The perfect presents for men, those who ‘have everything’ or a just hard to find presents for. I have a selection of prints available to buy on my website, starting from £45. We can produce them on their own, mounted or framed. I also now offer bespoke canvas prints, in any proportional size up to a maximum width of 3 metres, which fills a LOT of wall space (but probably won’t fit in a stocking!) Please contact me on firstname.lastname@example.org for pricing.
All the Giclée prints are produced using lightfast ink on acid free 360gsm art paper, individually signed and numbered. Each edition is a run of 250. They take around ten days to produce and frame, although possibly longer as we get very busy in the run up to Christmas. The order deadline is the 12th of December, after we cannot guarantee production & delivery in time for Christmas day.
For those who cannot choose between the prints I have also produced gift vouchers. These are embossed, and gilded, and make a wonderful present to give to someone to redeem the blue of your choice against originals artwork, prints or commissions.
|The Bell Inn – Cecil Aldin|
|Etching – after Cecil Aldin|
|The Bell Inn, WSL|
Cecil Aldin is really blame for my current dogs – I saw this sketch many years ago, and decided there and then that when I had spaniels, they would look like the one in the sketch, despite never having seen a roan and tan cocker before. It took a few years, but now I have Ivy and Jazzy below, who are much loved for all the chaos and fun they bring to our lives.
There’s been a fair amount of discussion in the art world about the validity of various ‘open’ art competitions recently. Kathryn Tyrell who writes the excellent and very informative blog Making a Mark has published an article covering the main points.
I think information and transparency are the key factors. Inform yourself as to the nature of works that are accepted for competitions. I had a few frustrating years submitting to the Society of Wildlife Artists before really studying their exhibition and realising that my work simple doesn’t suit their overall theme, which is heavily based towards printmaking, birds and British mammals.
I do wish society exhibitions would publish their numbers more transparently, so artists have a clearer idea of entries, sales, and costs/spend.
My favourite competition by far is the David Shepherd Wildlife Artist of the Year. This year I have submitted the following two works. ‘Shadows kiss’ is a huge piece for me, and took me way out of comfort zone. Fingers crossed….
I have a horrible feeling this may be similar to last years resolution, but I am full of hope that this year I will stop neglecting my blog and write a weekly post. I will spend less time watching ridiculous videos on Facebook and construct witty prose packed with my weekly news…
|Jump for Joy|
I have finally got to grips with FB advertising, and we were caught completely on the hop by the success of our pre christmas promotions, scrambling to process and ship all the orders in time. Thankfully we succeeded, and now have a fantastic system in place so everything should proceed smoothly from here on out. The biggest sellers by far were ‘Razzle Dazzle’ and Jump for Joy’
Two of my favourite paintings, I think they capture a sense of fun, and humour, and I hope give you as much pleasure looking at them, as they gave me enjoyment in their creation.
|The Bell Inn, Waltham St Lawrence|
I dropped my elephant off at the Mall Galleries today, in the company of some very impressive looking pieces arriving at the same time.
I’ve had a scan through the pre sales catalogue and attempted to pick my winners for each category.To be honest, the longer I looked the harder I found it to make up my mind, I don’t envy those poor judges. I’m just very honoured to be featured in such strong company!
So heres the seven categories with my best guess at the winners.
|Combat D’Oryx by Pascal Chesnau|
A previous winner of the DSWAY title, I love the movement in this one.
|Unnatural by Candice Bees|
Not many seem to qualify for this category, but I particularly like this fox by Lucy Paine
I love the bees by Patricia but I think these parrots by Stefano will be spectacular.
|Turquoise and gold by Stefano Zagaglia|
Has to be one of nick O’Neils works (he has FIVE accepted this year, highest no. of entries I think!)
|Whip it by Nick O’Neil|
Wide category this, but I love this tiger, although it equally falls into the next category.
|Tiger 13 by Stephen Rew|
So anything then…
I’m going to choose the snow leopards, such a a great composition of a tricky subject.
|The ghost in the mountains by Cynthia House|
I’m going to go for either Nick O’Neils polar bear “Before it melts”
or Radha Kirby’s “Hippos in the late afternoon sun”….
