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2014

Annual Exhibition 2014

Royal Society of Portrait Painters17 Carlton House Terrace, London SW1Y 5BDTel: 020 7930 6844www.therp.co.uk www.mallgalleries.org.uk

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

Designed and produced by Chris Drake DesignPrinted by Duncan Print GroupPublished by the Royal Society of Portrait Painters© 2014 Royal Society of Portrait Painters

ISBN 978-0-901415-27-1

The Royal Society of Portrait Painters is a Registered Charity No. 327460

Council

Paul Brason

Saied Dai

Robin-Lee Hall

Melissa Scott-Miller

Michael Taylor

Antony Williams

Hanging Committee

Tom Coates

Simon Davis

Melissa Scott-Miller

Toby Wiggins

Gallery Manager

John Deston

Exhibitions Officer

Alistair Redgrift

Press and Publicity

Richard Fitzwilliams

Liberty Rowley

Commissions Consultants

Annabel Elton

Sophie Hill

Advisory Board

Lord Armstrong of Ilminster GCB CVO

Lady Bacon

Anne Beckwith-Smith LVO

Dame Elizabeth Esteve-Coll DBE

Lord Fellowes GCB GCVO QSO

Anupam Ganguli

Damon de Laszlo

The Hon. Sandra de Laszlo

Philip Mould

Sir Christopher Ondaatje CBE OC

Mark Stephens

Daphne Todd OBE PPRP NEAC Hon. SWA

President

Alastair C. Adams

Vice President

Andrew James

Honorary Secretary

Simon Davis

Honorary Treasurer

Jason Walker

Honorary Archivist

Toby Wiggins

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Royal Society of Portrait PaintersPatron: Her Majesty The Queen

Deceased Honorary Members

Sir Lawrence Alma-Tadema OM RA RWS

Maurice Bradshaw OBE

Derek Clarke RP RSW ARSA

Sir George Clausen RA

Sir Arthur Cope RA

Cowan Dobson RBA

William Dring RA RWS

Hugh de T. Glazebrook

Kenneth Green

Sir James Guthrie PRSA RA

Allan Gwynne-Jones DSO RA

J. McLure Hamilton

Claude Harrison ARCA

Augustus John OM RA

Dame Laura Knight RA RWS

Leonard C. Lindsay FSA

Sir William Llewellyn PRA

Sir John Everett Millais PRA

A. T. Nowell

Herbert A. Oliver RI

Sir Edward Poynter PRA RWS

Hugh G. Riviere

Carlos Sancha

C. Sanders RA

John S. Sargent RA RWS

Howard Somerville

Trevor Stubley RBA RSW RWS

A. R. Thompson RA

G. F. Watts OM RA

T. Fiddes Watt RSA

J. McNeill Whistler HRSA LL.D

Walter Woodington RBA NEAC

Past Presidents

1891 – 1904 A. Stuart Wortley

1906 – 1910 Sir W. Q. Orchardson RA HRSA

1910 – 1924 Sir James J. Shannon RA

1924 – 1930 Sir William Orpen KBE RA RHA

1932 – 1940 Sir John Lavery RA RSA RHA Etc

1944 – 1948 George Harcourt RA

1948 – 1953 Augustus John OM RA

1953 – 1965 Sir James Gunn RA LL.D

1965 – 1971 Sir William Hutchison PPRSA

1971 – 1980 Edward Halliday CBE PPRBA

1980 – 1983 Norman Hepple RA

1983 – 1991 David Poole ARCA

1991 Edward Hall

1991 – 1994 George J. D. Bruce

1994 – 2000 Daphne Todd OBE

2000 – 2002 Paul Brason

2002 – 2008 Andrew Festing MBE

Past Vice Presidents

1898 – 1934 The Hon. John Collier OBE

1934 – 1944 George Harcourt RA

1944 – 1952 Sir Oswald Birley RA

1952 – 1953 T. C. Dugdale RA

1953 – 1957 Simon Elwes ARA

1959 – 1964 Sir William Hutchison PPRSA

1966 – 1980 Norman Hepple RA

1980 – 1985 John Ward CBE RA RWS

1985 – 1991 George J. D. Bruce

1991 Edward Hall

1991 – 1994 Richard Foster

1994 – 1999 Trevor Stubley RWS RBA

1999 – 2001 Paul Brason

2001 – 2002 Andrew Festing MBE

2002 – 2008 Susan Ryder NEAC

Honorary Members 2014

William Bowyer RA RP RWS NEAC

Leonard McComb RA Hon. RBA

Tom Phillips CBE RA Hon. PS

Tai-Shan Schierenberg

John Wonnacott CBE

Members 2014

Alastair C. Adams PRP President

Jane Bond RP NEAC

Jason Bowyer RP PNEAC PS

Paul Brason PPRP

Keith Breeden RP

Peter Brown RP NEAC PS Hon. RBA ROI

George J. D. Bruce PPRP

Tom Coates RP PPPS PPRBA RWS

PPNEAC RWA

David Cobley RP RWA NEAC

Anthony Connolly RP

Saied Dai RP NEAC

Sam Dalby RP AGBI Steward 2013-14

Simon Davis RP RBSA Hon. Secretary

Frederick Deane RP

John Edwards RP

Andrew Festing MBE PPRP

Richard Foster RP

David Graham RP

Valeriy Gridnev RP PS ROI

Robin-Lee Hall RP

Geoffrey Hayzer RP

Sheldon Hutchinson RP

Andrew James VPRP Vice President

Brendan Kelly RP

Peter Kuhfeld RP NEAC

James Lloyd RP

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Honorary Friends

Ms Philippa Abrahams

Ms Anne Allport

Sir Ian Amory

The Rt. Hon. Lord Archer of

Weston Super Mare

Ms Pim Baxter

Keith Benham Esq.

Baroness Bottomley

Gyles Brandreth Esq.

Robin Buchanan-Dunlop Esq.

Gerald Carroll Esq.

Colonel William Chesshyre

Mrs Peter Cookson

Conrad Dehn Esq.

Ms Susan Engledow

Ms Katherine Eustace

Michael Fawcett Esq.

Lord Fellowes of West Stafford

Ms Moira Field

Ms Frances Gandy

Dr Rita Gardner

Martin Gayford Esq.

David Goldstone 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

Sir Kirby and Lady Laing

Ms Christina Leder

Professor Kenneth McConkey

David Messum Esq.

Dr Mark Moody-Stuart

Ms Jans Ondaatje-Rolls

Richard Ormond Esq.

William Packer Esq. NEAC Hon. RBA Hon. PS

James Partridge OBE DSc.

Ms Liz Rideal

Alasdair Riley Esq.

The Hon. Maurice Robson

Sir Timothy Sainsbury

Dr Charles Saumarez Smith

Sir David Scholey

The Lord Selborne

Robin Simon Esq.

Peyton Skipwith Esq.

Peter Spira Esq.

Prof. Dame Marilyn Strathern

The Lord Vinson of Roddam Dene LVO DL

Ian Wallace Esq.

Anthony Weale Esq.

Duncan Wilson Esq.

Andrew Wilton Esq

June Mendoza AO OBE RP ROI Hon. SWA

Anthony Morris RP NEAC

Michael Noakes RP

Anastasia Pollard RP

David Poole PPRP ARCA

Susan Ryder RP NEAC

Melissa Scott-Miller RP NEAC

Stephen Shankland RP

Jeff Stultiens RP

Benjamin Sullivan RP NEAC

Jason Sullivan RP

Michael Taylor RP

Daphne Todd OBE PPRP NEAC Hon. SWA

Jason Walker RP Hon. Treasurer

John Walton RP

Emma Wesley RP

Toby Wiggins RP Hon. Archivist

Antony Williams RP PS NEAC

Neale Worley RP

Robbie Wraith RP

Associate Members

Frances Bell Assoc RP

David Miller Assoc RP

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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

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.

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

SHAPING THE FUTURE OF ARTThe Threadneedle Prize 2014

threadneedle.com/foundation | threadneedleprize.com

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President’s review of the year

Congratulations go to the successful artistsas the process of selection was thoroughbut as ever, many good works did not makeit through. Places in the exhibition are hotlycontested and many exhibiting artists go onto sell their work or receive commissionsthrough the Society’s active and effectivecommissions service. For many,commissions provide a vital income withwhich to supplement their practice, and theRP is keen to provide practicing artists witha range of opportunities and support to taketheir careers further.

