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ANNUAL REPORT 2007ADRODDIAD BLYNYDDOL 2007
CONTEMPORARY ART SOCIETY FOR WALES
CYMDEITHAS CELFYDDYD GYFOES CYMRU
SUMMER EXHIBITIONJuly 4th - August 16th
KYFFIN WILLIAMS RA - RETROSPECTIVE EXHIBITIONAugust 22nd - September 13th
Peter Brown ‘Choppy Sea, Back Beach’ Oil on Canvas 10" x 30"
Kyffin Williams ‘Mombresia’ Oil 30" x 20"
contemporary art society for walescymdeithas celfyddyd gyfoes cymru
OFFICERS OF THE SOCIETY AT 31st DECEMBER 2007
PatronThe Right Honourable The Earl of Snowdon
PresidentMrs D M D Evans
Vice PresidentsMr Arthur Giardelli MBEMr Ken Spurlock MBE
Chairperson D Gareth Davies Vice Chairperson
Professor Bryan Hibbard
Treasurer Mr Peter Clee
Events Secretary Dr Christine Evans
Membership Secretary Mr Bernard H Rees Yr Hen Sgubor, Flemingston CF62 4QJ Tel: 01446 751253 Email: [email protected]
Secretary Jean A Williams6 Le Sor Hill, Peterston Super Ely, Llanbedr-y-Fro, Vale of Glamorgan CF5 6LW Tel: 01446 760476Email: [email protected] Secretary
Nesta JamesLlwyncelyn, 14 Grove Road, Pontardawe SA8 4HH Tel: 01792 863884Email: [email protected]
Executive CommitteeProfessor Tony Curtis, Dr Peter Davies, Dr Dan Evans, Mr William Gibbs, Dr Sandra Harding, Mr Stanley Jones, Ms Dilys Jackson, Dr Tudor Jones, Mrs Maureen Kelly Owen, Mrs Madge O’Keeffe, Dr Anne Price-Owen, Mrs Margaret Pyke, Mrs J M Rees-Mathews, Mr Alan Spiller, Dr Peter Wakelin
Auditors KTS Owens Thomas Limited (Chartered Accountants)
1
Produced by Platform One, Monmouth 01600 714600
Charity No: 247947
2
Situated in the heart of the Wye Valley, Mill House is a gallery with a difference.
Set in three and a half acres of picturesque grounds, complete with mill ponds, the large stone, former mill owner’s property is also a family home. Once renovations
are complete the gallery will move into the grade II-listed paper mill, adjacent to the house. The renovation will provide two floors of exhibition space together with an
artist-in-residence suite.
Due to the phenomenal success of the Whitebrook gallery a second gallery has been opened at The Celtic Manor Resort Mall, Newport.
For further details or to view current works on sale please visit us on-line at
www.deniseyapp.com
Judy Buxton Midsummer Roses II
D E N I S E Y A P P | C O N T E M P O R A R Y A R T
Mil l H o u s e , Whitebro o k , Monmo uth NP25 4TX 01600 860950a l s o a t T h e C e l t i c M a n o r R e s o r t , N e w p o r t 0 1 6 3 3 4 1 0 4 8 8w w w . d e n i s e y a p p . c o m E m a i l : d e n i s e @ d e n i s e y a p p . c o m
ANNUAL REPORT 2007
My first year as your Chairman has come to an end and happily I am in a position to record another successful twelve months of Society activity. After a short period ‘out of harness’ following ten years as Secretary, at my first Executive Meeting I was very pleased to see so many familiar faces around the table. There was an immediate comforting sense of ready support and it soon became obvious that the few new members, already known to me as stalwart CASW members, had strengthened an already effective Committee. On their behalf it is my pleasure to present the Society Report for 2007.
Our deliberations and decisions, as usual and as appropriate, were conducted and taken within the framework of the Society’s Constitution and with due regard to our charitable status. Fundamental to these considerations and to the ability of CASW to promulgate its objects and associated objectives is sound financial management and so it is seriously satisfying for the Executive to feel able to unreservedly commend to the membership the financial accounts. A purposeful attitude is developing which seeks to encourage positive spending to allow CASW to progress a changing role to meet an ever evolving contemporary art scene. In such an approach there is a potential danger of financial laxity and for some to treat expenditure too casually. The Executive is mindful of these temptations and will resist.
The other major management issue which received general attention is the size of the Executive. At 24 – 7 officers,17 members - many are concerned that it is in danger of being too large for efficient decision making. With all members entitled to speak on any/all issues, discussions could take considerable time, immaterial of the complexity of the agendum. Furthermore, there is an unwritten obligation for members to take meaningful part in such discussions. No formal discussion has yet taken place though there is an intention to do so. At present there is an increasing tendency to use small working groups, reporting back to the Executive to help with decision making. The Executive is conscious that both mechanisms require careful attention to transparency and accountability issues.
The year’s more important decisions are:-
• Improvement to our system of purchasing and distribution of artworks and their use in the intervening period. These include short term loans, exhibitions and the possible appointment of a part-time curator to drive these forward and explore better collection use.
• The establishment of a purchase reserve fund to assist Welsh institutions to access larger grant sources.
• The appointment of Mr William Gibbs as Buyer for 2008
• The commissioning of a special Gregynog Studio book of essays and accompanying print portfolio to celebrate the Society’s 70th Anniversary.
In presenting this Report for 2007 we trust it will secure your confidence in the Executive’s management of the Society
D.Gareth DaviesCASW Chair
CHAIR CHAT
You will have noticed that the 2007 Annual Report differs from previous ones. The Chair’s report (essentially that of the Executive) is more management orientated to begin reflecting more formal requirements. Fortunately, it no longer needs to concentrate on the art, education and social events of the year as these now are admirably covered in the annual Newsletter. However, on occasions the Chair will wish to cover additional concerns. I feel sure the membership would wish me to avail myself of this opportunity to convey on the Society’s behalf, apologies to Bernard Rees for the failure of the audio- visual equipment on the occasion of his Buyer’s Presentation. I can also record his deft and skilful coping so that we were all enjoyably instructed.
Members are most welcome to convey to the Executive any suggestions they may have concerning the running of the Society whether it be management issues such as the size of the Executive or on events, lectures and visits programmes. Contributions to the Newsletter are always welcome. Please contact the Secretary if you wish to express views on the running of the Society – after all it is yours.
CASW’s debt across a wide spectrum of activities to so many continues unabated. I am so fortunate to chair such a team and such a Society.
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Summer Group
Exhibition28th June to
20th September
New Work from all the Gallery’s artists
Attic Gallery14 Cambrian Place, Swansea SA1 1RGtel 01792 653387
www.atticgallery.co.ukopen: Tues - Sat
Those Who Dance are Thought to be Mad by Those Who Cannot Hear the Music
acrylic 28 x 29ins. David Carpanini
4
An exhibition of entries to our annual art competition, throughout July and August 2008.
The theme for this year’s competition:
*The West Wales Summer Art Exhibition is arranged by the Picton Castle Trust. It is open to professional and amateur artists working in Wales, and offers a £1,000 prize fund. For details of next year’s Exhibition, please provide us with your contact details.
