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 email@example.com 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.
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|
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 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!|
I recently watched this Ted talk by Elizabeth Gilbert, the author of the bestseller ‘Eat, Pray, Love’ It touched a nerve, as I really empathise with her subject, that an artist does not have to be a mentally unstable genius in order to create brilliant work.
Art is a job, a job like any other when you have good days, bad days, days when you want to do nothing but work, and days when you wonder why you are there at all. Success is dependent on turning up and sticking at it. I suspect we do have steeper peaks and troughs, but it’s a temperamental business. There is no barrier to being both creative and business like, which artists and buyers are waking up to, harnessing the selling power of the Internet.
Two of the most common questions I’m asked are ; “where do you get your ideas from?” and “How do you price your work?”
I get my ideas from every day, I see ideas every time I leave the house, in every programme I watch, every book I read. For example I visited Windsor Horse Show yesterday and was flooded with ideas for paintings, this photo I took would make a fantastic sketch for example.
Sadly I have to balance every idea, with whether or not I think will it sell, and how many people will it appeal to. My art is a business, and I have to approach it as such, so sadly this idea will be condemned to the closet, as it will have too narrow an audience to make it commercial. (By the way, big congrats to my sister who won Champion Polo Pony with her little home bred mare, Tinx)
|Tinx, Champion Polo pony at Royal Windsor|
I do think there is such a thing as ‘talent’ there are some days when that elusive genie really does just show up, but talent is nothing without hard work. I am listening to a new song in the studio at the moment – ‘Bills’ by Lunchmoney Lewis, I know how he feels, and the video is hilarious! Bills Video
I’ve just finished this piece, and I’m pretty sure the genie was on my shoulder for this one.
|Needs a title?!|
Abysmal photos, I know! They’re off to the print studio to be professionally photographed next week!
Comments, as always, are very welcome. Love to know your thoughts, esp on the Ted talk, do you agree with her?
|Studio looking stunning in the early May evening sun.|
|Inside the studio looking super clean|
|My lucky horseshoe|
|Jazzy keeping watch.|
|Tina & Dolly – sure that the HENley arts trail was all about them|
|Henley Arts Trail|
Open studios are a great way to visit artists in a much more casual atmosphere. I am part of the fantastic Henley Arts Trail which runs for three days next weekend, and typically we have about a thousand people through over the bank holiday (this year is the 2-4th May). It’s fun, there are plenty of venues, and an enormous variety of art and artists to see.
|Prosecco & Paintings party on the Sunday of H.A.T.|
Look at artist or gallery websites. Decide what you like then you can either visit the artist or the gallery to view it in person. I find a lot of people buy prints online, but most prefer to see originals in the flesh before committing to a purchase.
Ask them their advice! Tending a gallery can lean towards being a bit dull if no one talks to you! Most gallery owners or managers will be only too delighted to help find something to suit your taste and budget. There isn’t the pressure of engaging with one artist and the gallery owner will have a broad knowledge of art, able to source work outwith their current exhibition or published list of artists. Penny at Oil and Water does the excellent ‘try before you buy’ scheme, meaning you can take the work home, live with it for a day or two and then decide.
A lot of galleries are signed up to ‘own art‘ meaning you can pay in instalments, from as little as £10 a month until the work is paid for. Most artists are also happy to do this, several of my original sales or commissions are paid in 3-6 instalments by standing order.
The Affordable Arts Fair and similar are the best way to immerse yourself in the art scene without the obligation to engage with galleries or artists. You can browse thousands of artists, glass of wine or coffee in hand, until you find work that captures your attention. My work will be at the Hampstead Affordable Arts Fair June 11th-14th, showing with Eduardo Alessandro Studios
Tip: Sign up to a few galleries and you may well be sent tickets to the private view the following year!
Easier said then done in this weather but I have managed to get a surprising amount done this month, and am pleased with my first equine work for a while. It’s a large piece 36×30″ which reminded me how much I enjoy working on this scale. No title as yet, so ideas welcome!
Perhaps it wasn’t the greatest of timing that the David Shepherd Wildlife Artist of the Year and my solo show at Oil & Water opened within ten days of each other. I’m sitting in bed, on a glorious June dawn, having woken early, and having a cup of tea, trying not to worry about tonight, the opening night.
|Kick up your heels by Catherine Ingleby|
I was very flattered to have been included in the well publicised teaser catalogue, and despite the hassles of wrestling two such enormous pictures into London, seeing them hung, in amongst such a strong body of wildlife art, was immensely rewarding.
|Winged Messenger of Death bu Christine Lambeth|
The evening itself was great fun, I managed to nab a photo with the man himself, and although I didn’t win the ten thousand pound cheque, it was good to catch up with so many friends, and meet some new faces.
|Myself and David Shepherd, in front of my two charcoals.|
It was HOT in the mall galleries though, boy, do they need to invest in some air conditioning!
