All Creatures great and small
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An exhibition of paintings, prints, jewellery and ceramics from some fabulous UK artists and makers
23rd July - 20th September 2021
23rd July - 20th September 2021
Featuring an amazing selection of work from Helen Brown - Helen for forty years has been a ceramicist and only in the last couple of years has moved over to painting. We are thrilled to be showing her stunning work, rich with stories and allegories. All the work is oil on black paper. Prices quoted are for framed works and available for collection. If you are interested in unframed please contact us.
Big Dog In The Garden £245
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Whippet On The Allotment £195
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Greyhounds In The Oak Forrest £245
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Lurcher Chasing A Snail £195
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Cat Amongst The Pigeons £245
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Doves In Love £350
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Hare On A Frosty Morning £120
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Illuminated Hare £135
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The Lion And `The Lamb £120
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An Unlikely Friendship £195
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Raven And Dove Under The First Rainbow £350
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Auricula And Greyhound £195
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The King And His Consort (only sold as a pair) £795
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The King And His Consort (only sold as a pair) £795
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Bonker*s Clutterbucks
Bonker*s Clutterbucks are a husband and wife team who are passionate about making dioramas within old crates, cigar boxes, small pastille tins and glass cloches which they enjoy sourcing out from antique shops, flea markets and brocantes. They love objects with integrity, that bare the marks of time, patinas that tells a story. They are passionate about whimsical modes of transport, 3D hot air balloons travelling fairs, circuses, nostalgic notions of exploration and adventure, enchanted forests, period costume, fables, folklore and storytelling. They work mainly in card, collaging vintage paper to create exquisite spaces, enchanted 3D scenes inhabited by anthropomorphic animals such as hares and crows in period dress. Their work is intricate and requires meticulous cutting with a scalpel and delicate construction to introduce the lovely combinations of pattern, music score, textile print and text into each piece.
Inspirations include the work of Edward Gorey, Joseph Cornell, William Blake, Fornasetti and inventor Blair Somerville.
They hope to work increasingly with painted wood, Papier-mâché, cotton pulp, moulds and resins this year to explore new techniques and to see which direction this takes their work.
As well as exhibiting work at maker’s fairs and art galleries, Bonker*s Clutterbucks run craft workshops for all ages and abilities and regularly work with schools, youth groups and community art groups. They have undertaken several ACE funded projects in Lancashire working with industry, exploring and promoting heritage and mentoring project apprentices. While much of their work is delicate and intricately assembled, in recent years they have increasingly been involved in projects to build large scale art installations. They have worked together with school children and art for health groups, to create giant sets at outside festivals.
They also enjoy sourcing objects of interest which we collect and sell at artisan fairs.
Their name reflects our eclectic passion for all things nonsense….the second half also just happens to be an old family name!
Bonker*s Clutterbucks are a husband and wife team who are passionate about making dioramas within old crates, cigar boxes, small pastille tins and glass cloches which they enjoy sourcing out from antique shops, flea markets and brocantes. They love objects with integrity, that bare the marks of time, patinas that tells a story. They are passionate about whimsical modes of transport, 3D hot air balloons travelling fairs, circuses, nostalgic notions of exploration and adventure, enchanted forests, period costume, fables, folklore and storytelling. They work mainly in card, collaging vintage paper to create exquisite spaces, enchanted 3D scenes inhabited by anthropomorphic animals such as hares and crows in period dress. Their work is intricate and requires meticulous cutting with a scalpel and delicate construction to introduce the lovely combinations of pattern, music score, textile print and text into each piece.
Inspirations include the work of Edward Gorey, Joseph Cornell, William Blake, Fornasetti and inventor Blair Somerville.
They hope to work increasingly with painted wood, Papier-mâché, cotton pulp, moulds and resins this year to explore new techniques and to see which direction this takes their work.
As well as exhibiting work at maker’s fairs and art galleries, Bonker*s Clutterbucks run craft workshops for all ages and abilities and regularly work with schools, youth groups and community art groups. They have undertaken several ACE funded projects in Lancashire working with industry, exploring and promoting heritage and mentoring project apprentices. While much of their work is delicate and intricately assembled, in recent years they have increasingly been involved in projects to build large scale art installations. They have worked together with school children and art for health groups, to create giant sets at outside festivals.
They also enjoy sourcing objects of interest which we collect and sell at artisan fairs.
Their name reflects our eclectic passion for all things nonsense….the second half also just happens to be an old family name!