Exhibitions by invited artists from May to September. See www.pictoncastle.co.uk for details.
Picton Castle Gardens, Gallery and Restaurant, The Rhos,
near Haverfordwest, Pembrokeshire SA62 4AS
T: 01437 751326 E: [email protected]
Open Tuesdays to Sundays & Bank Holiday Mondays; 10.30am—5.00pm; entry £4.95 adults; £4.75 seniors; £2.50 5-15s
westwalesartscentre
DAVID TRESS
EXHIBITION OF NEW PAINTINGS AND DRAWINGS
JULY 20th - AUGUST 23rd
‘Porthclais, December’ Mixed Media on Paper 57 x 76 cm
West Wa les Ar ts Cent re ,16 West St reet , F i shguard , Pembrokesh i re SA65 9AE te l : 01348 873867 web: www.westwa lesar tscent re .com emai l : westwa lesar ts@btconnect .com
TRESS AD 08 21/5/08, 10:09 am1
6
Not
es TOTAL 2007 £
TOTAL 2006 £
Incoming Resources
Donations and other receipts:
Ordinary membership 7,943 9.378
Donations and other receipts 2,819 3,053
Independent groups donated surpluses 1,500 5,500
Activities for the furtherance of charities objects:
Educational events 18,150 10,096
Activities for generating income:
Advertising Revenue 1,050 750
Investment Income
Bank interest 3,971 3,262
Other Receipts:
Gift Aid Tax Refund 1,446 1,363
Total incoming resources 36,879 33,402
Resources Expended
Charitable Expenditure (7,125) (25,318)
Administration Expenditure (21,288) (15,061)
Total resources expended (28,413) (40,379)
Net incoming/outgoing resources for the year 2 (8,466) (6,977)
Fund balances brought forward 81,578 88,555
Funds balances carried forward 90,044 81,578
BALANCE SHEET as at 31st December, 2007 31st December, 2006
FIXED ASSETS 3 504 630
CURRENT ASSETS
Work in progress 4 11,366 -
Debtors 5 811 500
Cash at bank 10,013 13,167
National Savings Investment Bonds 68,000 68,000
90,190 81,667
CREDITORS/amounts falling due within one year 6 (650) (719)
Net current assets 89,540 80,948
Net assets less current liabilities 90,044 81,578
REPRESENTED BY
General Fund 70,044 81,578
Purchase Reserve Fund 7 20,000 -
90,044 81,578
CONTEMPORARY ART SOCIETY FOR WALES
STATEMENT OF FINANCIAL ACTIVITIES(Incorporating an income and expenditure account) for the year ended 31 December, 2007
CHARITY INFORMATION 31st December 2006 CHARITY NUMBER 247947REGISTERED OFFICE 6 Le Sor Hill, Peterston-Super-Ely, Vale of Glamorgan CF5 6LWBANKERS Barclays Bank plc, Cardiff Business Centre, CardiffACCOUNTANTS KTS Owens Thomas Limited, The Counting House, Celtic Gateway, Cardiff CF11 0SN
Constitution ObjectsThe objects of the Society shall be to foster and promote the maintenance, improvement and development of artistic taste, and the knowledge, understanding and appreciation of the arts among the people of Wales and for this purpose, but not otherwise, the Society shall have power to purchase contemporary works of art of accepted importance and to arrange for exhibitions of such works for the benefit of the public, and to present them to Welsh public charitable institutions.
These financial statements were approved by the board of trustees on 14th March 2007 and duly signed.
INDEPENDENT EXAMINER’S REPORT TO THE TRUSTEES OF CONTEMPORARY ART SOCIETY FOR WALES
I report on the accounts of the Trust for the year ended 31 December 2007, which are set out on pages 6 and 7. Respective responsibilities of trustees and independent examiner.As the charity’s trustees you are responsible for the preparation of the accounts. You consider that an audit is not required for this year under section 43(2) of the Charities Act 1993 (the Act) and that an independent examination is needed. It is my responsibility to examine the accounts (under section 43 of the Act), to follow procedures laid down in the General Directions given by the Charity Commission (under section 43(7) (b) of the Act) and to state whether particular matters have come to my attention.Basis of independent examiner’s statementMy examination was carried out in accordance with the General Directions given by the Charity Commissioners. An examination includes a review of the accounting records kept by the charity and a comparison of the accounts presented with those records. It also includes consideration of any unusual items or disclosures in the accounts, and seeking explanations from you as trustees concerning such matters. The procedures undertaken do not provide all the evidence that would be required in an audit, and consequently I do not express an audit opinion on the view given by the accounts.Independent examiner’s statementIn connection with my examination, no matter has come to my attention:(i) which gives me reasonable cause to believe that, in any material respect, the trustees have not met the requirements to ensure that:• to keep accounting records (in accordance with section 41 of the Act); and• accounts are prepared which agree with the accounting records and comply with the accounting requirements of the Act; or(ii) to which, in my opinion, attention should be drawn in order to enable a proper understanding of the accounts to be reached.
KTS Owens Thomas LimitedMay 2nd 2008
6 TRADE CREDITORS 2007
2007£
2006£
Other Creditors 650 719
650 719
7 ANALYSIS OF MOVEMENT OF FUNDS
General Fund
Purchase Grant Reserve Fund
Total
Balance 1 January 2007 81,578 - 81,578
Movement in resources:
Incoming 36,879 - 36,879
Outgoing (28,413) - (28,413)
Transfer (20,000) 20,000 -
Balance 31 Dec 2007 70,044 20,000 90,044
The Purchase Grant Reserve Fund has been set up by appropriating the sum of £20,000 from the General Fund for the express purpose of assisting eligible Welsh institutions to access other large grant sources of funding for the acquisition of appropriate artworks.
ANALYSIS OF EXPENDITURE
CHARITABLE EXPENDITURE 2007£
2006£
Purchase of works of art 1,680 21,312
Prize to student artists 500 500
Donations to Art Groups 5,000 1,500
Arthur Giardelli DVD (55) 2,006
7,125 25,318
ADMINISTRATION EXPENDITURE
2007£
2006£
Administration expenses 4,851 4,404
Website expenses 135 1,755
Sundry Expenses 302 547
Accountancy Fees 650 550
Insurance 159 161
Educational event expenses 15,065 7,486
Depreciation of equipment 126 158
21,288 15,061
7
NOTES ON FINANCIAL STATEMENTS31 December 2007
1 ACCOUNTING POLICIESBasis of accountingThe financial statements are prepared in accordance with applicable accounting standards and follow the recommendations in Statement of Recommended Practice: Accounting by Charities (SORP) issued in 2005 and in accordance with the requirements of the Charities Act 1993.
The financial statements have been prepared under the historical cost accounting rules.
Incoming resources Incoming resources are accounted for on an accruals basis.Depreciation Depreciation of fixed assets is calculated to write off their cost or valuation less any residual value over their estimated useful lives as follows: Office equipment 20% reducing balanceCurrent AssetsWorks of Art acquired by the society are accounted for as revenue expenditure as all works are purchased for the express purpose of presentation to Welsh public charitable institutions in accordance with the Constitution. No value, therefore, is place on works of art awaiting presentation at the end of the financial year. Presentations are made periodically and it is anticipated that the next presentation will be made in 2012.