In order to provide this resource, much timehas been spent this year at a Council levelworking towards gaining sponsorship forour Annual Exhibition and year roundactivities. We are delighted to be able tocontinue to award our generous andestablished prizes at exhibition time, andthis year, we are happy to announce afledgling partnership with SevenInvestment Management. Their support willhelp the Society to grow a year roundprofile and keep us in good shape runningthe Annual Open Exhibition. This, in turn,will help us to continue to raise the profileof portraiture from both a creative practiceperspective and a valuable medium thatoffers insight into the lives of others,whoever they may be!

New member 2013The Society is small in terms of its numberof members. In fact, our memorandum andarticles state that a maximum number ofartists we can have at any one time is 60. Assuch, we do not make many new membersand places are hotly fought. This year, I amhappy to announce that Sam Dalby waselected to be a member at the 2013 AGM.The process of applying for membership isstraightforward. If an artist is selected toexhibit, then, they can request to be on the

Hello and welcome to the 123rd Royal Society of Portrait Painters AnnualOpen exhibition. The collection of work reflects some of the finestportraits being made today, both nationally and internationally. Theportraits on show are drawn from both members and non-members alike.This year we received in the region of 1,600 portraits from our opensubmission, with a final 85 making it through to the walls.

candidates list. Once making it on to thecandidates list, artists are invited to presenta portfolio at the subsequent AGM formembers to vote on. If a candidate receivesmore than 50% of the votes from the artistsrepresented, then, they are made a member.

This year, in order to provide more supportfor those coming close to membership, wereintroduced our ‘Associate Members‘scheme. This offers artists not reaching the50% mark but falling between 40 and 50percent of the vote, the chance to exhibitwith us and benefit from the same resourcesas members for a fixed period of threeyears. Two associate members were madethis year, in the form of Frances Bell andDavid Miller. We wish them every success.

Changes to CouncilThe 2013 AGM saw us say goodbye andmany thanks to Susan Ryder and Anastasia Pollard, who stepped down from the Council upon completion of their two-year rotation.

We thank Saied Dai, Paul Brason andAntony Williams for taking their place, andlook forward to their contributions over thecoming two years. As ever, in a Society likeours, progression is essential, and I thank Council members for giving their time when often it involves a day away from the studio.

Sadly, long-standing member of the RP,Derek Clarke, passed away in February thisyear at the grand age of 101. His subjectsincluded the composer Elizabeth Poston,Basil Hume and the botanist, ProfessorNicholas Ridley. A passionate advocate ofdrawing, a discipline acquired fromrigorous training at the Slade School of Art

Alastair Adams, President of the RP

was a poignant year for him as he stepped down as Principal of Heatherley’s after many years of service. We also thank his sitter fortaking the time to attend the reception andsay a few words about his experience. Johnwrites about the painting and receptionlater in the catalogue, suffice to say that thePeople’s Portraits collection is well worth avisit if you are ever in Cambridge.

Thanks go to Martin Gayford, art critic forthe Telegraph, Spectator and currently,Bloomberg News, and the subject ofpaintings by Lucian Freud, for opening andspeaking at the event. Details of how to getto the People’s Portraits collection can befound on the RP website.

Family FamiliarThe work of members is always in demand, and fulfilling those demands for work can bea stretch. At the time of writing, we have two exhibitions in progress as members are alsocollaborating on a show to be held at the The Gallery at Winchester Discovery Centre, where we have portraits by 18 members on display around the theme of ‘FamilyFamiliar’. The aim of the collection is toexhibit paintings of those close to the artists– paintings that represent poignant careerturning points or that remember importantfigures in the artists’ development. The exhibition takes place alongside Winchester’s ‘Portraits 2014’ Festival and runs to 11 May 2014. Details can be found on the RP website.

Workshops and talksAs part of our expanding diary of year round events, made possible by the excellent newLearning Centre facilities at the MallGalleries, we are proud to promote some

specific events to you. Feedback on thenature of these has been identified as aresult of an ongoing project established byRP Commissions Consultant, AnnabelElton. Annabel successfully secured fundingfrom Creativeworks London to work withDr Sara Ayres of Kingston University on a project surveying artists and commissioners in order to gain feedback on the Society’sactivities. As such, we have established a timetable of events beyond the Annual Open Exhibition. Dates for your diary include:

Saturday 10 May 2014Portrait Drawing Masterclass with Saied Dai RP

Thursday 15 May 2014Portrait Drawing Masterclass with Robin-Lee Hall RP

Saturday 17 May 2014Love and Legacy: Reasons for Commissioning in a Digital Age with Dr Sara Ayres

Saturday 17 May 2014Portrait Portfolio Reviews with Andy James VPRP and selected members

Saturday 6 September 2014‘Narrative Painting and Drawing… Comicsand Portraiture’. A talk by Simon Davis RP

Saturday 6 December 2014Portrait Drawing Masterclass with Antony Williams RP

BookingPlease be sure to book in advance as placesare limited. Further information and pricescan be found at www.therp.co.uk, or bycontacting Elli Koumousi email:[email protected] ortelephone: 020 7930 6844.

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in London, he is fondly remembered by hisfellow members.

2013 prizewinnersCongratulations go to our 2013 prizewinners (see page 14). As ever, we are incrediblygrateful for the generosity of our sponsorsfor their support and belief in the Society’sremit. These prizes are incredibly valuableto the recipients, many of whom establishcareers from being showcased in this way.We are delighted to be able to open up bothartistic and commission opportunitiesaccordingly.

2013 saw a record number of entries for the Bulldog Bursary Scheme and congratulations go to Sarah Jane Moon, the final recipient.Sarah writes about her experiences later in the catalogue, and once again, we are grateful for the opportunity to be able to support an artist in this way. Sarah has used her bursary to buy herself time-out to paint more intensively as well as make use of the offerof mentoring support from members. Thisyear, artists can make use of our onlinesubmission process to enter for the Bursary. Applicants for The Bulldog Bursary can apply online at registrationmallgalleries.org.uk between now and 19 May 2014, 12 noon.After an initial shortlisting, four artists willbe invited to attend interviews in London inearly July when the selection panel willmake their final decision.

People’s PortraitsThe People’s Portraits collection at GirtonCollege Cambridge has enjoyed continuedsupport and popularity. 2013 saw a paintingof Stuart Thorne by John Walton donated to the collection. We thank John for this in what

President’s review of the year continued…

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Changing Faces and the RP

Last year, the 2013 Changing Facescommission prize was won by Andy Jamesfor his intimate painting of his father. Andyis exhibiting the commission in this year’sshow. It is worth mentioning a little moreabout the relationship between ChangingFaces and the RP, and the nature of ourcollaboration. Clearly, there are many areaswhere the two share common interests, andthere is much that portrait painters, thoseliving with facial difference, and the viewercan gain from the relationship that portraitpainting creates as a cultural lens.

Since the inception of the commission prize,a growing collection of work around facialdifference has been established. Portraitscontributed include work by Andy James,Benita Stoney, Antony Williams, MarkRoscoe, and not to mention portraits

created away from the prize by artists likeAlastair Adams and Tim Benson. Let’s alsonot forget Daphne Todd’s portrait of JamesPartridge, the CEO of Changing Faces, whosays: “It seems to me that one of thegreatest advantages that portrait paintershave is the chance to develop a relationship,which makes the whole process that muchmore meaningful. The relationship is thecomplex bit for somebody with a facialdisfigurement because so much comesthrough the face. I think there is a hugevalue in the art of portraits because of thattime to build relationships”. The RP’sinterest in working with Changing Faces

came out of an interest in how, as a culture,we capture things in paintings that saysomething about the values of the society inwhich we live.

From the perspective of a portrait painter,the interpretation of features through painthas the ability to translate what might beregarded as unconventional when seenthrough the lens of a camera, into acolourful, gestural and expressive surface.Because portrait painters are looking toconvey the intangible aspects of personality,often their portraits go beyond mererepresentation to address the character ofthe sitter. For the viewer, portraits of thosewith facial difference offer the permission tostare. Many people find themselves staringat someone with an unusual appearance –an awkward and uncomfortable experiencefor everyone concerned. A portrait, though,allows an intense gaze, enabling the viewerto explore and find connections in a waythat is mutually respectful. In this way,portraits become a mediating tool that canopen a dialogue with the viewer and help toovercome communication barriers.

