Patrick Heron (1920-1999) Signed Numbered Serigraph Ed. 13/72, 1973. Includes two books and gallery ephemera. Numbered on lower left corner 13/72. Signed and dated on lower right corner. Approx: 26.75 in H x 35 in W. Weight: 1 lb.
Patrick HERON (1920-1999) ; Soft discs in pink ; Oct 1962 ; oil on canvas ; dimensions 111,5 x 106,5 cm (44 x 42 in.) ; signed, named and dated on verso ; Shipping to USA - DHL $835 , National post with tracking service $525 / Shipping to EU, Middle Assia - DHL $645 , National post with tracking service $475
PATRICK HERON CBE (BRITISH 1920-1999) January 1973: 2 1973 signed, dated and numbered 3/72 in pencil screenprint in colours on wove from January 1973 printed by Kelpra Studios, published by Waddington Graphics, London image 69.3 x 95cm framed ARR Size:(88 x 107.5cm)
Patrick Heron (1920-1999) Black and Blue Stripes Lithograph printed in colours, 1958, signed and dated in pencil, numbered from the edition of 25, printed by Stanley Jones, St Mary's Studio, St Ives, published by Curwen Studios, London, on wove paper, sheet 753 x 535mm (29 5/8 x 21 1/8in). This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Patrick Heron (British, 1920-1999) THE LANGDALE PIKES, DUSK : 1949-50 signed and dated 'P. Heron 50' (lower right) oil on canvas 76.2 x 63.5 cm. (30 x 25 in.)
Patrick Heron (1920-1999) Garden Print, from the Royal College of Art Artist's Choice Portfolio Lithograph printed in colours, 1987, signed and dated in pink felt-tip pen verso, inscribed 'AP', an artist's proof aside from the edition of 48, printed and published by the Royal College of Art, London, on wove paper, the full sheet printed to the edges, sheet 305 x 305mm (12 x 12in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
• PATRICK HERON (BRITISH 1920-1999) EIGHT INCLUDING ULTRAMARINE signed and dated Patrick Heron 71 lower right; numbered 56/75 lower left screenprint in colours 58.5 x 79cm; 23 x 31in 75 x 106cm; 29 1/2 x 41 3/4in (framed) Property from a Private Collection Executed in 1971. Provenance Waddington Galleries, London John and Mary Goodyear (purchased from the above)
Patrick Heron (British, 1920-1999) Eight Including Ultramarine Screenprint in color, 1971; apparently in good condition. Framed.* Signed Patrick Heron and dated '71 in graphite l.r. and numbered 64/75 in graphite l.l.
Patrick HERON (1920 - 1999) Three blues in red : September 1962 - 1962 Huile sur toile Signée, datée et titrée au dos "Three Blues in red: September 1962, Patrick Heron" h: 152,50 w: 183 cm Provenance : Waddington Custot Galleries, Londres Collection particulière européenne Expositions : Zurich, Galerie Charles Lienhard, "Patrick Heron", janvier 1963 Liverpool, Walker Art Gallery, "The John Moores Liverpool Exhibition", novembre 1963-janvier 1964 Londres, Rutland Gallery, "Patrick Heron: Paintings 1958-1966", mai 1975 Paris, Grand Palais, FIAC, Waddington Custot Galleries, octobre 2013 Bibliographie : Cette œuvre sera incluse dans le Catalogue Raisonné de l'Oeuvre de l'artiste, actuellement en préparation par The Patrick Heron Trust. Commentaire : Oil on canvas; signed, dated and titled on the reverse Lot en importation temporaire. L'acquéreur devra acquitter des frais d'importation, soit 5,5% en sus du prix d'adjudication sauf s'il réexporte immédiatement le lot hors de l'Union Européenne. This work is in temporary import. The buyer will have to pay import fees of 5.5% in addition to the hammer price, unless the buyer immediately re-exports the lot outside the European Union. Estimation 120 000 - 160 000 €
Patrick HERON (1920-1999) ; Untitled abstract ; September of 1960 ; oil on canvas / unframed ; dimensions 61 x 90,8 cm (23 2/3 x 35 3/4 in.) ; signed and dated on verso ; Shipping to USA - DHL $320 , National post with tracking service $170 / Shipping to EU, Russia, Middle Assia - DHL $220 , National post with tracking service $100
Patrick Heron (British, 1920-1999) 14 (from January 1973), 1973 screenprint signed, dated, and numbered 48/72 in pencil 23 x 32 inches. Sold to Benefit the Acquisition Fund of the Indianapolis Museum of Art at Newfields Lot Note: British artist Patrick Heron (1920-1999) is well known for his significant contributions to abstract art and his experimentation with color. Born in Leeds to an artistic family who nurtured his ambitions, he studied at the Slade School of Art in London from 1937 to 1939 before serving in WWII. His experiences in the war influenced his views on the importance of the relationship between painting and the physical environment. This role of the environment would continue to influence his work even when his work shifted to abstraction in 1956, as precipitated by a move to Cornwall. Heron would remain in Cornwall for the rest of this life, working with the St. Ives School, whose members likewise emphasized abstraction. Along with the relationship to the environment, experimentation with color was the primary driving force of Heron's work. He was particularly interested in the ways color could elicit an emotional response, how the juxtaposition of colors affected the colors' optical impact, and how these colors could likewise suggest both spatial relationships and form. Artists continue to be impacted by Heron's innovations with color and his works are highly sought after in private collections. His artworks are held in public institutions such as the Tate Collections in London and St. Ives, Museum of Modern Art (MoMA), The Metropolitan Museum of Art, and National Galleries, Scotland. He has had a solo show at The National Portrait Gallery - London and has shown at Serpentine Galleries, Dallas Museum of Art, and Whitechapel Gallery.
