Fine Art Collector | Spring 2022

Fine Art Collector | Spring 2022

FINE ART

SPRING/SUMMER 2022

CASTLEFINEART.COM

A SENSE OF STYLE KATIE COLLINS SHARES HER TIPS AN IMPOSSIBLE DREAM RICHARD ROWAN JON JONES MADE IN BIRMINGHAM

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AVAILABLE NOW

Welcome to Spring 2022’s issue of Fine Art Collector , the contents of which – I hope – will touch on a number of hot topics currently subject to discussion and debate in the dialogue of today. Forward-thinking and in tune with a disposition that unites likeminded individuals worldwide, art conversely also has the power to act as a vehicle to broach and process polemical issues. The notion of citizenship, a focus on the importance of allowing history to shape and guide progress, feelings of guardianship over our planet and the conversation efforts required to preserve it, the need for inclusivity, political and societal representation in the arts, global unease…the list is endless. No wonder so many media outlets are reporting on a pervading sense of mental fatigue felt by a wide cross-section of society. Then add this into the mix - according to a study carried out by Microsoft UK, 40% of people surveyed said they felt guilty for not carrying out the changes or commitments they promised themselves that they would after the pandemic; a new cognisance that has been titled “the productivity trap”. Upon reading this, the irony wasn’t lost on me that, for many of us, the (seemingly endless) lockdowns provoked an appreciation for a slower pace of life. It allowed us to pause, reassess our work life balance and rediscover previously forgotten simple pleasures. With a nod to this, Castle Fine Art recently joined

countless other galleries, museums, organisations and individuals across the world on 2nd April in championing Slow Art Day. Founded as an antidote to the screen-based, rapid scrolling, multi- tasking way a great many of us now view art, the movement encourages us to find our way back to viewing art in real life, consciously making the time to arrange the visit and enjoy what it affords to us. This is, however, somewhat at odds by the rising star that is NFTs. Contrary to the popularly held belief that they’ll fade into distant memory seemingly as quickly as they emerged as the next big player in the art market, NFTs have marked their territory and are here to stay. Quite what their lifecycle will look like and where they will end up [black dwarf or supernova?] is anyone’s guess, but they’ve opened up a previously unexplored dimension to the creation and trading of art that has undeniably changed the landscape of the market for artists and collectors alike. Perhaps most consistently at the forefront of our shared consciousness in recent years has been the need for greater focus on environmental issues. As more than 79% of UK consumers change their purchasing preference in order to achieve a more sustainable lifestyle, companies are being encouraged to adopt out more eco-friendly and ethical practices. I am delighted to say that Castle Fine Art has indeed evolved many

aspects of its business to provide more environmentally friendly operations. Swapping simple practices within marketing, delivery services and framing logistics has allowed us to increase our sustainability measures across the business. We have chosen to work with Acorn Press for our literature print (such as this very magazine!) as the company is proud to be ISO 9001 & ISO 14001 registered and are also FSC and PEFC Chain of Custody certified, supporting the environment, and aligning with our values and pledge to be more eco- friendly. In February this year, they produced Richard Rowan’s fine art book titled An Impossible Dream, the very first to be printed carrying both the FSC (Forest Stewardship Council) andWLT (World Land Trust) accreditations. More on this – and our other philanthropic pursuits – to follow in our Autumn issue. In the meantime, we invite you to pretend it’s 2nd April 2022 all over again (Slow Art Day, for anyone who skipped over the earlier paragraph!) and savour Fine Art Collector cover to cover. Hit pause on your to-do list, whatever email you haven’t answered and tune out the world around you. Art was here long before any of us, it will outlive us and its qualities enrich us. Long live art, and all it gives to us. Enjoy!

Daniela Quinlan Editor

© 2022Washington Green Fine Art Group Limited. Printed In England

Fine Art Collector is published by Washington Green Fine Art Group Limited and distributed by Castle Fine Art. Email [email protected] Website castlefineart.com All the art featured in Fine Art Collector is available through Castle Fine Art across Great Britain. Visit our website at castlefineart.com to find your nearest gallery. The images contained within this literature are an artistic representation of the collection. To best experience our art, we recommend you contact your local gallery to arrange a viewing. Prices illustrated throughout this magazine are recommended retail prices.