‘Victoria Wright’ by Antony Williams

Victoria Wright sits for Antony Williams‘Bill Cooper’ (in progress) by Andy James

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Painting not decorating

I graduated in 1997, with nothingresembling an artistic practise. Rightly orwrongly I felt that I was a worse artist at theend of my Fine Art degree course than I had been at the start. I found myself livingback at my parent’s house, and my holidayjob of painting and decorating became myfull-time job. I didn’t paint or draw for a year, and I can remember the sinkingfeeling when starting back at some rudimentary self portraits. My draughtsman-ship had atrophied, and I had no idea howto help myself.

It was going to take a lot of work to improve, so I began to teach myself the basics,attended regular life drawing sessions,sought out advice and guidance from other artists, and mounted exhibitions with friends. With much trial and error, I started to buildan ad hoc but functioning artistic practice.As I was having trouble producing morethan one painting of a decent standard ayear, I was slow to start entering opencompetitions, but having a work selectedfor the 2003 BP Portrait Award confirmedportraiture as the focus of my efforts.

Newest member of the RP, Sam Dalby, tells us of his journey intoportraiture and how the Society has helped him, slowly but surely, piecetogether a career as a professional portrait painter.

Sam Dalby at work in his studio

My association with the RP began in 2009,when I trekked to London with a self-portrait to submit as my application for theBulldog Bursary. I had been handed a flyerduring a life drawing session, and casuallythought it might be worth a shot. I wasshocked and delighted to be shortlisted, andalthough 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 thechance of mentoring by RP members, andwas determined to make the most of theopportunity. I visited Toby Wiggins,Andrew James, Antony Williams and SaiedDai – all gave generously of their time andexpertise. I gained a real insight into theworking life of a professional artist, andreceived some crash course tuition to whichI still owe a great debt.

I have succeeded in having paintingsaccepted for every annual RP show since2010, and in early 2013, secured my first commissions via the RP, a series of drawings of Fellows of Trinity College Cambridge.

After my election to the RP, things movedquickly, and within five months I had shutdown my decorating business for good. I’dalways wondered how I would make thetransition to full-time artist. In the end, it simply pushed everything else out of the way.

Over the five years of contact I’ve had withthe RP, I’ve matured greatly as an artist. Iwould like to thank the Royal Society and itsmembers for all that they’ve done for me,and I look forward to making my ownpositive contribution.

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In my case, the financial support hasprovided manifest relief in assisting withthe purchasing of necessities such asstretchers, canvas, paint, brushes, framing,transportation, space and time in which toproduce work, and the professional supporthas brought connections, projects andopportunities. Beyond this, however, thebursary has nurtured a sense of communityand camaraderie.

In a profession comprised of individualswho work in disparate, idiosyncratic andoften solitary ways, it has been a vital link tothose who have forged a career in paintingpeople before me, and has further fostereda real sense of communal engagement in ashared endeavour.

The bursary has allowed me to step backfrom my usual frenetic existence of part-time work as a gallery technician, medicaltranscriptionist and props manufacturer inorder to focus on producing paintings thathave been percolating in my subconsciousfor some time. These are mostly of friendsand peers, those involved in creativepursuits who frequently exist beyondheteronormative circumscription and whohold my affection, respect and admirationas individuals. My canvases have become

much larger, my application of paint freer,and my confidence in whom and how Ipaint, much bolder. I am learning to indulgemy penchant for narrative, and as such, I’mcurrently in the nascent stages of severallarge-scale group portraits in domesticsettings. I am excited, optimistic andenthusiastic about the remainder of thebursary year and future painting projectsand discoveries.

Partly fueling this excitement is the regularcontact with members of the RP that thebursary has allowed as part of theirmentoring scheme. I have had enrichingand reinvigorating conversations withseveral members that traverse painting,politics, backgrounds, futures and alwaysback to painting, and hope to have manymore in the coming months. An artist’sstudio space can be full of anecdotalintimacies and, in itself, functions as a kindof portrait; a picture of a life lived in pursuitof that something that we are all after as

painters of people; that elusive connection,an attempt to bridge the inexorable gapbetween self and other. I feel particularlyprivileged to glimpse these highly personalworlds and to be the recipient of so muchgenerosity of spirit and encouragement.

These and other opportunities afforded bythe Bulldog Bursary have been pivotal inmy progression as a painter, and I amhugely grateful to both The Bulldog Trustand the RP for their support on variousfronts. In awarding the bursary to a youngqueer woman, the RP have demonstratedtheir willingness to embrace and nurturediversity in a comprehensive way whichbodes particularly well for the future healthand prosperity of both portrait painting inthis country and of society itself. I wouldwholeheartedly recommend the bursaryyear to all emerging portraitists as anenriching and bolstering experience thatcan provide solid foundations for life as aprofessional portrait painter.

Sarah Jane Moon

The Bulldog Bursary 2014

Sarah Jane Moon, winner of the Bulldog Bursary 2014

The Bulldog Bursary, which I wasthrilled to be awarded in thesummer of 2013, ostensiblyprovides financial and professionalsupport to an emerging portraitpainter who will benefit from it insome significant way.

‘Nazita’ by Sarah Jane Moon

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The tailor, the beekeeper and the portrait painter

I started life on what could be described asa ‘good wicket’; my father was a talentedamateur artist and a superb draughtsman,and he supported me all down the line. Iremember him telling me that you can drawanything if you can draw hands. If earlyschool reports remarked on an intelligentboy but bone idle, by the age of ten, I wasproducing evidence that this was not quitetrue. Throughout the summer holidays Idrew and painted virtually non-stop, and atthe beginning of the Autumn Term was ableto cover the walls of the school art roomwith the product of eight weeks’ hard work.I was also pretty good at history and couldwrite a quite respectable essay, but inmathematics I was an absolute disasterfrom the word go. I remember having anightmare, when we had just moved fromfractions to decimals, and I couldn’t preventMussolini from invading Abyssinia becauseI was stuck on 9.99 recurring and couldn’tget back to ten. As a self-employed artist Iam obliged to produce an annual tax returnand that little pocket sized electronicsubstitute for the abacus saves me manyfurther nightmares.

I left the Wirral, where I was born, when Iwas eleven, and my father, after many yearsunemployment during the great depression

of the 30s, found himself a job in London, sowe moved south. Shopping and windowshopping in Oxford Street became one ofmy mother’s delights, and circumstancesdictated that I should be with her during holiday periods which was an absolute bore, until a shop assistant, on being informed bymy mother that I was interested in art,suggested that her little boy (I was as tall asmy mother by then) should visit the WallaceCollection just behind the shops. Within notime at all I found myself in paradise. Iforgave the shop girl for calling me a littleboy, and I entered a new world full ofdelights and the beginning of a new era inmy life. My parents discovered that theycould drop me off at a London Gallery orMuseum for the day with a packet ofsandwiches, which I was often wont to eatin the gallery attendants’ snug with a cup oftheir tea. A happy interlude ruined all toosoon by the war.

My childhood imagination had been firedby Arthur Rackham’s trees. My father had agoodly collection of books illustrated byhim. Magical winter trees, which, with theaid of the Brothers Grimm, lead me into thedark woods of mediaeval Germany whereangels and faeries were one and the same,and Christian miracles and pagan magicfound themselves together in artists likeMattias Grünewald. About the same time, I was befriended by Emile Cammaerts, theBelgian poet and Art historian, who lived inour village. Firstly, he taught me French – Istill have his booklet of irregular verbs –and then when I was at the Slade, gaveinspired lectures on the Flemish School,from the powerful work of Rogier van derWeyden to the almost pretty shrine of St

Ursula by Memling in Bruges. Here youhave two major influences in my arteducation, and looking back, I don’t thinkthat I have ever entirely escaped from them.

I started my serious art education with therival gang at the Ruskin School, Oxford, andafter a year and a half in the world of thedreaming spires, came down to earth at theSlade in London. There, I met fellow studentZelma Blakely, who, in later days, becamewell-known for her wood engravings. Shewas however, a skilled painter in eggtempera; gesso grosso and gesso sottileapplied in sequence over old pillow casesglued to wooden panels was a quiteimpressive bit of preparatory work. I am asystem painter rather than a spontaneouscombustion artist. I do not work wet intowet. It was suggested that some of theFlemish primitives could have used eggunder-painting, anyway, whether this wastrue or not I started using egg for myunder-painting as this had the advantage ofdrying fast and would then bond perfectlywith an overlay in oil making possible, veryluminous transparent glazes withoutdisturbing the underpainting. All that beingsaid however, Stuart’s portrait is entirely inoil. A detailed monochrome painting beforehe went on holiday to Madeira with agolden glaze of suntan applied on his returnto a by then completely dry underpainting. I painted the picture in Stuart’s workshop,and passers-by could see us through theshop window: Stuart on his bench and meat my easel – needle and paintbrushworking side by side!

