artists use a offices. But this is not always practical, so mixture of both. There are a few practical elements to be we offer a similar service by email. addressed before selecting among the many Once a portrait is finished, it is extremely rare portrait painters: the budget, medium, size, At that first meeting, details like pose, dress, that one of our clients is not happy with the number of people in the work and any background, composition and exact size will end result, but it is not uncommon for people to take time to ‘see’ the portrait. The first impact of a portrait can sometimes be a bit unsettling as we are so used to photographic images. Occasionally, the artist will tweak the portrait, but we recommend it is best to live with a work for about six weeks before forming an opinion. The frame is important and should complement the work. However, this is not normally part of the commission and the artist will often advise how best to frame your finished portrait.

Whether your interest in commissioning a portrait is for love, for legacy or because of your fascination with the human face, the portrait remains an enduring art form that will hold as much fascination for others as it will for your subject. With our help, we will ensure you enjoy the process just as much as the finished portrait.

Annabel Elton Antony Williams painting a portrait of Sir Donald Sinden Head of Commissions

104

2014

Royal Society of Portrait Painters 2014 RP