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Contents

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James McQueen The latest artist to join the Castle Fine Art family is already making waves among our collectors

NFTs A passing fad or a brave new world? Read our feature to help inform your view

Sir Billy Connolly

Beyond Our Walls From haute cuisine to hospitality, our art has found homes in prestigious venues across the UK

Find out why 2022 is all set to be a big year for the Big Yin

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Richard Rowan ‘An Impossible Dream’ made possible – discover Richard’s latest collection and first ever fine art book

Cover: Jon Jones

Gamechangers The second instalment in this new editorial series focuses on pioneering female photographer, Ruth Orkin

Lemon & Lime Interiors Meet our new interiors partner, and learn about the art of home staging from founder Elaine Penhaul

New Galleries Take a look at Castle Fine Art’s brand-new bespoke spaces in York and Leeds

Editor: Daniela Quinlan Deputy Editor: Charlotte Brazier Contributors: Monika Adamska, Emma Blackburn, Charlotte Brazier, Imogen Cranston, Samantha Gurdamar, Amy Harrison, Michael Perry, Daniela Quinlan, Harriette Walters-Hutton Designers: Ak Suggi, Christy Guan, George Wilson, Matt Johnson

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Retrospectrum Bob Dylan’s internationally acclaimed museum retrospective makes it debut at Castle Fine Art

A Sense of Style Digital creator Katie Collins shares her tips with us for getting inspired and building your collection of art

Jon Jones How his public art installation

Art Trends Discover art trends for stylish statement pieces or timeless classics in this handy guide

is set to raise funds for Birmingham Children’s Hospital

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In Every Issue 1. From The Editor 48. Your World, Our Art® 80. The Social Edit 120. Studio Sessions Throughout In the Gallery

Bob Barker The master of Northern Impressionism celebrates 15 years with Castle Fine Art

Follow us on Facebook, Twitter, Instagram and YouTube and be the first to hear the latest news, events and industry updates! Plus, we’ll keep you inspired with beautiful photography of our art, shots behind the scenes with our artists and information about our exhibition schedule.

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‘Tribeca Rider’ stands out as Castle Fine Art’s exclusive first release from Richard Hambleton’s Horse and Rider series. Hailed as one of the ‘three kingpins’ of graffiti art for his Shadowmen , these marked an energetic departure for Hambleton, away from his standing figures’ menacing stasis. The sweeping strokes and splatters of tar-black give way to subtle blues in this exclusive run of seven colour silkscreens, which at once presents a glimpse into the turbulent 1980s New York scene and reflects the solitary heroism of Hambleton as an iconic contemporary artist. The image of the horse and rider resurfaces continuously throughout art history and popular culture. In Hambleton’s work, their shadowy reimagining emerges from the artist’s cynical fascination with the ‘Marlboro Man’, the lone cowboy who sold Marlboro cigarettes to the masses with his all-American coolness but was never shown to suffer the harmful consequences of smoking. ‘Tribeca Rider’ illuminates the inescapable darkness associated with our vices, despite our struggles to maintain the composure of our idols. True also for Hambleton, who himself grappled between his lifelong commitment to pursuing his craft and his isolating addiction to drugs. The result of which, a body of work which is both sinister and ecstatic. Richard Hambleton

Tribeca Rider Silkscreen Edition of 95

Image size 107cm x 117cm Framed Size 114cm x 125cm £9,950 Framed

Read more about Richard Hambleton on our blog.