Over the years, I have rather neglected ourvillage, giving much of my time to my studio

To start at the beginning, thispainting came about because mywife Alice liked Stuart’s honey and Ihad failed in my duty to contributea painting to the People’s Portraitscollection held at Girton College,Cambridge.

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‘Stuart Thorne: Tailor and Beekeeper’ by John Walton

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

Stuart and I are both romantics, and he hasa small ‘Tailor of Gloucester’ mouse in hiswindow. I again look back to my father’sinfluence and Tenniel’s illustrations of ‘AliceThrough The Looking Glass’, in particular inthe chapter ‘Wool and Water’ the picture ofAlice finding herself rowing between tallrushes with a ghostly background of thesheep’s shop interior – a compound onlypossible in dreams. So here we haveStuart’s dream, the pattern on the wallpapertransforming itself into a chestnut in fullblossom and a tailor’s bench gentlychanging into a soft green lawn with beehives, oh and finally, one must not ignorethe fine St Albans District bee keeper’schallenge cup won by Stuart in 2011.

I enjoyed working side-by-side with a fellowcraftsman, and I hope the picture and itsmessage will give pleasure to many visitingthe People’s Portraits collection at Girton inthe years to come.

John Walton

Learn more about the People’s Portraits at:www.girton.cam.ac.uk/girton-today/artefacts/peoples-portraits

Annual Open Award Winners 2013

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

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15

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.

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 LaszloFoundation 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.


(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.


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].


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

Artists General Benevolent Institution

Patron: H.R.H the Prince of Wales

Founded in 1814 by JMW Turner, the Artists General BenevolentInstitution provides help to professional artists and theirdependents in times of difficulty.

Funds are always needed and donations of any amounts aregratefully received and acknowledged.

Please send your donation to:

The SecretaryArtists General Benevolent Institution Burlington House, PiccadillyLondon W1J 0BB

Registered Charity No. 212667

Royal Society of Portrait Painters

You may consider making a bequest to the Royal Society ofPortrait Painters, which specifically promotes traditional values infigurative painting and receives no public funding.

If you would like further information, please write to:

Simon DavisHon. SecretaryRoyal Society of Portrait Painters17 Carlton House TerraceLondon SW1Y 5BD

Telephone 020 7930 6844


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.

22

Alastair Adams PRP

Anne Marie Davies

60 x 52 cm (24 x 20 ins)

Oil

Professor Peter Matthews, Emeritus Professor, St John’s College, Cambridge

70 x 55 cm (28 x 22 ins)

Charcoal and chalk

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

23

Shirley Pearce, Vice Chancellor ofLoughborough University2006-2012

120 x 100 cm (48 x 40 ins)

Oil

By permission of Loughborough University

24

Rachel

33 x 53 cm (13 x 21 ins)

Charcoal

Frances Bell Assoc RP

25

Mark

108 x 103 cm (43 x 41 ins)

Oil

26

John Franklin, Headmaster ofArdingly College 1998-2007

81 x 74 cm (32 x 29 ins)

Oil

Jane Bond RP NEAC

27

Jason Bowyer RP PPNEAC PS

Self-portrait

81 x 56 cm (32 x 22 ins)

Pastel and ink

28

Bernard and Sarah Taylor

122 x 152 cm (60 x 48 ins)

Oil

Paul Brason PPRP

29

Felix and Lucian

46 x 61 cm (18 x 24 ins)

Oil

30

Rt Hon Sir Menzies CampbellCH CBE QC MP

76 x 61 cm (30 x 24 ins)

Oil

Courtesy of The National Liberal Club

Keith Breeden RP

31

Steve Caldwell

Jay

30 x 24 cm (12 x 9 ins)

Acrylic

32

Ella Asleep

47 x 38 cm (19 x 15 ins)

Pencil

Peter Brown RP NEAC PS Hon RBA ROI

Hattie Asleep

47 x 38 cm (19 x 15 ins)

Pencil

When everyone hasgone to bed, I drawthe kids. These aretwo studies ofHattie, my eldestdaughter, and Ella,my youngestdaughter, painted inDecember and June2013 respectively.

33

Ella and Ned Looking atPictures on Lisa’s Phonewith Mad Cat

65 x 78 cm (26 x 31 ins)

Oil

I started this painting as I lovethe space looking down ontothe hallway. I saw Lisashowing the kids some photosone Sunday afternoon, and itseemed perfect to ask them topose. We only have one cat:Connie (Hattie’s really) andshe is mad. She appears twice.

34

Lyds

44 x 44 cm (17 x 17 ins)

Oil

Peter Clossick NEAC

35

James Hague

Mette

90 x 120 cm (35 x 47 ins)

Oil

36

Leopold Antelme MA TD

51 x 61 cm (20 x 24 ins)

Oil

A most thoughtful person: Military, law, and a writer– but most of all, a very good neighbour.

Tom Coates RP PPNEAC PPS PPRBA RWA RWS

Bernard Dunstan RA NEAC

61 x 76 cm (24 x 30 ins)

Oil

An artist I have known for many years – I admire hisart and dedication to others.

37

Jonathan Viera, Opera Singer

76 x 61 cm (30 x 24 ins)

Oil

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

38

Professor Quentin Skinner

92 x 61 cm (36 x 24 ins)

Oil

David Cobley RP NEAC RWA

Sir Christopher Hum KCMG

92 x 66 cm (36 x 26 ins)

Oil

39

His Honour JudgePeter Beaumont QC

102 x 87 cm (40 x 34 ins)

Oil

40

Georgia McVeigh

95 x 75 cm (37 x 30 ins)

Oil

Anthony Connolly RP

41

Drawings for The Portraitof Dr Victoria N. Bateman,Fellow of Gonville andCaius College, Cambridge

Pencil

My husband asked me to think ofsomething special that I wouldlike as a birthday present. I hadno hesitation in answering: aportrait. I have always greatlyadmired the skills of portraitartists, but lack any artistic talentof my own. My view was that ifyou cannot yourself create amasterpiece, the next best thingis to be part of a creation! Thefemale nude is a mainstay in artbut can still provoke divergentviews particularly when it is of acontemporary woman. To me, itis liberating. I wanted the portraitto be "honest" – I wanted it todepict me rather than an outfitbought from the High Street.

Dr Victoria N. Bateman

42

Saied Dai RP NEAC

Portrait of The Artist’s Wife

80 x 65 cm (31 x 26 ins)

Oil

43

Jonathan Miller

118 x 76 cm (46 x 30 ins)

Oil

44

Self-portrait

100 x 70 cm (39 x 28 ins)

Oil

Sam Dalby RP

45

Bill Charlton

91 x 65 cm (36 x 26 ins)

Oil

486

Moustakali

23 x 23 cm (9 x 9 ins)

Oil

Simon Davis RP RBSA

Vaishali

61 x 47 cm (24 x 19 ins)

Oil

47

Dead Girl IV

46 x 30 cm (18 x 12 ins)

Oil

48

Alan Florence of The Arctic Convoy

81 x 71 cm (32 x 28 ins)

Oil

Andrew Festing PPRP

Self-portrait

56 x 41 cm (22 x 16 ins)

Oil

49

Ronnie Kulla

81 x 86 cm (32 x 34 ins)

Oil

50

Jasper Fritze

53 x 43 cm (21 x 17 ins)

Watercolour

Richard Foster RP

Lislee

120 x 150 cm (47 x 59 ins)

Oil

51

The Stanton Family

90 x 110 cm (35 x 43 ins)

Oil

52

David Graham RP

Pearl

76 x 61 cm (30 x 24 ins)

Oil

53

Matador

140 x 97 cm (55 x 38 ins)

Oil

54

Expecting

90 x 146 cm (35 x 57 ins)

Oil

Valeriy Gridnev RP PS ROI

55

Piotr – Father of my Friend

61 x 101 cm (24 x 40 ins)

Oil

56

Pat and Her Very Expensive Hat

76 x 60 cm (30 x 24 ins)

Conté crayon

Robin-Lee Hall RP

57

Nashunmenghe

Woman in Cardigan

44 x 54 cm (17 x 21 ins)

Oil

58

Sarah Donaldson

140 x 104 cm (55 x 41 ins)

Oil

James Lloyd RP

Hannah

76 x 61 cm (30 x 24 ins)

Oil

59

Cressida and Lucian

81 x 117 cm (32 x 46 ins)

Oil

60

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 sousaphoneis surely self-evident. This one is mastered bythe delightful Andy Grappy, who, withunfailing grace and patience, preferredalways to wear this heavy piece of bombastand sinuous shapes so he could hold thecorrect pose for me.