3 FIXED ASSETS
Office
Equipment
£
TOTAL
£
COST
as at 1st January, 2007 3,729 3,729
Additions - -
as at 31st December, 2007 3,729 3,729
DEPRECIATION
as at 1st January, 2007 3,099 2,941
Charge for the year 126 158
as at 31st December, 2007 3,225 3,099
NET BOOK VALUE
as at 31 December, 2007 504 630
as at 1st January, 2007 630 788
4 WORK IN PROGRESS
Gregynog Book and Print Project
2007 £
2006 £
Work in progress 11,366 -
11,366 -
5 TRADE DEBTORS 2007
£
2006
£
Other debtors 811 500
811 500
2 NET INCOMING/
OUTGOING RESOURCES 2007 £
2006 £
Net incoming/(outgoing) resources before transfers is stated after charging:
Accountants’ remuneration 650 550
Depreciation of tangible fixed assets
Owned assets 126 158
To celebrate the 70 years for the Society, the Society has commissioned a series of essays on art in Wales and a portfolio of four original prints from renowned Welsh artists. The book of essays and the portfolio of prints is a joint CASW/Studio Gregynog publication in a limited edition which will be launched in July, 2008. All expenditure on this project in 2007 has been shown as “Work in Progress” and will be dealt with after publication in the Annual Report and Accounts for 2008.
No expenses have been paid to Trustees during the period
Croeso i Abertawe. Welcome to Swansea. I have chosen Swansea as
the venue of this AGM, and the presentation of my purchases, as I
have close family connections with this part of Wales. I was born
in Briton Ferry, Neath. My father’s parents lived in Crynant, where
he was born, and I spent most of my holidays with them until my
grandmother died when I was 15. My grandmother, one of nine
children, was born in Penllergaer, and I had many relatives living in
and around Swansea and the Gower. As a child I spent many happy
hours in Swansea, and have never forgiven those responsible for
closing my beloved Swansea to Mumbles railway.
I felt very honoured when I was chosen to be the Buyer for 2006,
but was also very conscious of the qualifications and experience
of my distinguished predecessors. Tony Curtis, in his speech at the
Society’s Annual Dinner last year, said that he had failed Art at O
Level. I have to admit that I didn’t even sit it. At the end of my third
year at Cardiff High School I was faced with a dilemma: I had to
choose between Art and Music for what was then the Matriculation.
I loved both subjects. As I was having piano lessons from the school’s
music master I did not have a realistic choice: music it had to be. But
I never lost my love of art and in the summer of 1952, when I was
18, I purchased and read Herbert Read’s ‘The Meaning Of Art’ and
‘Contemporary British Art’, and Eric Newton’s ‘European Painting
and Sculpture’. My interest in modern art was aroused. 1952 was
significant to me for another reason: the arrival in the National
Museum of Wales of the Gwendoline Davies Collection. The
Museum became my art school and I lost count of the numerous
visits I made to gaze, spellbound, at its collection which expanded in
1963 with Margaret Davies’s bequest, and in 1984 with the arrival
of the Derek Williams collection of modern British pictures.
When I was appointed I naturally felt some qualms. The experience
of previous buyers was prodigious. I was not an artist, an art historian,
or an art critic. I was simply an art lover who was fortunate enough
to be able to be an art collector, at a modest level, who had decided
to collect mainly modern artists who were Welsh, or had Welsh
connections.
I have not had any personal policies for buying. I considered that
the Society’s own policy as stated in its Constitution: ‘to purchase
contemporary works of art of accepted importance’ was clear
enough, but I did feel that it was important to consider the needs and
requirements of the galleries and museums which would eventually
be the recipients of my purchases for their own collections.
My purchases are divided equally into two parts: paintings and
sculptures. I have long felt that sculpture was the Cinderella of the
applied arts, possibly because private collectors think of sculpture
in terms of large works being housed in large public buildings, but
I hope to prove to you today that there are many sculptures which
are on a smaller scale and are suitable for collections in the home.
Hopefully in bringing to your attention the quality of sculpture
being created in Wales, and the artists who are making them, I can
inspire you to purchase for your own collections.
Art is about images and I make no apologies for the number of
images you are about to view.
I have purchased works from 5 painters and 5 sculptors.
PART I: PAINTINGS
My first painter is Glyn Morgan
Born in Pontypridd 1926
Cardiff School of Art 1942-4
Camberwell School of Art 1947-8
East Anglia School of Painting and Drawing
Benton End, Suffolk (with Cedric Morris
and Lett Haines)
Goldsmiths’ Company Fellowship to work
and study in Crete 1968
Lecturing during summer at Aegina Arts Centre, Greece 1972
Lives in Hadleigh, Suffolk
Previous purchases by CASW:
‘Piazza Benedetto Cairoli’
pencil drawing purchased by David Bell 1950
‘Chelsea Flour Mills’
oil purchased by Rollo Charles 1955
On the 7th January 2006 I went to the National Library of Wales in
Aberystwyth to view the CASW Exhibition of works purchased by
its Buyers in the previous five years. Sharing the same gallery was
Glyn Morgan’s 80th Birthday Retrospective Exhibition. I wondered
if a painting by Glyn had been purchased by CASW. Neither
the President nor the Chairman thought one had, but Glyn was
insistent that 2 works had been purchased but over 50 years ago. I
was convinced that this was an opportunity not to be missed to add
a painting from Glyn’s maturity.
Glyn’s father said to him: ‘You’re quite good with your hands. Why
don’t you become a garage mechanic?’ Fortunately for art lovers,
Glyn ignored this paternal advice, and instead became a student
at Cardiff Art School, when Evan Charlton was the Principal, and
Ceri Richards taught illustration. While at Cardiff he met Esther
Grainger, and through her he was introduced to the Welsh painter
who would perhaps be the greatest influence on his work, Cedric
Morris, and in the summer of 1944 Glyn booked a week at his
painting school in Benton End, Suffolk. Richard Morphet said:
‘Morris’s legacy can be seen clearly in the pupil’s concern with
vibrant colour and with plants, animals, and birds. That Morgan
was taught also by Ceri Richards seems more than accidental. The
two share preoccupations with water, music, and with the dynamic
thrust of organic life. Rich though it may be in English references
Morgan’s art is true to a Welsh tradition of dream and imagination.’
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CASW PURCHASES 2006 - BUYER’S PRESENTATIONBernard Rees
Exhibition of work and presentation at the AGM held at The Dylan Thomas Centre, Swansea, Saturday 21st July 2007.
9
Glyn Morgan: The Trumpets Of The Dead 1998oil on canvas 80 x 93cms
My second painter is Claudia Williams
Born in Purley, Surrey 1933
Received a Training Scholarship to
Chelsea School of Art 1950-53
Married to the Welsh landscape
painter Gwilym Prichard.
Previous purchase by CASW:
‘Washer Woman’
watercolour purchased by Lady Anglesey in 1992
I have met Claudia and her husband, the painter Gwilym Prichard,
several times at various galleries and exhibitions over the past few
years, and we have become friends. When talking to her shortly
after I was appointed as Buyer, she mentioned that CASW had
purchased one of her watercolours, but not an oil painting. In view
of Claudia’s long and distinguished career as a painter this seemed
to me to be a grave omission, and I grasped the opportunity to
remedy it.