Amandala
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Nick Wonham
I graduated from Camberwell College of Art with a BA hons degree in illustration in 1991. I then completed a one year PGCE in secondary art teaching at Goldsmiths College.
The subject matter of my art often derives from my love of nature, but I am also inspired by fairytales, nursery rhymes, and poetry. I like incorporating bold compositions with an abstract quality and often use complimentary colours. Influences are many and varied, but amongst printmakers I admire Rigby Graham and Edward Bawden.
I have had two books, illustrated with linocuts, published by Incline Press.When not working hard at my art, I work as a teacher of students with severe learning difficulties in North London.
I graduated from Camberwell College of Art with a BA hons degree in illustration in 1991. I then completed a one year PGCE in secondary art teaching at Goldsmiths College.
The subject matter of my art often derives from my love of nature, but I am also inspired by fairytales, nursery rhymes, and poetry. I like incorporating bold compositions with an abstract quality and often use complimentary colours. Influences are many and varied, but amongst printmakers I admire Rigby Graham and Edward Bawden.
I have had two books, illustrated with linocuts, published by Incline Press.When not working hard at my art, I work as a teacher of students with severe learning difficulties in North London.
Pam Grimmond
After completing her initial training in art and education, in Stoke on Trent and Birmingham, Pam moved to North Yorkshire where she joined a craft workshop, designing and making patchwork quilts. She fulfilled her lifelong ambition in 2011, graduating from Harrogate School of Art and Design with a first class B.A. (Hons) in assailed creative design.
She is now a self - employed artist and printmaker, working from her home studio in Markington, North Yorkshire.
Through her limited edition lino prints she explores her relationship with the environment, both rural, urban, and more recently coastal. She focuses on how places effect her, which acts as inspiration of imaginative possibilities.
Birds and the natural forms of trees and plants seen on walks around her home are a constant source of inspiration. Shapes and colours from these landscapes often find their way into her work.
After completing her initial training in art and education, in Stoke on Trent and Birmingham, Pam moved to North Yorkshire where she joined a craft workshop, designing and making patchwork quilts. She fulfilled her lifelong ambition in 2011, graduating from Harrogate School of Art and Design with a first class B.A. (Hons) in assailed creative design.
She is now a self - employed artist and printmaker, working from her home studio in Markington, North Yorkshire.
Through her limited edition lino prints she explores her relationship with the environment, both rural, urban, and more recently coastal. She focuses on how places effect her, which acts as inspiration of imaginative possibilities.
Birds and the natural forms of trees and plants seen on walks around her home are a constant source of inspiration. Shapes and colours from these landscapes often find their way into her work.
"Peacock" Linocut by Pam Grimmond
£185.00
Limited Edition of 25, Linocut handprinted by Pam Grimmond. 29 x 18cm. Sold Unframed, unmounted, back, cello wrapped.
If out of stock we can order a fresh print for you from the artist. This may take up to 4 weeks.
Sonia Rollo
"I make etchings and collographs of animals and birds. The starting point is a simple line drawing of the animal. This allows me to study the form and muscle structure; to really look at the creature.
For the etchings, I use carmine paper to transfer the drawing onto a zinc plate. The animal is then fleshed out by using aquatint techniques.
To create the textures of fur or feather, I first cover the plate with soft wax, then scratch into the wax with various tools. These include wire brushes, a metal pan-scrub, a rough sponge or a studded wheel called a roulette.
Nitric acid bites into the scratches to make grooves which will hold the printing ink. The final act is to print the image on a large cast iron Rochat press – muscle power.
The background of the image is minimal or non-existent to focus the viewer’s gaze on the animal. You look at the animal, and the animal looks at you. The eyes have it.
After over twenty years of using the strange complicated techniques of etching, I am still surprised by the characters of the animals which appear."
"I make etchings and collographs of animals and birds. The starting point is a simple line drawing of the animal. This allows me to study the form and muscle structure; to really look at the creature.
For the etchings, I use carmine paper to transfer the drawing onto a zinc plate. The animal is then fleshed out by using aquatint techniques.
To create the textures of fur or feather, I first cover the plate with soft wax, then scratch into the wax with various tools. These include wire brushes, a metal pan-scrub, a rough sponge or a studded wheel called a roulette.
Nitric acid bites into the scratches to make grooves which will hold the printing ink. The final act is to print the image on a large cast iron Rochat press – muscle power.
The background of the image is minimal or non-existent to focus the viewer’s gaze on the animal. You look at the animal, and the animal looks at you. The eyes have it.
After over twenty years of using the strange complicated techniques of etching, I am still surprised by the characters of the animals which appear."