Judging is on Monday so I’ll update on Tuesday morning.
One of the most common questions I’m asked is “how long does it take?” So, I thought I’d quickly run through the process of the creation of a recent piece – “Razzle dazzle”
Painting zebras is always a bit of a headache inducer – all those stripes, and five together was ambitious. I started with a small sketch 25x25cm, which went well, and was pretty straightforward.
So, an expensive sheet of 70x50cm paper is clipped up onto the easel and I start on a big version.
|But soon joined the growing pile of rejects on the floor…|
|Herd of Zebras 70x50cm £850|
Then I moved onto the oil, the background took ages to get right, I started with an ochre/blue/pale cream combination, but then changed the background to red which I felt conveyed Africa a bit more, that red dust. Also the ochre was too similar to the foreground colour. The blue doesn’t really show up in the photos, as it is so close in tone to the top layer, but it’s very clear in the flesh so to speak.
|Framed and ready for sale £1500|
This is meant to be my quiet time of year, when I can footle about
faffing about working online in my warm study, instead of freezing in my draughty studio, spluttering in the temperamental warmth of the log burner.
However, fresh back from Africa I had a raft of new images to work from, and the deadline for the David Shepherd Wildlife Artist of the Year coming up.
|Now you see me ….|
|Young lion at waterhole|
|The moon, swallows and springbok|
|Male lion, North Pride|
Working to such a tight deadline is always stressful, although a friend did say, with raised eyebrow, “It’s not like you haven’t known about it for twelve months…” I know, I know, but I only got back from Africa at the end of December and it’s tricky to conjure up decent wildlife in Berkshire!
|Dawn Ascending, Oil on panel. 24×18″|
|Lion 75x55cm charcoal on paper|
So, hopefully, the last works should be finished this week and then photographed in time for the deadline on the 13th feb!
|The central Hall, Hugh contemplating the morrocan influenced fountain, now bereft of goldfish.|
I was not familiar with this artist, but this huge – 8 foot square – canvas is extraordinary, it’s such an incredible study of light and pattern. Looking through his body of work, he clearly was drawn to abstract light patterns, and his painting of seagulls in late evening light ‘Silver Wings’ is stunning. His paintings seem remarkably contemporary for his time.
|The punt gunner by Charkes Walter Simpson 1924|
|The Gypsy Horse Drovers 1895|
I know Maud from her prolific dog portraits that adorn many a country house, but this is the first big painting I had seen of hers. A stunning composition, very unusual having cropped the deer in the foreground.
Sheep are such unappealing subjects to paint being lumpen shaped, idiotic and with very little expression (sorry sheep!) but here Henry Davis has made them magnificently noble and dramatic.
|Approaching Thunderstorm in Picardy 1869|
|Dod Shaw on Patrick 1912|
|Brushwork up close. Mental.|
I was so honoured to have my image of Ivy Leaping selected as the front cover of ‘Paint’ the magazine for the Society of All Artists. It was published this month, and looks fantastic. Lovely article inside too. It’s a particularly poignant image for me as it was the first work I produced after having children and dealing with various health issues that I felt really began to reflect where I wanted to go with my art. I had previously been known for very traditional, realist works. I liked them, but there was little to distinguish them from the many realist artists out there. I wanted to create a body of art that felt more my own, rather than the culmination of a traditional atelier education.
I am rarely happy when I look at my older work, I always see scope for improvement, but in this one, I still love it as much as when I first finished it.
I drove up to Tuxford last weekend to attend the S.E.A. awards. I was fairly spot on with my predictions, although not always the right category! The main award is going to be presented next week, at the private view in London at the Osborne studio Gallery, so I will do a list of winners next week. I was a bit suprised to find the categories had changed, and I feel there needs to be more transparency within the society of the judging process.