Roughing in the initial composition, I found,without surprise, that I had shot the bell tooclose to the top edge of the canvas; but I thendecided it was right, both compositionallyand journalistically for such a strong shapeand subject.

Andy, who also plays other brassinstruments, works with the big Londonorchestras, and is Head of the SouthwarkCentre for Young Musicians.

61

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-wallred apparel, so, naturally, we had to do theportrait.

Regaled with anecdotes of his acting dayswith the Oliviers, Gielgud, et al, we painted inhis small top-floor flat, which bursts withtheatre memorabilia everywhere except onthe ceiling (background sorted!).

We are supposed to suffer for our art. So Isuffered. Every session required trudging(eventually) up 98 steps, which Trader, 85, didwith ease. I would arrive at the top at leastfive minutes after him, and Trader wouldalready have made the tea.

62

Anthony Morris RP NEAC

Summer Drinks with the Neighbours

91 x 104 cm (36 x 41 ins)

Oil

63

Stephen Bingham and Brenda Stewart, Rehearsing

91 x 105 cm (36 x 41 ins)

Oil

Stephen Bingham (violin) andBrenda Stewart (viola) met andstudied at the Royal Academy ofMusic 1981-1985, where they wonprizes for orchestral leading andstring quartet playing.

In 1985, Stephen formed theBingham String Quartet, whichhas become one of the foremost inthe UK, with a reputation for bothclassical and contemporaryrepertoire.

The Quartet has toured extensivelyin the UK, and also performed inEurope, Australia and the MiddleEast, and appearances in Londonincluding concerts at the PurcellRooms and St Martin-in-the-Fields.

Stephen and Brenda are marriedand live in Huntingdonshire.

64

President Nelson Mandelaaddressing Rhodes Scholars inWestminster Hall

127 x 108 cm (50 x 43 ins)

Mixed media

On loan from the House of Commons

Michael Noakes RP PPROI

65

Sir Roger and Lady Bannister

76 x 102 cm (30 x 40 ins)

Pencil and charcoal

Commissioned by Harris Manchester College, Oxford

66

Anastasia Pollard RP

Cowgirl and Chihuahua

31 x 26 cm (12 x 10 ins)

Oil

67

The Button Thief

26 x 23 cm (10 x 9 ins)

Oil

68

Harry, Meg and Daisy Sellers

117 x 102 cm (46 x 40 ins)

Oil

Susan Ryder RP NEAC Hon SWA

Mr Stephen Goodhart and Mrs Julie Goodhart,Joint Heads of Swanbourne House School 1996-2013

96 x 112 cm (38 x 44 ins)

Oil

69

The Edwards Family

112 x 127 cm (44 x 50 ins)

Oil

70

Cordelia

76 x 51 cm (30 x 20 ins)

Oil

Melissa Scott-Miller RP NEAC

71

Adele Wagstaff

Soni

35 x 45 cm (14 x 18 ins)

Oil

72

Daphne J Todd OBE PPRP NEAC Hon SWA

Crispian Collins, Esq

76 x 61 cm (30 x 24 ins)

Oil

Ian Davenport, Headmaster,Blundell’s School

97 x 117 cm (38 x 46 ins)

Oil

73

Dr Stephen Spurr, Headmaster, Westminster School

188 x 120 cm (74 x 47 ins)

Oil

By kind permission of the Governors

74

John Walton RP

The Seventh Square

61 x 56 cm (24 x 22 ins)

Oil

75

Stephen Roberts Borthwick BScCPhys FRSA

56 x 46 cm (22 x 18 ins)

Oil

76

The Yellow Shirt: Portrait of Richard Morgan

90 x 60 cm (35 x 24 ins)

Acrylic

Emma Wesley RP

77

Graeme Wilcox

Frank

137 x 92 cm (54 x 36 ins)

Oil

78

Andrew McKimm

25 x 36 cm (10 x 14 ins)

Oil

Toby Wiggins RP

Lydia McKimm

25 x 36 cm (10 x 14 ins)

Oil

79

80

Antony Williams RP NEAC PS

Emma Jane

38 x 41 cm (15 x 16 ins)

Egg tempera

81

Charles Cator and Stephen White: A Diptych

61 x 102 cm (24 x 40 ins)

Egg tempera

82

John Wonnacott RP

Sir Edwin Manton

92 x 76 cm (36 x 30 ins)

Oil

In the 1980s, the Chairman of AIG, Sir EdwinManton, Jim to staff and friends, bought mysouth-facing window painting of the ThamesEstuary from a show at Marlborough NewYork. When I visited New York in 1999 for theopening of my show at Herschel & Adler, SirEdwin asked me to his Pine St office to see thepainting. He then purchased a companionwindow painting from the new show andcommissioned me to paint a cityscape from his69th floor balcony looking from Manhattanover the East River to Brooklyn. In breaksfrom painting we drank English tea together,talking mostly about his magnificent collectionof British art and about his childhood in Leigh-on-Sea, where I have lived for the past fortyyears. I drew and painted Sir Edwin in front ofmy window painting as we talked.

One of the resulting heads hangs in theManton Entrance to Tate Britain, and thepainting in this current show is destined forthe Sterling & Francine Clarke Art InstituteWilliamstown, which is fortunate to have beenthe chosen home for Sir Edwin’s collection.

Self-portrait

69 x 28 cm (27 x 11 ins)

Oil

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

83

84

Robbie Wraith RP

Portrait Study

61 x 43 cm (24 x 17 ins)

Charcoal

Beryl Tewell

61 x 51 cm (24 x 20 ins)

Charcoal

85

86

Portrait of The Artistand Her Family

120 x 120 cm (47 x 47 ins)

Oil

Anna Wimbledon

Annual Exhibition 2014

ALASTAIR ADAMS PRP1 Anne Marie Davies

Oil60 x 52 cm (24 x 20 ins)NFS

2 Professor Peter Matthews, Emeritus Professor, St John’s College, CambridgeCharcoal and chalk70 x 55 cm (28 x 22 ins)NFSBy permission of the Master and Fellows of St John’s College, Cambridge

3 Shirley Pearce, Vice Chancellor of Loughborough University 2006-2012Oil120 x 100 cm (48 x 40 ins)NFSBy permission of Loughborough University