Beside The Lake, Beneath The Trees (top) Hand-Embellished Box Canvas Edition of 95 Image size 122cm x 91cm Framed Size 132cm x 102cm £1,950 Framed

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ÉKSTASIS Emma - Leone Palmer

Exuding vibrancy and femininity, Emma-Leone Palmer's brand new ÉKSTASIS collection is unabashed and unapologetic, exploring our sense of self and the way we express who we really are through movement and light. Titled after the Greek word for 'ecstasy', the collection, which was born out of the boredom of lockdown, explores the

synergy of art, music and light. With rhythm pulsing through her veins, she has pushed the possibilities of oil paint to combine the canonical painting modes of the Renaissance with the hyper-neon colours of the 21st century. In February, the artist took over our gallery in St Christopher’s Place, London, for a solo exhibition of her work. A striking

display of her original artworks were a hit with our collectors, with our Art Consultant, Harriett telling us: “The feedback we’ve been getting is fantastic. We’re hearing lots of words like ‘striking’, ‘beautiful’, ‘powerful’ and ‘different’ – it’s all been really positive.”.

Aria Hand-Varnished Canvas on Board Edition of 95

Image size 64cm x 76cm Framed Size 84cm x 94cm £695 Framed

Arpeggio (opposite) Hand-Varnished Canvas on Board Edition of 95

Image size 64cm x 77cm Framed Size 84cm x 97cm £695 Framed

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Sonata (right) Original Oil on Canvas

Image size 120cm x 120cm Framed Size 129cm x 129cm £8,950 Framed

Vivace (opposite) Original Oil on Canvas

Image size 120cm x 120cm Framed Size 129cm x 129cm £8,950 Framed

Ékstasis Set of Two - Aria & Arpeggio (below) £1,250 Framed

"I am alive, and I want to paint paintings that make me feel alive."

- EMMA-LEONE PALMER

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Who is James McQueen? As elusive as a rare first edition book, James operates under a fictitious name so his art can take centre stage. An avid collector, he can often be found amongst the dusty shelves and secret backrooms of old bookshops in New York and London. Aside from his creative background in woodwork and photography, not much has been divulged about the British artist, whose work is owned by celebrities including the TV presenter Phillip Schofield. James explains: "I’ve chosen to stay behind the mask because my art has enough to say for itself. I want people to see past me and just see my art." About the Collection James' artworks echo the vintage style of classic book covers. Blowing up an object that you can hold in the palm of your hand into something that you can hang on your wall has been a lifelong fascination for the artist, who credits his grandfather for his passion for books. Viewed up close, his large-scale works have an effect not dissimilar to the giant playing cards in Lewis Carroll’s 1895 novel, Alice’s Adventures in Wonderland . For his limited edition prints, the supercharged Pop Art colours were replicated in exquisite detail by our specialist atelier team, who captured the worn texture of James’ original paintings through the fine art silkscreen process.

INTRODUCING

James McQueen

Uniting book lovers, art collectors and ardent readers, the sell- out debut Non Fiction collection from our newest artist, James McQueen, was a huge hit with our collectors. The infamously private artist recreates the nostalgia of classic book covers through his mixed media artworks, with the subversive titles and graffiti elements giving his Pop Art-inspired paintings a contemporary aesthetic.

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“I’ve chosen to stay behind the mask because my art has enough to say for itself. I want people to see past me and just see my art.”

Inside James’ Studio

We’ll be revealing more from James McQueen later this year. Make sure you’re subscribed to our emails to be the first to know about new launches, or contact us to find out more about original art opportunities.

“When creating one of my pieces, it’s not just about painting, it’s about layering the canvas with different colours. Simply painting a book on a canvas was easy, but it was too clean-looking and didn’t tell me anything. “By removing the paint, I am recreating the feeling of old books from a vintage bookshop. The exposure of these layers represents the history and journey of the artwork, just as a used book will have its own story. “Sanding is an important part of my artistic process. I move the sander at different angles, especially near the edges, where a book would see wear and tear. All of these beautiful colours pop out like the words in the book.”