For some years Claudia split her time between France and Wales,
and this is reflected in the subject matter of her paintings. She is
pre-eminently a figurative painter looking at life from the point of
view of a wife and mother, painting scenes in the home or on the
beach. The sea fascinates her and an enduring theme in her work is
bathers. She is thrilled by everything to do with the sea, and often
paintings come from earlier experiences playing on the beach as a
child, or playing or watching over her own children exploring the
delights of the sea shore. Sometimes humorous incidents creep into
the work such as a yapping dog in the background, or a self portrait
seen in the mirror at the hairdresser’s salon, red in face and at the
mercy of the hairdresser’s scissors.
At one time she tended to paint very static groups of figures,
influenced by Piero della Francisca, but gradually other influences
made themselves apparent and after visiting the Chagall Museum in
southern France, and appreciating the tremendous movement and
flow in his work, her painting changed.
10
My third painter is Phil Nicol
Born in Caerphilly 1953
Cardiff College of Art 1972-6
Now lecturer in Fine Art at the
University of Wales Institute,
Cardiff
Director of BayArt Gallery,
Cardiff Bay
Purchase Prize University of Glamorgan 1998
Artist’s Bursary from the Arts Council of Wales 1999
Gold Medal for Fine Art at the National Eisteddfod 2001
Previous purchase by CASW:
‘Make Up’
oil on panel purchased by Michael Williams in 1993
I first became really aware of Phil Nicol’s work when I attended a
series of lectures on contemporary Welsh artists given in Cowbridge
by the late Claire Rendall, when she showed slides of several of his
paintings. I was immediately attracted to these haunting images of
industrial and urban landscapes, which conveyed such a powerful
sense of loneliness and even desolation.
I then met Phil when he gave a lecture in the National Museum
on his painting ‘Paw’, for which he had been awarded a Gold
Medal at the National Eisteddfod, and which was then purchased
by the Museum. I knew that Michael Williams had purchased on
oil called ‘Make Up’ in 1998 but I was determined to purchase one
of the larger paintings I had seen at his exhibition in the Newport
Museum and Art Gallery in January 2005.
I think that Hugh Adams in his brilliant survey of contemporary
Welsh Art ‘Imaging Wales’ perceptively and accurately captures the
distinctive characteristics of Phil’s work: ‘Phil Nicol is a painter of the
frozen moment, of silence, and of absence. The eeriness of Delvaux
and Magritte, in which light, almost stage light, as in a proscenium-
bound mise-en-scène, is of the essence. Some of his works recall
the ensembles of Edward Hopper for similar reasons, but Nicol’s
painting has until very recently been even more unpopulated. This
has had the effect of forcing the viewer’s attention on the invisible
figure which is present: the artist, and of course on the realisation of
the tacit conspiracy constructed between artist and viewer.’
Claudia Williams: Drawing 1998 oil on canvas 129 x 96cms
Phil Nichol: Home 2004 oil on linen 152 x 183cms
11
My fourth painter is Iwan Gwyn Parry
Born in Holyhead, Anglesey 1970
Bangor Technical College 1987-89
Cardiff Institute of Higher Education (1st class degree)
Chelsea School of Art (Painting MA) 1993
Gold Medal 2nd Prize National Eisteddfod 1999
Now lectures at Colleg Menai, Bangor
I became aware of Iwan’s work through the Martin Tinney Gallery where he has exhibited since 2003 in joint, summer, and Christmas
exhibitions. Early in my year as Buyer I mentioned my interest in purchasing one of his paintings for CASW to Martin Tinney, and he gave
me the delightful news that Iwan would be having his first solo exhibition in January 2007. Perfect timing! The North Wales coastline has
been an important theme in his paintings. Iwan states that what has attracted him to the kind of landscape he paints over the last few years
is the contrast between stunning natural scenery and industrial landmarks which now have their own kind of beauty. He is not interested in
painting a nostalgic picture of rural Wales: what interests him is the whole landscape and he points out that this is what interested Turner too.
On the morning of the opening of the exhibition in the Martin Tinney Gallery I received my copy of Galleries which contained a review
of the exhibition by David Moore (my predecessor as Buyer) and which perfectly describes Iwan’s paintings. ‘...these remarkable landscapes
and seascapes are a highly imaginative response to a coastal terrain familiar to the artist. Gorse burning coastal landscapes would seem to be
a metaphor for the invincibility of the elements. Fire, air, earth, and water coalesce, the paintings crackling with heat. Red flames pour like
lava from land and sea. A scorching gash of blood-like flame sears a dark hill flank. The land breaks up whilst fire and smoke dissipate seaward.
There is a strong sense of mysticism, the paintings suffused with ethereal vapours and incandescent light...’
Iwan Gwyn Parry: Summer Coastline With Distant Horizon 2006 oil on canvas 76 x 101cms
12
My fifth painter is Sarah Snazell
Born in Abergavenny 1965
Died in Abergavenny 1999
Newport College of Art
(foundation course)
Leeds University (BA Hons and
Master’s degree)
Lived in Leeds and founded the
Jackson Yard Artists’ Studio
Previous purchase by CASW:
‘Blind Man’s Bluff’ mixed media purchased by Dr Anne Price-
Owen in 2000
This is a special purchase. As I said earlier I was always
conscious that my purchases would be allocated to galleries
and museums and that their requirements should be kept in
mind. In a conversation with Ruth Lambert of the Museum of
Modern Art in Machynlleth I asked her if she had any gaps in
her collection. Without hesitation she replied: ‘Sarah Snazell’,
and told me that one of her paintings was for sale in Yorkshire. I
then purchased that painting and I have allocated it to MOMA:
to fill that gap, and to return one of Sarah’s paintings to Wales.
When Sarah died at the tragically early age of 34, Welsh Art
lost a promising and talented artist. Sarah painted mainly in
oil on very large canvasses, often using the Black Mountains
around Abergavenny as a background. She was honoured by
being made a member of the Royal Cambrian Academy, the
youngest ever. After her death the late Sir Kyffin Williams paid
tribute to her as ’a true talent and lovely person’, and said ‘in
the Academy we felt strongly that we wanted to look to the
future and we saw that future in Sarah.’ If you wish to learn
more about her I strongly recommend Anne Price-Owen’s
superb article in Planet February 2000 in which she surveys
Sarah’s career as an artist and analyses several of her paintings.
She described her as ‘one of the most original and talented
feminine figurative painters to have emerged from Wales in
the past decade. Her approach is from a feminine perspective
and her subject is herself mostly in a Welsh landscape. Her
Welshness and her concept of Wales are nonetheless reflected
in the pictures where, literally and metaphorically, they mirror
her vision.’ The painting I have purchased ‘Lost Words’ is about
the historic loss of the Welsh language to large parts of the
population of Wales. Her grandfather could understand his
Welsh hymn book, but two generations later the language had
been lost. One figure in ‘Lost Words’ is gagged, denied speech,
the other is speaking mountains - a symbol of place.