4 Tony BlairOil165 x 122 cm (65 x 48 ins)NFSFrom the artist’s collection

URSULA ANDREJCZUK 5 Mirek

Oil54 x 44 cm (21 x 17 ins)£1,100

MALCOLM ASHMAN RBA ROIInvited by Peter Brown RP NEAC PS Hon RBA ROI

6 ClovisOil49 x 42 cm (19 x 17 ins)NFS

7 DalePencil78 x 62 cm (31 x 25 ins)£1,200

ALDO BALDING 8 Self in Mirror

Oil40 x 30 cm (16 x 12 ins)£2,750

SCOTT E BARTNER9 Hedwig 3

Oil53 x 41 cm (21 x 16 ins)£4,200

10 Hedwig ProfileOil49 x 39 cm (19 x 15 ins)£4,900

CAROLINE BAYS PS11 Jill Bays


EDWARD BEALE 12 Portrait of Austin

Oil56 x 50 cm (22 x 20 ins)£4,000

FRANCES BELL Assoc RP13 Mark


14 RachelCharcoal33 x 53 cm (13 x 21 ins)NFS

TIM BENSON VPROI15 Beth, Burns Survivor


SARA BERMAN 16 Cat Dress

Oil180 x 125 cm (71 x 49 ins)£4,500

DIANA BLAKENEY 17 Lord Mervyn King, Governor of

The Bank of England 2003-2013Oil141 x 107 cm (56 x 42 ins)NFS

JANE BOND RP NEAC18 Charlotte and James

Charcoal61 x 76 cm (24 x 30 ins)NFS

19 John Franklin, Headmaster of Ardingly College 1998-2007Oil81 x 74 cm (32 x 29 ins)NFS

JASON BOWYER RP PPNEAC PS20 Self-portrait

Pastel and ink81 x 56 cm (32 x 22 ins)NFS

21 The Ceramic Sculptor – Claire IrelandOil61 x 61 cm (24 x 24 ins)NFS

22 The Seamster – Glenndon CaseyOil61 x 61 cm (24 x 24 ins)NFS

PAUL BRASON RP23 Bernard and Sarah Taylor


24 Felix and LucianOil46 x 61 cm (18 x 24 ins)NFS

25 Sir Keith O’Nions, Rector of Imperial College, LondonOil91 x 71 cm (36 x 28 ins)NFS

KEITH BREEDEN RP26 Rt Hon Sir Menzies Campbell CH CBE QC MP

Oil76 x 61 cm (30 x 24 ins)NFSCourtesy of The National Liberal Club

27 Sketch 1Mixed media51 x 41 cm (20 x 16 ins)NFS

28 Sketch 2Mixed media51 x 41 cm (20 x 16 ins)NFS

MARTIN BROOKS29 Study of M

Conté43 x 43 cm (17 x 17 ins)£600

PETER BROWN RP NEAC PS Hon RBA ROI30 After School: Hattie, Ollie and Toby

Oil35 x 48 cm (14 x 19 ins)£2,950

31 Ella and Ned Looking at Pictures on Lisa’s Phone with Mad CatOil65 x 78 cm (26 x 31 ins)£5,850

32 Ella AsleepPencil47 x 38 cm (19 x 15 ins)NFS

33 Hattie AsleepPencil47 x 38 cm (19 x 15 ins)NFS

PATRICIA BUCKLEY 34 Self-portrait in Front of my River Painting

Oil36 x 31 cm (14 x 12 ins)£4,000

DAVID CALDWELL 35 Jenny

Oil50 x 40 cm (20 x 16 ins)£1,300

STEVE CALDWELL 36 Abbie

Acrylic40 x 30 cm (16 x 12 ins)£1,200

37 JayAcrylic30 x 24 cm (12 x 9 ins)£950

PATRICIA CASTELAO COSTA 38 Ana’s Cousin

Watercolour50 x 36 cm (20 x 14 ins)NFS

MARTIN CHURCHILL 39 Martin

Oil35 x 35 cm (14 x 14 ins)£4,000

TOMAS CLAYTON 40 Europa

Oil47 x 40 cm (19 x 16 ins)£3,000

PETER CLOSSICK NEAC41 Lydia

Ink41 x 31 cm (16 x 12 ins)£800

42 LydsOil44 x 44 cm (17 x 17 ins)£1,700

TOM COATES RP PPNEAC PPS PPRBA RWA RWS

43 Bernard Dunstan RA NEACOil61 x 76 cm (24 x 30 ins)NFS

44 Jonathan Viera, Opera SingerOil76 x 61 cm (30 x 24 ins)NFS

45 Leopold Antelme MA TDOil51 x 61 cm (20 x 24 ins)NFS

DAVID COBLEY RP NEAC RWA46 His Honour Judge Peter Beaumont QC


47 Professor Quentin SkinnerOil92 x 61 cm (36 x 24 ins)NFS

48 Sir Christopher Hum KCMGOil92 x 66 cm (36 x 26 ins)NFS

ANTHONY CONNOLLY RP49 A 2014

Etching (edition of 25, 10 available)50 x 40 cm (20 x 16 ins)£395 (£295 unframed)

50 Dr Victoria N. Bateman, Fellow of Gonville and Caius College, CambridgeOil150 x 80 cm (59 x 31 ins)NFS

51 Georgia McVeighOil95 x 75 cm (37 x 30 ins)NFS

52 Untitled 2014Pencil110 x 60 cm (43 x 24 ins)NFS

MELODIE COOK 53 Barba Rossa

Pastel, ink, and bleach107 x 107 cm (42 x 42 ins)£2,200

PHOEBE COPE 54 Phoebe

Oil31 x 20 cm (12 x 8 ins)£850

BELINDA CROZIER 55 Fred the Traveller

Oil39 x 27 cm (15 x 11 ins)£1,850

56 Laura in GreenOil63 x 36 cm (25 x 14 ins)£3,250

KEVIN MA CUNNINGHAM 57 Self-portrait as St Luke (Patron Saint of Artists)

Oil60 x 40 cm (24 x 16 ins)£1,800

LANTIAN D 58 Passersby (No. 5)

Oil30 x 40 cm (12 x 16 ins)£8,000

SAIED DAI RP NEAC59 Jonathan Miller


60 Portrait of The Artist’s WifeOil80 x 65 cm (31 x 26 ins)NFS

SAM DALBY RP61 Bill Charlton

Oil91 x 65 cm (36 x 26 ins)£6,000

62 Roger Moss OBEPencil53 x 43 cm (21 x 17 ins)NFS

63 Self-portraitOil100 x 70 cm (39 x 28 ins)£8,000

64 SittingOil69 x 59 cm (27 x 23 ins)£6,000

SIMON DAVIS RP RBSA65 Dead Girl IV

Oil46 x 30 cm (18 x 12 ins)£2,000

66 MoustakaliOil23 x 23 cm (9 x 9 ins)NFS

67 VaishaliOil61 x 47 cm (24 x 19 ins)£3,000

PHOEBE DICKINSON 68 Pup at Easter


MIRIAM ESCOFET 69 Vanitas

Mixed media63 x 83 cm (25 x 33 ins)£7,000

ANTHONY EYTON RA PS ROIInvited by Melissa Scott-Miller RP NEAC

70 HeroOil59 x 48 cm (23 x 19 ins)£7,000

ANDREW FESTING PPRP71 Alan Florence of The Arctic Convoy


72 Ronnie KullaOil81 x 86 cm (32 x 34 ins)NFS

73 Self-portraitOil56 x 41 cm (22 x 16 ins)NFS

REBECCA FOSTER 74 Christina Before She Married

Oil40 x 30 cm (16 x 12 ins)£2,500

RICHARD FOSTER RP75 Jasper Fritze

Watercolour53 x 43 cm (21 x 17 ins)NFS

76 LisleeOil120 x 150 cm (47 x 59 ins)NFS

77 Nicholas Heesom, EsqOil76 x 64 cm (30 x 25 ins)NFS

78 The Stanton FamilyOil90 x 110 cm (35 x 43 ins)NFS

EMMA GALLOWAY 79 Self-portrait

Aquatint (edition of 8, 5 available)46 x 41 cm (18 x 16 ins)£120 framed (£60 unframed)

MATTHEW GARRARD 80 Tamsin Greig


PETER GOODFELLOW 81 Portrait of a Gallery Owner


DAVID GRAHAM RP82 Katherina

Oil51 x 41 cm (20 x 16 ins)£4,500

83 MatadorOil140 x 97 cm (55 x 38 ins)£15,000

84 PearlOil76 x 61 cm (30 x 24 ins)£6,000

VALERIY GRIDNEV RP PS ROI85 Expecting


86 MarinaCharcoal56 x 76 cm (22 x 30 ins)£5,000

87 Piotr – Father of my FriendOil61 x 101 cm (24 x 40 ins)NFS

88 WaitingOil58 x 89 cm (23 x 35 ins)NFS

RAOOF HAGHIGHI 89 Self-portrait

Oil35 x 45 cm (14 x 18 ins)£2,000

JAMES HAGUE 90 Mette

Oil90 x 120 cm (35 x 47 ins)£7,500

ROBIN-LEE HALL RP91 Pat and Her Very Expensive Hat

Conté crayon76 x 60 cm (30 x 24 ins)£1,500

JACK HASLAM 92 Self-portrait

Pencil50 x 50 cm (20 x 20 ins)£300

GEOFFREY HAYZER RP93 Eve


94 Looking for Mum. Looking for Dad.Oil50 x 43 cm (20 x 17 ins)NFS

95 Professor Tony Badger, Master of Clare College, CambridgeOil125 x 100 cm (49 x 40 ins)NFS

NEIL B HELYARD 96 Ali


ANDREW HITCHCOCK 97 Julia

Oil25 x 22 cm (10 x 9 ins)£950

FELICITY HOUSE PS98 Portrait in Boots

Pastel62 x 82 cm (24 x 32 ins)£950

TOM HUGHES 99 Yellow Hat, Pink Monster

Oil55 x 55 cm (22 x 22 ins)£995

MARK HURST 100 Study of Robert

Oil40 x 30 cm (16 x 12 ins)£150

MICHAEL HYAM 101 Soldier (Study of Bill)

