Yesterday I visited the Rosie Sanders: Secret Letters Exhibition at Jonathan Cooper's Park Walk Gallery just off the Fulham Road in Chelsea. The exhibition finishes on Saturday and I very much recommend you try and get to see it if you can before it finishes. Her work is simply stunning!
There's a very big incentive for those coming to London for the SBA Annual Exhibition to also make a visit to the gallery to see this one too. Gallery hours are 10am – 6.30pm on weekdays and 11am – 4pm on Saturday so it's definitely possible to fit two botanical art exhibitions into one day!
The exhibition focuses in particular on large and small paintings of roses - painted in a less conventional way - from the rear or as they have reached a stage where they are past their best but nonetheless marvellous convoluted structures.
The box with the secret letters - one of which is given to the buyer of each painting - is displayed in the window
The exhibition also includes
I think many of the more precise botanical artists might be surprised by Rosie's techniques. Rather than using dry brushwork, it's her practice to work much more directly - wet in wet and mixing her colours on the paper. She's extremely adept at developing very convincing structures through masterful use of tone and colour.
Her work is not matted. Rather the deckle edged paper is float mounted within a narrow quality frame.
The paper she uses is either
Prices of paintings are for the serious collector - one of whom is Shirley Sherwood. I arrived at the gallery after a visit to her home nearby where I admired her new acquisition of a splendid smaller painting of a very red rose past its best.
I took some short video shots as well yesterday and will include the video in this post after I've done the editing - which always takes a little time.
Sales have been very brisk - Rosie's work is always very popular!
I counted sixteen paintings of the 26 paintings in the exhibition sold to date. Prices of those paintings still available can be seen on the website and are in five figures for the larger paintings and £3,800 for the smaller paintings.
For those who couldn't get to see the exhibition - this is my video of a walk round the exhibition. It starts outside in Park Walk, shows you the window of the gallery with the box of secrets and then looks around the walls on the ground floor and lower floor.
Rosie exhibits with Jonathan on a regular basis - typically a solo show every one to two years which always do well as her work is very collectible. You can see all currently available work on the gallery website.
You can also see her work in her book Rosie Sanders' Flowers: A Celebration of Botanical Art (affiliate link).
Gallery: Jonathan Cooper, 20 Park Walk, London SW10 0AQ
Bus: 211, 11 and 22 on the Kings Road or 14 and 414 on the Fulham Road
Tube: South Kensington and Sloane Square
My previous reviews of her work and exhibitions:
Following on from yesterday's post (see VIDEO: Lizzie Harper compares painting on different watercolour papers), Wendy Hollender contacted me to tell me she had also produced a video about testing different papers.
Her video (and blog post) display
Some comments on the video before you watch it:
Perhaps the most important conclusion she makes is that taking time to get to know a paper properly is necessary if you really want to make a proper assessment. In other words she could work with all the papers in the list if she adjusted how she worked.
So here's the video (which you can also view bigger via YouTube - click the YouTube bottom right in the video when you start it).
Her blog post provides more details about Evaluating Hotpressed watercolor papers for botanical drawing. It covers:
Both this video and the one from yesterday are now included on my page in the Education section about Paper for botanical artists. This also offers guidance on how to test paper.
The most important advice I have to offer is that only YOU can work out the best paper for your work. That's because everybody works slightly differently and what works best for one artist will not suit another.
So take your time and do some testing:
DO YOU HAVE A VIDEO OF YOUR PAPER TESTING?
If so, please do let me know.
If it adds value to the ongoing debate I'm happy to share it via this blog and my website.
This post is about a BRAND NEW and very useful video comparing paper for botanical artists by professional artist and illustrator Lizzie Harper, who specialises in botanical, natural history and scientific illustration.
In the video, she tests samples (not sheets or blocks) of five different watercolour papers.
She made it as her contribution to the collective effort to find a new paper for botanical artists after the problems with Fabriano Artistico HP. There have been a number of problems with that paper experienced by many botanical artists have in recent times. Some artists have given up on waiting for Fabriano to find an answer...
The papers tested are:
I won't spoil the ending by telling you which two papers she says she'll be focusing on in future.
This article on her blog shows you close-ups of the papers and the results achieved.
I will add a note of caution and advice.
Of late artists have found that samples of some paper have not been the same as either sheets or blocks of paper they have subsequently bought from the same manufacturer. Canson Heritage is the latest to be "under the spotlight" on this score.
Hence if you'd like to repeat the test for yourself - because people work in different ways and what works for one person is not necessarily the best paper for somebody else - I suggest you
This video has been added in to my new page about Paper on my website. (I also have a page about Vellum)
My Paper Page is still a work in progress but it covers:
I'd love to see more videos of botanical artists testing different papers and the results you've achieved so I can share them with others via my page. It's a lot more permanent than sharing on Facebook!
I'm getting a lot of enquiries from botanical artists as to what progress has been made with "the Fabriano Artistico story" and the major change in how the paper behaves.
Below you will find
Fabriano Artistico and Botanical Art - the story so far
Fabriano Artistico has been much favoured by botanical artists for very many years. For many years it has been a surface which stands up to the demands of those wanting to create very precise paintings of botanical specimens
Then something changed. You may not have read my previous posts on this topic.
Plus I did an update for the Society of Botanical Artists Winter Bulletin - an extract from which summarises what has happened since the meeting with Fabriano last summer.
Fabriano have done some trials since the meeting. To date they have been unsuccessful at identifying what needs to be different to produce the old surface. This means no prospect of a change back to the old surface in the near future.
Very many botanical artists have been discussing the changes they have detected in the HP surface of NEW supplies of Fabriano Classico 5 - and also Fabriano Artistico - in recent months.
There's rather a lot of botanical artists who are not very happy with the change.
This morning I published a post on Making A Mark which summarises the current situation as I understand it.
Fabriano, R K Burt and St Cuthberts Mill - and fine art watercolour paper for precision painting - summarises:
Katherine Tyrrell writes about botanical art and artists and has followers all over the world.
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