Sarah Snazell: Lost Words 1997 mixed media 48 x 59cms
13
PART II: SCULPTURES
When I was first appointed as the Buyer, I was determined to look at sculpture in Wales and to include sculptures in my purchases. One of
the artists I had in mind, whose work I knew and admired, was Robert Harding. Then I learned that my predecessor, David Moore, had
purchased one of his pieces for CASW in 2005, and sculpture rather receded to the back of my mind while I was chasing around Wales
looking at paintings. Then halfway through my year in June 2006 I received my copy of Planet and there on page 26 was an article entitled
‘Inheritors Of The Vulcan Tradition’ by none other than Robert Harding. This reawakened my interest in sculpture, and my quest to meet
sculptors and see their work dominated the second half of my year. In his article Robert surveyed the materials available to sculptors and
wrote about the history and development of cast iron as part of the sculptural repertoire. He pointed out that sculptors have avoided using
iron ore as a material for their work because of its intractability, preferring the materials used in building, which are more malleable wood,
stone, clay, and plaster. Bronze was used by foundry men working strictly according to the designs of the artist. Wrought iron is never molten
and has to be hammered and rolled into shape, not poured into moulds. I should give you a brief explanation of cast iron moulding. The
cupola is a type of furnace, similar to the blast furnace in that it uses coke and air, but much smaller. It is not used for melting ore: scrap is
melted instead. The ladle has to be kept hot over the exhaust coming out of the top of the cupola. When the iron is ready the soft clay plug
holding the iron is knocked out this is known as tapping the cupola and the iron then flows into the ladle. Finally the iron is poured from
the ladle into the pre-prepared sand moulds. This is a time of suspense for the artist wondering whether it has succeeded or not. Although
all the sculptors whose work I have purchased have worked with cast iron, and have at times worked together, not all of my purchases are in
that medium. I have also purchased sculptures in bronze and stone.
My first sculptor is Harvey Hood
Born in Staffordshire 1946
Birmingham College of Art (Dip AD) 1965-9
Royal College of Art (MA) 1969-72
Head of Sculpture at the University of Wales Institute Cardiff 2000
Now concentrates on his own work, running the Berllanderi Sculpture Workshop near Raglan, and lecturing
in Europe, North America, and India Fellow of the Royal Society of British Sculptors
Harvey commissioned the first two cupolas in Britain which were built at his Berllanderi Sculpture
Workshop near Raglan by two American sculptors, Charles Hook and
Deborah La Grasse. His first experiments with cast iron prompted
Matthew Tomalin to develop iron in the Brecon Beacons, and
has been investigated by other sculptors including Richard
Renshaw, Dilys Jackson, and Andrew Griffiths whose work
I have purchased. Harvey has been running the cast iron
workshops at Berllanderi, which are attached to his
home, since 1994. In moving to sand moulding and
cast iron the unique materials and the techniques
have given him more opportunity to exploit the
process. He likes the way such a debased material
gains oxygen to create such a rich red patina: in
other words it is left to rust. As Robert Harding
wrote, the tendency of iron to rust might worry
some but to an artist such as Harvey Hood it is
the soul of the material ‘the pure element of iron
breathes the oxygen we breathe’. Harvey has had many
exhibitions worldwide including Europe, Japan, and
the USA. Landmark Wales has selected several entry
points into Wales for major sculptural works with the aim of
reinforcing ‘the sense of pride in our community in Wales’,
and Harvey was recently one of four sculptors out of
eighty shortlisted for the Landmark Wales site at the
Dixton Roundabout in Monmouth.
Harvey Hood: Celtic Aura 2006 cast iron and elm 48 x 50 x 14cms
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My second sculptor is Matthew Tomalin
Born in Kent in 1945
Sussex University
(1st class honours degree)
Studied jewellery at the Sir John Case College, London
For some years after leaving the Sir John Case College Matthew produced jewellery in precious
metals in his own workshop. In the early 1990s he began to develop larger suspended kinetic and mobile pieces, and then
experimented with cast iron. After a two month residency in America funded by a Winston Churchill Travel Fellowship,
working with some leading American iron-casters, in 1999 he built his own small cupola (which incorporated the best features
of some cupolas he had seen in the USA) and other equipment needed to make sand moulds and casting iron. Since then he
has had regular pours at his studio near Brecon casting sculpture and a range of vessels showing his training and experience as a
jeweller in their delicate designs and patterns, and continuing with the development of his mobiles. His current practice across
both sculpture and craft production illustrates the versatility of the medium, in particular to be both precise and organic and
to take complex pattern and texture as well as polish. Matthew is the only Welsh artist working almost exclusively in iron.
Cast iron, of course, is an engineer’s material. The bright rims of vessels acknowledge this, and the bright details on these and
on other pieces may suggest forms that have been cut into, or worked on to reveal what went on inside. Bright, liquid iron
flowing from a furnace has an elemental appeal, but at the same time part of its appeal for Matthew is its ordinariness: it
is an unpretentious everyday industrial metal, with which he tries to do things that are not quite ordinary.
My third sculptor is Richard Renshaw
Born and brought up in Holderness,
East Yorkshire
Manchester University
(B.Sc. Hons in geology) 1971
At an early age in East Yorkshire Richard became intrigued by the shells and fossils in nearby gravel pits deposited by
the melting glaciers of the Ice Age. When at Manchester University he was able to pursue his interest in rock climbing and mountaineering. He
worked briefly as a trainee geophysicist, until he realised that a career and security were not priorities, and for the following 15 years he led a
transient existence taking on a variety of labouring jobs, mostly in the construction industry, to be able to finance climbing trips to mountain
ranges all over the world including Everest. When living in Cardiff he became interested in wood carving, and taught himself the techniques.
After a few years he felt he needed to explore beyond the confines of traditional carving, and became interested in contemporary art. Henry
Moore’s 90th birthday exhibition at the Royal Academy made a profound impression on him, and in the summer of 1993 he and his family
moved to Powys to an old farmhouse near Tretower on the western side of the Black Mountains. This affords him plenty of work space, and being
close to the surrounding wild life is a constant source of inspiration. Working on a larger scale in stone and iron as well as wood he is becoming
increasingly interested in the interaction of sculpture and landscape.
(Left) Matthew Tomalin: Bowl With Fragments Series II 2006 cast iron and copper 12 x 25 x15cms
(Right) Rocker Series VI 2006slivered cast iron, steel, nickel and acrylic 80 x 53 x 10cms
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My fourth sculptor is Dilys Jackson
Born in Sri Lanka
Came to live in Wales where her parents had
been born and brought up
Slade School of Fine Art (Dip Fine Art)
1956-60
Swansea College of Art 1961/62
University of Wales (Dip Special Education)
1971/72
Open University (BA Psychology)
University of Wales Institute Cardiff (MA Fine Art) 1987/88
Member of the Royal British Society of Sculptors
Member of the 56 Group
Dilys was well known to me and is a member of CASW. I had visited
her studio some time before when taking advantage of an open day
of the artists’ studios in Cardiff Bay, and been attracted to her work.