Mixed media29 x 23 cm (11 x 9 ins)£2,500

102 Troubled Flames (Study of Glen)Mixed media14 x 23 cm (6 x 9 ins)£1,850

JULIE JACKSON NEAC103 Nicholas

Oil57 x 48 cm (22 x 19 ins)£3,000

ANDREW JAMES VPRP104 Bill Cooper


105 EduardoCharcoal115 x 79 cm (45 x 31 ins)NFS

106 LuyisoOil102 x 81 cm (40 x 32 ins)NFS

VICTORIA JINIVIZIANInvited by Toby Wiggins RP

107 Lady Emma at HomePencil41 x 45 cm (16 x 18 ins)£650

HERO JOHNSON 108 Ian


JACK JOINER 109 Portrait

Pencil175 x 142 cm (69 x 56 ins)£12,000

JYM110 The Fool

Oil65 x 46 cm (26 x 18 ins)£2,800

TATYANA KULIDA 111 Rachael: Holding On To Joy

Oil40 x 50 cm (16 x 20 ins)£1,600

PETER LAYZELL 112 Imogen and Sadie Magennis

Oil45 x 45 cm (18 x 18 ins)£4,000

KEVIN LINE ARBSA113 Prof David Watkins FGSM Hon ARAM

Charcoal83 x 64 cm (33 x 25 ins)£6,000

JAMES LLOYD RP114 Carl

Oil56 x 61 cm (22 x 24 ins)£5,000

115 Cressida and LucianOil81 x 117 cm (32 x 46 ins)NFS

116 HannahOil76 x 61 cm (30 x 24 ins)£5,000

117 Sarah DonaldsonOil140 x 104 cm (55 x 41 ins)NFS

PAT MACLAURIN118 Ned, A Study

Oil26 x 21 cm (10 x 8 ins)£650

DAVID MAIDEN 119 Lucy Baker


NICHOLAS MARTIN 120 Three Taxidermists from Boston Spa

Oil95 x 150 cm (37 x 59 ins)£10,000

KENNY McKENDRY 121 Art and Reality, Portrait of James Simmons

Oil24 x 20 cm (9 x 8 ins)£1,250

JENNIFER McRAEInvited by Alastair Adams PRP

122 Conversations with DuncanOil140 x 114 cm (55 x 44 ins)NFS

JUNE MENDOZA OBE RP ROI Hon SWA123 Andy Grappy and Sousaphone


124 Stephen Barlow, Orchestral ConductorOil107 x 152 cm (42 x 60 ins)NFS

125 Trader Faulkner, Actor, AuthorOil145 x 120 cm (57 x 47 ins)NFS

JAN MIKULKAInvited by Alastair Adams PRP

126 Mr HackelOil115 x 90 cm (45 x 35 ins)NFS

DAVID MILLER Assoc RP RBA127 Family of Three


128 The Artist’s Son with His WifeOil115 x 136 cm (45 x 54 ins)NFS

JULIAN GORDON MITCHELLInvited by Andrew James VPRP

129 OlesyaOil118 x 75 cm (46 x 30 ins)£10,000

SARAH JANE MOONBulldog Bursary Recipient 2013-2014

130 Dr Laura Bridgeman, Clarence RdOil176 x 130 cm (69 x 51 ins)£3,800

ANTHONY MORRIS RP NEAC131 Malcolm Bell


132 Rebecca Pastel StudyPastel91 x 66 cm (36 x 26 ins)NFS

133 Stephen Bingham and Brenda Stewart, RehearsingOil91 x 105 cm (36 x 41 ins)NFS

134 Summer Drinks with the NeighboursOil91 x 104 cm (36 x 41 ins)NFS

AMY MOSELEY 135 Zambi

Oil65 x 55 cm (26 x 22 ins)£3,500

JOHN MURPHY-WOOLFORD 136 Age 45

Oil26 x 26 cm (10 x 10 ins)£900

NASHUNMENGHE 137 Woman in Cardigan

Oil44 x 54 cm (17 x 21 ins)£2,000

ROBERT NEIL PRBSA138 Jeweller 2


DAVID R NEWENS 139 Pedita

Oil36 x 26 cm (14 x 10 ins)£1,200

MICHAEL NOAKES RP PPROI140 President Nelson Mandela addressing

Rhodes Scholars in Westminster HallMixed media127 x 108 cm (50 x 43 ins)NFSOn loan from the House of Commons

141 Sir Roger and Lady BannisterPencil and charcoal76 x 102 cm (30 x 40 ins)NFSCommissioned by Harris Manchester College, Oxford

O M OWEN 142 Painting of Me

Oil55 x 46 cm (22 x 18 ins)£6,000

SHANTI PANCHAL 143 Maya’s Long Hair

Watercolour101 x 81 cm (40 x 32 ins)£8,200

SERGEI PAVLENKOInvited by Antony Williams RP NEAC PS

144 MariaOil168 x 95 cm (66 x 37 ins)NFS

ANASTASIA POLLARD RP145 Cowgirl and Chihuahua


146 Not TalkingOil44 x 29 cm (17 x 11 ins)NFS

147 The Button ThiefOil26 x 23 cm (10 x 9 ins)NFS

CAROLINE POOLE 148 Woman in Red Trousers

Pastel91 x 131 cm (36 x 52 ins)£3,000

ALLAN RAMSAY 149 Amy Sleeping

Conté30 x 45 cm (12 x 18 ins)NFS

GARETH REID 150 Poppy


MAX RENNEISEN 151 Anna

Oil140 x 85 cm (55 x 33 ins)£6,000

MARK ROSCOE 152 Self-portrait 2014

Oil137 x 102 cm (54 x 40 ins)£18,000

ILARIA ROSSELLI DEL TURCO 153 Daniel


154 Study for Queen of ShebaMonotype10 x 10 cm (4 x 4 ins)£190

IAN ROWLANDS 155 Hero


SUSAN RYDER RP NEAC HON SWA156 Harry, Meg and Daisy Sellers


157 Mr Stephen Goodhart and Mrs Julie Goodhart, Joint Heads of Swanbourne House School 1996-2013Oil96 x 112 cm (38 x 44 ins)NFS

158 The Edwards FamilyOil112 x 127 cm (44 x 50 ins)NFS

BRANDON SCOTT 159 Noah

Oil54 x 42 cm (21 x 17 ins)£5,000

160 Studio SelfieOil66 x 40 cm (26 x 16 ins)NFS

FIONA SCOTT 161 Ted (After the Match)


MELISSA SCOTT-MILLER RP NEAC162 Adam

Oil76 x 51 cm (30 x 20 ins)POA

163 CordeliaOil76 x 51 cm (30 x 20 ins)£2,800

164 London PortraitOil61 x 91 cm (24 x 36 ins)NFS

CAROLINE SEILERN-ASPANG 165 Nino

Charcoal47 x 65 cm (19 x 26 ins)£600

JONNY SHAW 166 Deryugina

Pencil58 x 69 cm (23 x 27 ins)NFS

TAI SHAN SHIERENBERG Hon RP167 Dr Archie Prentice, President of the Royal

College of PathologistsOil81 x 66 cm (32 x 26 ins)NFS

TOMOKO SMITH 168 Self-portrait

Watercolour58 x 68 cm (23 x 27 ins)£500

SUE SPAULLInvited by Tai Shan Shierenberg Hon RP

169 Baroness Helena Kennedy QCOil95 x 71 cm (37 x 28 ins)NFS

MINNA STEVENS 170 Self-portrait

Oil43 x 33 cm (17 x 13 ins)£1,750

JEFF STULTIENS RP171 Cindi Goodridge (Bajan Portrait Series)


180 Ian Davenport, Headmaster, Blundell’s SchoolOil97 x 117 cm (38 x 46 ins)NFS

181 The Rev. Duncan DormorChalk and charcoal66 x 61 cm (26 x 24 ins)NFSBy kind permission of St John’s College, Cambridge. Photography by Hugh Gilbert