|Moon Bear with Butterflies by Susie Marsh
I was particularly taken with some of the sculptures, there was such a variety, and I could have taken every one home. A sculpture by this French artist win the main prize. Deservedly so.
|Transperence – Rhino by Pascal Cheasneau|
|Rook by Susie Dafforn
Monochrome Category Winner
Catalogue is printed, the work delivered, the walls are hung. Tonight is the private view, and I’m trying to gather myself a bit before the day starts.
|Ready to go!|
I enjoy these evenings, but I feel a large pressure to sell well this evening, and they can feel like a marathon interview, chatting to potential clients, and explaining the work time and again. I am pleased with the body of work, I truly found it a pleasure to paint, and seemed to come, by and large, with ease to me. I hope that is reflected in the art, a friend made a lovely comment “It looks as though the artist has found joy in the process of painting it” which couldn’t be more accurate.
Let’s just hope the clients find enough joy to reach into their wallets!
|Burning Bright by Catherine Ingleby|
|Ivy, my spaniel, with a scuplture by Rosemary Cook|
I’ve been asked recently, a few times, to have students or young teenagers for work experience. This is always as much of an experience for me as I imagine it is for them, as I see my younger self reflected in their faces, and their dreams. I wonder if I had spent any serious time with an artist in my teens whether I would have taken fright at the path I was choosing!
I didn’t stumble into being an artist, it is what I wanted to do from a very young age. I knew, with out doubt, that there was no other path that would give me the same satisfaction and happiness. That is not to say it was a choice without hurdles, my art foundation year at E.C.V. in Paris was at an art school largely geared towards graphic design and advertising, and I saw that this would be a more lucrative path. Luckily, I was hopeless at graphic design, and remained on my road. I then studied at Durham University, and watched my peers go on to quickly earn decent salaries in the city, and buy houses. I wondered if I should maybe get the ‘proper job’ that my mother kept hinting at. A brief detour into portraiture taught me a huge amount (the main lesson being that I was not a portrait artist).
|‘Ivy Leaping’ Oil on canvas|
I think, it was clear in my head that I was unable ‘not’ to be an artist, that being prevented from painting and drawing makes me unhappy and frustrated. I constantly have ideas and plans buzzing around in my brain, I see inspiration in the every day routine of life, be it winter light though the hedge on the school run or watching a wildlife programme on late night TV.
I realise I am fortunate to have known what I wanted to do, and to have had the support to achieve it, but it is both a blessing and a curse. People often say to me ‘Why don’t you paint such and such?’ or ‘Why don’t you draw only charcoals?’ The answer is that I can’t. I have to stay to true to what I want to paint, to my vision as an artist. If I try to paint to please other people I feel I end up pleasing no one, and in the end my art deteriorates.
|‘Blaze of Glory’ Charcoal on paper|
One of the bloggers I read regularly, Making a Mark by Katherine Tyrell, posted this great link to the 2103 BP Portrait winner Susanne du Toit’s Top Ten Tips for being an artist. They resonate with me, and I think I will pass them onto the work experience students.
The other piece of advice that I read somewhere recently was “Learn to live on less” and it struck a chord. Most artists will never earn a fortune, or get serious recognition, but they will be an artist, and that is reward in itself.
|‘Up, up and away’. Charcoal on paper|
It’s a great moment when you open that long awaited email to find it starts with ‘Congratulations’. I’m delighted to say that not just one, but both works were accepted into the David Shepherd Wildlife Artist of the Year which will run from the 3rd-7th June in the Mall Galleries, London. It is an exhibition well worth visiting as it always beautifully hung, and represents the top working wildlife artists both in the UK and abroad.
|Bison – charcoal on paper|
The other bonus of selection into these competitions is the chance to catch up with so many colleagues at once. Painting, unless you’re based in a shared studio complex, is essentially a very solitary career, so the opportunity to attend a large gathering of artists is always a real treat. I know Karen Laurence-Rowe has been accepted, and look forward to meeting her. I’m also pleased to see that Davina Bosanquet has asked to be one of the guest artists, after winning her category two years running. It’s the week before my solo exhibition opens with Oil & Water in London, so June will be a busy month!
I was immensely honoured to be given access to the animals at Longleat Safari Park last week, going out with a keeper to see them being fed, and took many hundreds of photos. The staff there could not have been more accommodating, and their knowledge and understanding of their animals was extraordinary. I manage to obtain enough source material to keep me going for many months.
I have always wanted to do more wildlife painting, but have struggled to find animals to work from, normal zoo exhibits are either asleep or look so bored and spending several weeks a year photographing them in Africa isn’t really an option with two small children. The Longleat animals, in their vast acreage of paddocks, were incredibly fit, and very lively! A huge thanks to everyone who enabled my trip.
|Male lion, Longleat