She has been engaged in casting work in bronze since 1990. She
became interested in casting iron when she worked first as Artist in
Residence, and then as Environmental Arts Manager, for Groundwork
Bridgend Neath and Port Talbot. With members of the community
she undertook various public works which were cast in iron. The
Groundwork Trust was based in the restored Engine House of an old
ironworks in South Wales, and her understanding and interest in the
iron casting process increased as she learnt more of its history from
that site. She first became involved in the whole process of mould-
making and casting iron at The Berllanderi Sculpture Workshops run
by Harvey Hood. She attended an iron pour and later participated in
an US/UK cast iron residency there.
Dilys Jackson: Arch Formation 1995 bronze 32 x 24 x 21cms
Richard Renshaw: Perigee 2005 Ancaster limestone 49 x 48 x 21cms
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My fifth sculptor is Andrew Griffiths
Born in Wallasey 1956 and grew up in North Wales
Performed as lead singer of a punk band
Central School of Art and Design in London (BA Hons in Fine Art
Sculpture) 1983-87
Foundry man at the A & A Fine Art Foundry in London 1987-94
Head of Sculpture at the West Wales School of the Arts in Carmarthen
since 1994
Andrew first became interested in cast iron after helping with Matthew Tomalin’s cupola in Brecon. Shortly afterwards
he saw an advertisement for a US / UK cast iron symposium at Berllanderi, and he was introduced to sand moulding
and larger scale iron pouring. He says that having cast bronze for years the nature of using a cupola was very exciting
to him, and the lack of historic weight to the iron and the immediacy of sand moulds was refreshing. So far he
has only used CO2 sand and, after years of using the lost wax process, he feels it still seems magical in its speed and
directness. Being able to use materials like bread and insulating foam and pull them out of moulds and get that sense
of softness and texture in the casts is what excites him about using it. He finds casting with any metal, but especially
iron, is satisfying in that it is a co-operative effort between sculptors, and ends in that moment of breaking open a
mould to see what was liquid now solidified. Andrew is not only practising as a sculptor, but is passing on the skill to
students as Head of Sculpture at the West Wales School of Art in Carmarthen which has a foundry, and where cast
iron sculpture has been incorporated in the curriculum, the first art college in Britain to do so.
That concludes my presentation of the purchases I made for the Society in 2006. I hope you will enjoy them as much
as I have enjoyed my year as Buyer, which gave me so much pleasure in travelling through Wales, looking at so many
wonderful works of art, and making so many friends among the artists whose work I purchased.
Andrew Griffiths: Reliquary (War) 2006 cast iron 52 x 15 x 15cms
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Showing contemporary artwork has helped us to create an open and welcoming space providing an opportunity to reflect on the past but also looking towards the future and we have received favourable comments about the prints from users.
The prints seem to me to reflect layers of reality that can be imagined beneath the photographic surface. The trees bend in the wind and flotsam gets caught in their branches and is reflected in the water. The work has depth that invites the viewer to consider further and see something new and different at each viewing.
The artwork provides us with a lasting reminder of the wealth of cultural activity that led up to Flintshire hosting the National Eisteddfod in 2007 that now forms part of our recent history.”Nia Wyn JonesCommunity Librarian Mold
It is important to us in Flintshire that we are able to advocate and support the wealth of talent and innovation that is evident in Wales’ visual arts scene. We endeavour to create a platform for the arts at every level and to be able to display the work of an artist such as Tim Freeman is a privilege. We are very grateful to CASW for affording us this excellent opportunity.
The artwork can be seen on permanent display at @nswers in Mold Library from Monday to Saturday during normal opening hours, please contact the library on 01352 754791 for further information.
Ordinary members
Cashmore, Miss MCattell, Mrs R BChilcott, Mr A W and Mrs HChilds, Mr C GChilds, Mrs E CChubb, Dr L V and Mrs M MClee, Mr P WCole, Miss JConfrey, Mr N P and Mrs D ECooper, Miss E M JCorcoran, Mrs J DCory, Mrs J GCour, Mrs G ICourage, Mrs V MCox, Rosamund Shelley LadyCraigmyle, Mrs S S
CASW national Eisteddfod Purchase PrizeFlintshire National Eisteddfod 2007
Tim Freeman
(Above) Cross 56.3 x 76cms(Right) Valley 1 76 x 61.8cms Pool 1 76 x 64cms Pool 2 76 x 67.3cms
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TIME IS A PLACE
The works themselves begin with walks, most recently in the hills surrounding Maesteg and along the Taff Trail close to my home in Cardiff.
I document this time with photographs, while trying not to isolate any particular scene or landmark. I’m more interested in collecting a series of images that attempt to capture the emotive nature of the walk. This gives me a sketchbook of images from which to work; open landscapes, shifting cloud patterns, tree formations, light on water etc. Back in the studio, images from many different walks are overlayed digitally, layer upon layer, until a new landscape presents itself. A new place is created by many other varied and older ones. The images are constantly in a state of becoming something else, a visual metaphor of the transient and ever changing nature of the world around us. In works such as Cross small objects (in this case stones) are collected, photographed, manipulated and placed in the work on a monumental scale as a symbolic representation of Man’s presence and culture throughout time, past, present and future.
Tim Freeman
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VICTORIA FEARN GALLERY
Anne Bosset 30 August - 18 October 2008open Monday - Saturday 9.30am - 5.30pm www.victoriafearngallery.co.uk6b Heol y Deri, Rhiwbina, Cardiff CF14 6HF 029 2052 0884
Oriel Pen y Fan Gallery
Bringing you aselection of the finest art from Wales
35 Stryd Fawr/High StreetABERHONDDU/BRECON, Powys LD3 7AN
Rhif ffon/Tel:01874 611102
E bost/E mail: [email protected]/Website: www.orielpenyfangallery.co.uk
Dydd Mawrth/Tuesday - Dydd Gwener/Friday10am - 5pm
Dydd Sadwrn/Saturday10am - 4pm
Perchennog/Proprietor: Ann Mathias
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ORIEL Q –QUEENS HALL GALLERY Narberth Pembrokeshire SA7 7AS
Oriel Q -The Queens Hall Gallery is light and airy with three exhibition spaces on the top floor (lift available) showing contemporary art , paintings, sculpture, ceramics and photographs, with shows changing monthly.
Poetry and books from Seren are on sale, and there are regular talks by artists and authors.Membership of the Friends of the Gallery offers 10% discount on purchases, monthly invitations and
a quarterly newsletter. Open 10 am – 5pm Wednesdays – Saturday. Arrangements outside these times ,contact Lynne Crompton
tel.01834 869 454 [email protected]
See web for previous and future exhibitions www.orielqueenshallgallery.org.uk
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26 Wellfield Road,Cardiff CF24 3PB
Tel: 029 20 480088Fax: 029 20 499363
Travel Organiser forContemporary Art Society
for Wales
24
HEAD OFFICE
The Counting HouseCeltic GatewayCardiff CF11 0SNt : 029 2082 9000
e : [email protected] : ktsowensthomas.com
BUDDSODDWR MEWN POBL INVESTOR IN PEOPLE
REGIONAL OFFICE FOR RCT,HEADS OF THE VALLEYS AND MID WALES
18a Whitcombe StreetAberdare CF44 7AUt : 01685 872 028
…of mind for you and your business.