I’ve been back in the studio, after what feels like a very long break. In fact I got face full of cobwebs when I walked in, so at least someone has been busy. I’m working some new equine pieces, and here is one in progress on the easel!
‘Monkey Business’ got through the first round and has now been dispatched for second round judging – fingers crossed!
So this is for a bit of fun, but the Society of Equine Artists has opened its annual exhibtion this week, award ceremony this Sunday. These are my picks for the prize winners, not including myself obviously!!
You can see the whole exhibition online at www.equestrianartists.co.uk although the slide show is maddeningly slow. It would be much better formatted as a gallery, so it could be more easily browsed.
I’ll post the actual winners next friday!
|Best drawing – “Crusader” Rebecca De Mindonca Pastel £1,900 38″x31″
I haven’t come across this artists work before, and it’s stunning, although I think the shoulder needs to merge more softly into the red background. The racing paintings on her website are fantastic, so I’m suprised they havn’t been included in the SEA exhibtion.
|Best contemporary –“Irish Draft Stallion Gortfree Hero” Sara Hodson ASEA Oils £800 21″x21″
Sara has submitted a very strong trio of works. See more at
|Best Group of works by full member – “Guards” Kristine Nason SEA Pencil £580 20″x24″|
|Best hunting work – “Kimblewick Hunt Leaving the Full Moon” Dennis Syrett SEA PPROI RBA RSMA Oils £8,000 32″x40″
I like Frderick Haycocks work as well, also a strong contender.
|Best coloured horse (!) “Zebra” Kim Thompson Acrylic £1,800 21″x41″|
|Best in show -“Seventh Wave” Rosemary Sarah Welch SEA Oils £2,200 42″x38″|
|Best Sculpture – “The Chaser” Amy Goodman ASEA BA(Hons) Bronze 1/8 £5,250 20″x20″x8″|
|Best racing work -“Headway” Michelle McCullagh SEA Oils £2,800 25″x18″|
I was hugely honoured to have the opportunity to go and photograph the “Golden Horse” Pearl of Peace at his yard, along with two other stallions. This extraordinary stallion is one of a kind, with an incredibly rare genetic combination that gives him his reflective, metallic gold colouring. He is still a youngster at three but such a character, and a real performer, clearly going to love the spotlight his life will entail! I am hoping to create a series of paintings from my time there, and will post progress on my FaceBook page.
So back to the grindstone in a few days, I’m looking forward to really getting my teeth into a new series, I feel as though I have been away from my studio for too long!
I’m slowly getting to grips with making short videos, and the timelapse ones seem to be the most popular. Here’s a link to a recent painting of a dark grey arab.
YouTube video of Catherine painting
I have to replace my old easel. I first picked him up in Florence, part of a job lot being replaced by the Charles H. Cecil Studio where I had been studying. I was setting up a realist summer art school with James Napier, in London, and we bought them for a pittance, and, I presume, jammed them into our cars to get them back, I can’t imagine I flew them back, even in the heady days of limitless baggage on easyjet.
|Charles H. Cecil Studio|
They did service at the summer school, which rolled on for a year or two, eventually developing into the now enormously successful London Academy of Realist Art (drawpaintsculpt.com) which these days is run by James and his sister. I hung onto my easel (sorry James!) and its done a decade or so with me. A year or so in the punishingly expensive studios of London, a thankfully short while sharing what was basically a cave with James in the London Bronze Foundry and then more recently in my studio here.
|The old easel with a work in progress|
Old age has got him finally, in the end. He shakes and shudders, arthritic in every joint, and is also incontinent, leaking onto my feet (or the spaniels sleeping below) various noxious fluids I use in my work. I had a moment of madness, shopping late night on my ipad and bought a beast from Jacksons Art, a beechwood Chippendale of a model by Mabef. I’m pretty sure it cost more than my first car. It rolls, extends, lays flat, has drawers, but part of me will miss my old, paint encrusted easel from Italy, who knows how many students, and how many works have been created in his rickety wooden embrace?
|Mmmm, don’t think he’ll be clean for long!|