ALEX TZAVARAS 182 Rafael


JOS VAN RISWICK 183 Portrait of Dutch Girl

Oil40 x 29 cm (16 x 11 ins)£2,500

ADELE WAGSTAFF 184 Soni


JASON WALKER RP185 Dan Lugg

Oil122 x 122 cm (48 x 48 ins)£7,500

186 Self-portraitOil122 x 122 cm (48 x 48 ins)£6,000

187 The Old Cornish CoupleOil53 x 69 cm (21 x 27 ins)NFS

JOHN WALTON RP188 Stephen Roberts Borthwick BSc CPhys FRSA


172 Sir Mark Prescott Bt Oil150 x 130 cm (59 x 51 ins)NFSIn conjunction with the commission for The Jockey Club

EDWARD SUTCLIFFE 173 Lord Kinnock

Oil25 x 20 cm (10 x 8 ins)£6,500

ELIZABETH THAYER174 Doug


175 MarciaOil61 x 80 cm (24 x 31 ins)£3,500

JEAN-PAUL TIBBLES 176 Niki 2013


YANKO TIHOV 177 Yoana

Pencil23 x 16 cm (9 x 6 ins)£950

DAPHNE J TODD OBE PPRP NEAC Hon SWA

178 Crispian Collins, EsqOil76 x 61 cm (30 x 24 ins)NFS

179 Dr Stephen Spurr, Headmaster, Westminster SchoolOil188 x 120 cm (74 x 47 ins)NFSBy kind permission of the Governors

189 The Seventh SquareOil61 x 56 cm (24 x 22 ins)NFS

TOBY WARD AFAS NEAC190 Gerhard

Oil114 x 79 cm (45 x 31 ins)£10,000

COLIN WATSON 191 Karima and Maryam

Casein and oil61 x 46 cm (24 x 18 ins)£4,500

FLORA WATSON 192 Studio 26

Oil120 x 140 cm (47 x 55 ins)£2,899

EMMA WESLEY RP193 Andrew Strauss

Pencil106 x 82 cm (42 x 32 ins)NFS

194 Claire TaylorPencil106 x 82 cm (42 x 32 ins)NFS

195 Richard MorganPencil106 x 82 cm (42 x 32 ins)NFS

196 The Yellow Shirt: Portrait of Richard MorganAcrylic90 x 60 cm (35 x 24 ins)NFS

JOHN WHITTALL 197 Self-portrait

Oil104 x 91 cm (41 x 36 ins)£12,000

TOBY WIGGINS RP198 Andrew McKimm


199 Lydia McKimmOil25 x 36 cm (10 x 14 ins)NFS

200 Study of a Girl Aged 11 – Sophie GunnerOil18 x 12 cm (7 x 5 ins)£1,200

GRAEME WILCOX 201 Frank

Oil137 x 92 cm (54 x 36 ins)£9,500

ANTONY WILLIAMS RP NEAC PS202 Antonia Looking Up

Egg tempera61 x 61 cm (24 x 24 ins)£24,500

203 Emma JaneEgg tempera38 x 41 cm (15 x 16 ins)£22,500

204 Charles Cator and Stephen White: A DiptychEgg tempera61 x 102 cm (24 x 40 ins)NFS

205 Study for AndrewPencil52 x 43 cm (20 x 17 ins)£3,850

PAULA WILSON 206 Combing my Hair

Oil21 x 13 cm (8 x 5 ins)£1,600

ANNA WIMBLEDON 207 Portrait of The Artist and Her Family


JOHN WONNACOTT RP208 Self-portrait


209 Sir Edwin MantonOil92 x 76 cm (36 x 30 ins)NFS

RODGER WORTH 210 Otters

Acrylic46 x 34 cm (18 x 13 ins)£1,100

ROBBIE WRAITH RP211 Beryl Tewell


212 Lester BrookesCharcoal61 x 51 cm (24 x 20 ins)NFS

213 Portrait StudyCharcoal61 x 43 cm (24 x 17 ins)NFS

214 Portrait StudyOil48 x 38 cm (19 x 15 ins)NFS

P L WRIGHT 215 Nicholas

Oil40 x 30 cm (16 x 12 ins)£3,000

CRAIG WYLIEInvited by Simon Davis RP RBSA

216 EW (Cave)Oil210 x 135 cm (83 x 53 ins)POA

Over one million people in the UK havea disfigurement. Some are born with abirthmark or congenital condition;others acquire scarring, asymmetry orreduced movement as a result ofaccidents, violence, warfare, cancersurgery, facial paralysis and skinconditions.

Every day they are vulnerable tostaring, bullying, prejudice anddiscrimination – on the street, at schooland in the workplace. For 20 years,Changing Faces has been transforminglives with empowering support whilepromoting fair treatment and equalopportunities through our FaceEquality campaign.

Michael, a psychology student, whohas facial burns, says:

“‘When I was eleven, I had a horribleexperience on a train. I was sitting nextto my Mum and I could feel the piercingglares of everyone around me. Icouldn’t handle it so I pulled my coatover my head and left it there the whole

journey as I shed tears. My mother thendecided that enough was enough andsought help.

Changing Faces offered me supportfrom the age of eleven to 14. Sharingmy feelings with one of their team andlearning techniques to tackle the stareswas immensely helpful. I don’t feel I’d be the person I am today withouttheir help.”

Changing Faces thanks the Royal Society of Portrait Painters for continuing toraise awareness of our work.

We rely entirely on donations tocontinue supporting and representingpeople with disfigurements.

Changing FacesThe Squire Centre33-37 University StreetLondon WC1E 6JNTel: 0845 4500 275www.changingfaces.org.ukwww.facebook.com/changingfacesuk@faceequality

Changing Faces – a newperspective on disfigurement

Chief Executive and Founder: James Partridge OBE

Patrons: Sir Christopher Benson, Rory Bremner, Michelle Dockery, Lord Fellowes of WestStafford, Gloria Hunniford, Terry Mansfield CBE, Jan Ravens, William Simons, Fiona Squire,Simon Weston OBE, Benjamin Zephaniah


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The London Atelier of Representational Art[ ] offers full time tuition in drawing, painting and sculpture util ising tradi-tional atelier techniques and practices. Now providing intensive workshops in

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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.

“The best kept secret in London”

To discuss your event, contact Olivia Ladbrooke-Chartres

020 7930 6844 [email protected]

A R T E U M B R I AT H E L E A D I N G P A I N T I N G H O L I D A Y D E S T I N A T I O N

Inspirational courses for both beginners and serious artists in Umbria with exceptional tutors

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

Situated in the Umbrian hills, the ‘green heart of Italy’, our private 220 acre estate is the stunning backdrop forour painting, sculpture and writing courses. These residential holidays include seven days’ accommodation inour home, an 18th century country house, where the atmosphere is relaxed and stress-free, offering the perfectsetting 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 incrediblevalue for money!

Shop online for beautiful bags and accessorieswww.brightcolours.co.uk

Enquiries: [email protected]: @bebrightcoloursFB: www.facebook.com/beBrightColours

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Mall Galleries’ Commissions Service help create and source bespoke works of art to suit purpose and place.

Contact us to find out more: 020 7930 [email protected]

Painting by Lucy McKie ROI

Francis Bacon’s three-panel portrait of hisfriend, Lucian Freud, may have achieved arecord price in the auction room, but likeother portraits that are normallycommissioned, it was painted for reasons ofcommemoration and affection. However,unlike a car that deteriorates with time or a classic wine that is gone after you’ve enjoyed it, a portrait will last for generations.Commissioning a portrait may seem like asubstantial investment, but with theenjoyment it brings defrayed over the years, a good portrait can also represent great value.

There are a few practical elements to beaddressed before selecting among the manyportrait painters: the budget, medium, size,number of people in the work and any

104

Commissioning a portrait

deadline for completion. Some of theseconsiderations will immediately eliminatesome artists from the selection process.

Our website (www.therp.co.uk) is a goodstarting point and also gives informationabout fees and other in-depth information.Selecting online can be hard work, so we offer a personal service by which we will sendyou a shortlist, based on your brief. We also help throughout the commission process. Initial face-to-face consultations are the most rewarding and take place in our Londonoffices. But this is not always practical, sowe offer a similar service by email.

At that first meeting, details like pose, dress,background, composition and exact size will

usually be discussed and, if the meetinggoes well, there is a further discussionabout the timing and number of sittings. Itis only after you have explored theseoptions and the first sitting is booked that adeposit is usually taken.

With sittings, each artist works in adifferent way. Some like a high input fromthe sitter or commissioner, others like moreartistic freedom. Some will only work fromlife, while others will work only from theirown photographs; some artists use amixture of both.

Once a portrait is finished, it is extremely rare that one of our clients is not happy with the end result, but it is not uncommon for people to take time to ‘see’ the portrait. The firstimpact of a portrait can sometimes be a bit unsettling as we are so used to photographic images. Occasionally, the artist will tweakthe portrait, but we recommend it is best tolive with a work for about six weeks beforeforming an opinion. The frame is importantand should complement the work. However,this is not normally part of the commissionand the artist will often advise how best toframe your finished portrait.

Whether your interest in commissioning aportrait is for love, for legacy or because ofyour fascination with the human face, theportrait remains an enduring art form thatwill hold as much fascination for others as itwill for your subject. With our help, we willensure you enjoy the process just as muchas the finished portrait.

Annabel EltonHead of CommissionsAntony Williams painting a portrait of Sir Donald Sinden

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2014

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royal society of portrait painters...royal society of portrait painters 17 carlton house terrace,...

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