Master Peace…
e2042 KTS Wales Art Society Ad 28/4/08 11:04 Page 1
LIFE MEMBERS
LIST OF MEMBERS (in alphabetical order) AS AT 31st DECEMBER 2007
Asscher, Sir William Baker, Miss J EBeck, Dr P and Mrs LCleaver, Mrs MCrane, Dr J EDavies, Dr and Mrs D K L Davies, Mr C J and Mrs E Davies, Mr D and Mrs PDavies, Prof and Mrs A W Dickens, Mr HEdwards, Miss VEvans, Dr D M D and Mrs EGibbs, Dr J N and Mrs E Gibbs, Mr and Mrs SGibbs, Mr W MGooding, Mr and Mrs A JGriffiths, Mrs JGriffiths, Mrs M K Henderson, Prof AHibbard, Prof B and Dr EJones, Dr M B Jones, Mr H G and Mrs A E Jones, Mrs GJones, Mrs MKernick, Miss K P Lancaster, Mrs V MMansfield, Prof and Mrs RPritchard, Mr MatthewRees-Matthews, Mrs R M Roberts, Mr O DSalter, Miss V AStevens, Mr T J Thomas, Miss E M Thomas, Mr B and Mrs M Thomas, Mr T and Mrs M Thompson, Mrs TTinney, Mr MartinWakelin, Dr A P and Hicks- Jenkins Mr CWilliams, Mrs MYarr, Dr N T
ORDINARY
Aberg, Mr F A and Mrs KAeron-Thomas, Mr PAlam, Mrs M CAllan, Mr L D and Mrs EAllan, Mrs V MAlston, Mr D IAmbegaokar, Dr UAndrews, Mr D H and Mrs D AArmfield, Miss D M, RAArthur, Mrs EBala, Mr IwanBancroft, Mrs B R HBaxter-Wright, Mr T R and Mrs A R
Beechey, Mrs M EBell, Miss C TBrayley, Miss G DBrazier, Mrs C MBrett, Miss PBrown, Mr R and Blayney, Mr MBurton, Dr C W and Mrs R ACapel, Mrs F C ICarpenter, Mr T RCarter, Mr B and Mrs ECartwright, Mrs MCashmore, Miss MCattell, Mrs R BChilcott, Mr A W and Mrs HChilds, Mr C GChilds, Mrs E CChubb, Dr L V and Mrs M MClee, Mr P W Cole, Miss JConfrey, Mr N P and Mrs D ECooper, Miss E M JCorcoran, Mrs J DCory, Mrs J GCour, Mrs G ICourage, Mrs V MCox, Lady Rosamund ShelleyCraigmyle, Mrs S SCramp, Mr J D and Mrs ECrouch, Mr B I and Mrs E WCurley, Mrs M CCurran, Mr P D, QC and Mrs M T ACurtis, Prof T and Mrs MDavey, Mrs E MDavidson, Dr J MDavies, Dr D R and Mrs PDavies, Dr J SDavies, Dr P M and Mrs M DDavies, Miss E M, OBEDavies, Miss M E Llewellyn Davies, Mr A JDavies, Mr D G and Mrs S EDavies, Mr HDavies, Mr I and Mrs N DDavies, Mr R and Mrs S LDavies, Mr T G and Mrs M MDavies, Mrs G PDavies, Mrs M TDavies, Ms MarionDawson, Mr C R and Mrs BDevlin, Mrs A MDolby, Mr A E and Mrs B J Dover, Mr E and Mrs MDrake, Cllr M EDraper, Mrs JEdwards, Mrs M E R
Elias, Mrs J EElias, Mrs R MElwyn, Prof GEntwistle, Dr D M and Dr M REvans, Dr D A Evans, Dr D EEvans, Dr P REvans, Mr D J Evans, Mr J M and Mrs M AEvans, Mr J W and Mrs AEvans, Mr R AEvans, Mr T D and Mrs D EEvans, Mr W Lindsay, DLEvans, Mrs M DEvans, Mrs S EEvans, Mrs S MEvans, Prof K TEyres, Mrs E J, MBEForster, Mr R A and Mrs C EFoy, Dr G and Dr J MGagg, Mr R D and Mrs J VGatehouse, Miss MGeorge, Ms EGiardelli, Mr A and Mrs BGoodridge, Mr P F and Brown, Ms M AGreensmith, Mrs S LGreenwood, Col GCA and MrsGriffin, Mr M and Mrs M EGriffith, Dr I P and Mrs V EGriffiths, Dr M CGriffiths, Mr E M and Mrs A LGriffiths, Mrs AGriffiths, Mrs B JHaines, Dr E, PhDHaines, Miss A CHall, Miss MHamer, Mr N JHampson, Mr L T and Mrs DHandy, Miss M EHarding, Mr R J B and Dr S JHarries, Mrs P MHart, Mr A J and Mrs J CHart, Mr R L GHawksley, Mrs R J P, ARCAHayes, Prof T M and Mrs I MHelsby, Mrs D MHession, Mrs H NHockley, Mr H J and Mrs BHodgson, Mrs B HHopkins, Mrs I LHowe, Mrs KHowell, Mr G E RHughes, Mrs H JHughes, Mrs I SIorwerth, Mr H and Mrs AJackson, Ms D MJames, Cllr H J and Mrs R I
James, Mr G I and Mrs J EJames, Mrs EJames, Ms NJames, Prof D M and Dr M E Jenkins, Mrs E GJenkins, Mrs S PJessop, Dr J D and Mrs A MJickells, Mrs NJohn-Upton, Mrs AJones, Dr T L and Mrs IJones, Miss M D H Jones, Mr H O and Mrs P MJones, Mr S O and Mrs MJones, Mrs E AJones, Mrs V BJones, Ms M OJones, Miss R MKellam, Dr A M P and Mrs MKemp, Miss MKempston, Mr W J A and Mrs I HKerrison, Mrs AKnight, Mr J KLambert, Cpt R R and Mrs RLazarus, Prof J HLehtovirta, Mrs G MLewis, The Hon A TLewis, The Hon R W and Mrs JLloyd, Mrs G FLockyer, Dr PLooker, Mr L HLovell, Mrs MManning, Prof W H and Mrs M OMarkham, Mrs R HMarshall, Prof R JMcDowall Mr N and Mrs FMelling, Miss AMoore, Cdr Donald, MBEMoore, Mr D CMorgan, Mr J KMorgan, Mr N R SMorgan, Mrs R MMorgans, Mr S GMorison, Mrs S JMorris, Miss A LNapier, Dr J A and Mrs A SNeal, Mr S J GNeill, Mrs C MNg, Dr W S and Mrs MO’Callaghan, Dr UO’Connell, Miss GO’Keeffe, Mrs MO’Sullivan, Prof P and Mrs DOwen, Cllr M KellyOxland, Mrs J G MPaisey, Mrs R MPayne, Mrs K APepper, Mr MPerkins, Mrs M M
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Phillips, Dr SPhillips, Mr R L and Mrs G CPill, Lady R MPopper, Dr H and Mrs M M JPrice, Mr R J and Mrs S Price-Owen, Dr A LPringle, Mr N and Mrs EPryce, Dr I G and Mrs B MPugh, Mrs R APyke, Mrs M CRadcliffe, Mrs B DRees, Dr E H, JPRees, Dr J I H and Mrs J ERees, Mr B H and Mrs VRees, Mr B I and Mrs S ERees, Mr J E LRees, Mr W L and Pugh, Mrs E JRoberts, Mr J K and Mrs N ERoberts, Prof B M and Mrs B MRobertson, Mr N R E and Mrs M WRocker, Mrs T RRoe, Mr D M and Mrs ARoese, Mrs C B MRosen, Prof M and Mrs S
Saer, Mr R and Mrs ASalisbury, Mr A and Dr JScourfield Lewis, Mr A and Mrs CShort, Mr D R C and Mrs E JSinnott, Mr K F and Mrs S MSmith, Dr P M and Olafsdottir, Dr RSowden, Mr J C and Mrs ESparkes, Mrs JSpiller, Mr A J and Mrs B ESpottiswoode, Mr J N and Mrs M MSpriggs, Mr P HSpurlock. Mr K E and Mrs KStafford, Mrs DStarkey, Ms NStevenson, Mr P M Steyn, Ms ZStone, Mr G and Mrs A MSullivan, Mr PSwaffield, Mr J A and Mrs DTaylor, Col R A and Mrs RMTenby Museum & Art Gallery Tester, Mrs PThomas, Miss A J, JPThomas, Mrs D G E