Be Careful What YouWish For Original Mixed Media on Canvas Image Size 102cm x 153cm Framed Size 114cm x 164cm Price on Application

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Nic Joly

Never shying away from facing life’s truths head on, Nic Joly recently brought us two new collections intended to provoke introspection, by challenging us to embrace our inner most thoughts and feelings, and recognise objectively how we navigate life's twists and turns. Nic’s autumn releases featured ‘Honesty’, a sincere look at one outcome of the recent pandemic and how it affected our collective mental health, stating: “People have really started to talk about their mental health; the stigma attached to mental health is finally fading. We are all fragile and now it is time to embrace that fact and talk honestly about it.”. In turn, ‘Out, Out’ encourages a more reaching view of what is yet to come. Nic explains the reaction he would like this work to promote: “Look to the next year with hope, happiness, positivity and a love of life... Smile, look to the good times and celebrate life.”. Fast forward to this spring, and we see Nic examining the meaning of love; not the love portrayed in stories, books and films but deep, true, sincere love between friends, family or partners. His lesson to us here, through ‘You Just Are’ and ‘Honest Love’, is that openness and communication are the cornerstones of growing and nurturing love, which is the most precious of all commodities.

You Just Are Handmade Studio Edition Wall Sculpture Edition of 190 Framed Size 50cm x 50cm £995 Framed

Honest Love Handmade Studio Edition Wall Sculpture Edition of 190 Framed Size 62cm x 62cm £2,250 Framed

You Just Are / Honest Love Set of Two £2,850 Framed

Honesty ( opposide right) Handmade Studio Edition Wall Sculpture Edition of 365 Framed Size 49cm x 49cm £1,250 Framed

Out Out - Red / Silver / Blue / Green / Orange / Purple or Variation (opposite left) Handmade Studio Edition Wall Sculpture Edition of 365 Framed Size 61cm x 61cm £2,500 Framed

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NFTS VERSUS 'REAL ART'

While the complexity and kitsch style of NFTs is part of their appeal, it can make them more open to judgement, with one critic describing the phenomenon as 'digital garbage' and 'the Emperor's virtual clothes'. The perceived dumbing down of art may be touted by traditionalists, but as The Art Newspaper stated in July 2021: ‘NFTs do not spell the end of IRL [in real life] art, they are simply a new chapter.’ Many NFTs incorporate elements from classical art movements, including the focus on technology seen in 20th-century Futurism in Italy, and the repeated imagery of Pop Art in New York in the1960s. Artists have created NFTs inspired by Banksy, Leonardo da Vinci and Picasso, while Will Gompertz, director of Tate Gallery, likens Beeple's work to the fantastical paintings of Hieronymus Bosch in the 15th century. Noted works are also being transformed into NFTs; in May 2021, Christie's launched Andy Warhol: Machine Made, a collection of five NFTs of digital works created in the 1980s. NFTs are central to the crypto art movement, which is being propelled by projects such as Larva Labs and the Bored Ape Yacht Club. Artists are discovering new forms of art, including digital sculptures, animations, optical illusions, visual translations of >Page 1 Page 2 Page 3 Page 4-5 Page 6-7 Page 8-9 Page 10-11 Page 12-13 Page 14-15 Page 16-17 Page 18-19 Page 20-21 Page 22-23 Page 24-25 Page 26-27 Page 28-29 Page 30-31 Page 32-33 Page 34-35 Page 36-37 Page 38-39 Page 40-41 Page 42-43 Page 44-45 Page 46-47 Page 48-49 Page 50-51 Page 52-53 Page 54-55 Page 56-57 Page 58-59 Page 60-61 Page 62-63 Page 64-65 Page 66-67 Page 68-69 Page 70-71 Page 72-73 Page 74-75 Page 76-77 Page 78-79 Page 80-81 Page 82-83 Page 84-85 Page 86-87 Page 88-89 Page 90-91 Page 92-93 Page 94-95 Page 96-97 Page 98-99 Page 100-101 Page 102-103 Page 104-105 Page 106-107 Page 108-109 Page 110-111 Page 112-113 Page 114-115 Page 116-117 Page 118-119 Page 120-121 Page 122-123 Page 124-125 Page 126-127 Page 128-129 Page 130-131 Page 132

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