Thomas, Mrs M MThomas, Mrs M VThomas, Ms TThompson, Dr E NTinker, Mrs D TTress, Mr D HVaughan, Miss A LVickers, Mrs A HVining, Mrs C GWalcot, Prof P and Mrs J M EWalker, Miss A, MBEWard, Mrs MWatkins, Dr W R and Dr E GWebster, Mr A and Mrs JWilliams, Dr D M J and Dr M VWilliams, Miss G E MWilliams, Mr C F and Buffin, Mr NWilliams, Mrs MWilliams, Ms J AWilliams, Ms V M and Muller, Ms R SWilliams. Mr A L and Mrs MWilson, Mr F J and Mrs DWolfle, Dr J and Mrs E EYapp, Mr C D and Mrs M H
Yates, Mrs IYeomans, Mr G
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NEWPORT ART GALLERY
‘The Picture Wall’ by Thomas Rathmell
NEWPORT MUSEUM & ART GALLERYJohn Frost Sq., Newport, S.Wales NP20 1PATel: 01633 656656
THE MUSEUM, established in 1888, houses fascinating displays, depicting Local History, Natural Sciences and Archaeology, including important material from Roman Caerwent, and the Chartist Uprising of 1839.
THE ART GALLERY presents an imaginative and stimulating programme of exhibitions, and houses collections of historic and contemporary Britishpaintings together with ceramics andsculpture. Of particular note arethe John Wait Teapot Collection andthe FOX Collection of decorative art.
Open Monday - SaturdayADMISSION FREE
Café, Museum Shop and Tourist Information Centre
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DATES FOR YOUR DIARY August – November 2008
Saturday August 2nd Lisvane Lunch, Professor Peter Walcot Rome of the Caesars
August 2nd - 9th National Eisteddfod of Wales, Cardiff CASW Purchase Prize
September 8th – 14th Study Visit to Rome
Tuesday September 16th Evening Lecture Series Sue Williams - Artist Small Talk, high heels:from Artes Mundi to Africa
Saturday October 11th Visit to the home of Dr Anne Price-Owen Art in a Home
Tuesday October 14th Evening Lecture Series Paul Granjon - Artist Art as Playful machines
November Day visit to London for Bacon and Rothko Retrospectives(date to be arranged)
Saturday November 8th Lisvane Lunch, Bernard van-Lierop Beauty in art and nature - could there be animal artists?
Tuesday November 25th Evening Lecture Series Phillip Sutton RA in conversation with Professor Tony Curtis
Evening Lecture Series are held at 7.30pm in the School of Architecture, King Edward VII Avenue, Cardiff
Offering a friendly, professional and approachable service.
The gallery opened in November 2004, in the cultural centre of Cardiff, to provide a forum for established and new artists to show and sell their work. Exhibits and exhibitions cover a wide range of contemporary art including, painting, sculpture, ceramics, glass, photography as well as prints.
Artists represented at the gallery include Gareth Parry, Wilf Roberts, Stephen John Owen, Nathan Ford, Liam O’Connor, David Lloyd Griffith, Ivor Davies, Warren Williams, Brendan Burns, Martyn Jones, Sue Williams, Mark Samuel, Ross Loveday, Lucy Dickins, James MacKeown, Robert McPartland, Eric Malthouse, Bev Howe, Phil Nicol and many others.
Kooywood Gallery, 8 Museum Place, Cathays Park, Cardiff, CF10 3BG Tel 029 2023 5093. web: www.kooywoodgallery.com mail: [email protected] Open: Tuesday to Saturday 11.30am to 6.00pm Sunday 11.30am to 4.00pm
All works in the gallery can be purchased through the Kooywood Gallery Collector Plan, offering an interest free payment plan.
Artists represented at the gallery include Gareth Parry, Wilf Roberts, Stephen John Owen, Nathan Ford, Liam O’Connor, David Lloyd Griffith, Ivor Davies, Warren Williams, Brendan Burns, Martyn Jones, Sue Williams, Mark Samuel, Ross Loveday, Lucy Dickins, James MacKeown, Robert McPartland, Eric Malthouse, Bev Howe, Glyn Griffiths, Bert Isaac, Dilys Jackson, Michael Monaghan and many others.
W W W . A R T W A L E S . C O M 20th CENTURY AND CONTEMPORARY ART
The gallery exhibits work by all the important figures in 20th century Welsh art, and the very best of the current generation of artists.
Stock includes work by Gwen John, Augustus John, James Dickson Innes, Edward Morland Lewis, David Jones, Sir Cedric Morris, Ceri Richards, Graham Sutherland, John Piper, Josef Herman, John Elwyn, Jack Jones, Ernest Zobole, Peter Prendergast, Sir Kyffin Williams, Harry Holland, Kevin Sinnott, Gwilym Prichard, Shani Rhys James, Claudia Williams, Charles Burton, Mary Lloyd Jones, Sally Moore, John Macfarlane, John Knapp-Fisher, Keith Bowen, Neil Canning, Sarah Carvell, Mike Briscoe, Mary Griffiths, Vivienne Williams, Clive Hicks-Jenkins, Sigrid Muller, James Donovan, Dick Chappell, Dewi Tudur, Iwan Gwyn Parry, Darren Hughes, Sarah Thwaites, Emrys Williams, Stephen Young and others.
Exhibitions for Autumn 2008
Darren HughesEvelyn Williams
John Knapp-FisherCharles Burton / James Donovan
Open: Monday - Friday, 10 - 6 and Saturday 10 - 5
M A R T I N T I N N E Y G A L L E R Y18 ST. ANDREW’S CRESCENT CARDIFF CF10 3DD
Tel: 029 20641411 [email protected]
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CASW 2008.indd 1 23/04/2008 14:34:43