Patrick Heron (British, 1920-1999) 3 (from January 1973), 1973 screenprint signed, dated, and numbered 12/72 in pencil 23 1/8 x 31 3/4 inches. Sold to Benefit the Acquisition Fund of the Indianapolis Museum of Art at Newfields Lot Note: British artist Patrick Heron (1920-1999) is well known for his significant contributions to abstract art and his experimentation with color. Born in Leeds to an artistic family who nurtured his ambitions, he studied at the Slade School of Art in London from 1937 to 1939 before serving in WWII. His experiences in the war influenced his views on the importance of the relationship between painting and the physical environment. This role of the environment would continue to influence his work even when his work shifted to abstraction in 1956, as precipitated by a move to Cornwall. Heron would remain in Cornwall for the rest of this life, working with the St. Ives School, whose members likewise emphasized abstraction. Along with the relationship to the environment, experimentation with color was the primary driving force of Heron's work. He was particularly interested in the ways color could elicit an emotional response, how the juxtaposition of colors affected the colors' optical impact, and how these colors could likewise suggest both spatial relationships and form. Artists continue to be impacted by Heron's innovations with color and his works are highly sought after in private collections. His artworks are held in public institutions such as the Tate Collections in London and St. Ives, Museum of Modern Art (MoMA), The Metropolitan Museum of Art, and National Galleries, Scotland. He has had a solo show at The National Portrait Gallery - London and has shown at Serpentine Galleries, Dallas Museum of Art, and Whitechapel Gallery.
Patrick Heron (British, 1920-1999) Two Magenta Discs in Dark Reds, 1970 screenprint signed, titled, dated, and numbered 50/100 in pencil 23 1/2 x 30 3/4 inches. Sold to Benefit the Acquisition Fund of the Indianapolis Museum of Art at Newfields Lot Note: British artist Patrick Heron (1920-1999) is well known for his significant contributions to abstract art and his experimentation with color. Born in Leeds to an artistic family who nurtured his ambitions, he studied at the Slade School of Art in London from 1937 to 1939 before serving in WWII. His experiences in the war influenced his views on the importance of the relationship between painting and the physical environment. This role of the environment would continue to influence his work even when his work shifted to abstraction in 1956, as precipitated by a move to Cornwall. Heron would remain in Cornwall for the rest of this life, working with the St. Ives School, whose members likewise emphasized abstraction. Along with the relationship to the environment, experimentation with color was the primary driving force of Heron's work. He was particularly interested in the ways color could elicit an emotional response, how the juxtaposition of colors affected the colors' optical impact, and how these colors could likewise suggest both spatial relationships and form. Artists continue to be impacted by Heron's innovations with color and his works are highly sought after in private collections. His artworks are held in public institutions such as the Tate Collections in London and St. Ives, Museum of Modern Art (MoMA), The Metropolitan Museum of Art, and National Galleries, Scotland. He has had a solo show at The National Portrait Gallery - London and has shown at Serpentine Galleries, Dallas Museum of Art, and Whitechapel Gallery.
Patrick Heron (British, 1920-1999) Six in Vermillion with Green in Yellow; Six in Vermillion with Violet in Red; and Six in Vermillion with Red in Red (a group of three prints), 1970 color screenprints each signed, titled, dated, and numbered in pencil Largest: 23 1/4 x 30 5/8 inches. Sold to Benefit the Acquisition Fund of the Indianapolis Museum of Art at Newfields Lot Note: British artist Patrick Heron (1920-1999) is well known for his significant contributions to abstract art and his experimentation with color. Born in Leeds to an artistic family who nurtured his ambitions, he studied at the Slade School of Art in London from 1937 to 1939 before serving in WWII. His experiences in the war influenced his views on the importance of the relationship between painting and the physical environment. This role of the environment would continue to influence his work even when his work shifted to abstraction in 1956, as precipitated by a move to Cornwall. Heron would remain in Cornwall for the rest of this life, working with the St. Ives School, whose members likewise emphasized abstraction. Along with the relationship to the environment, experimentation with color was the primary driving force of Heron's work. He was particularly interested in the ways color could elicit an emotional response, how the juxtaposition of colors affected the colors' optical impact, and how these colors could likewise suggest both spatial relationships and form. Artists continue to be impacted by Heron's innovations with color and his works are highly sought after in private collections. His artworks are held in public institutions such as the Tate Collections in London and St. Ives, Museum of Modern Art (MoMA), The Metropolitan Museum of Art, and National Galleries, Scotland. He has had a solo show at The National Portrait Gallery - London and has shown at Serpentine Galleries, Dallas Museum of Art, and Whitechapel Gallery.
Patrick Heron (British, 1920-1999) Morning Reds Etching and aquatint in colours, 1979, on wove paper, signed, dated and numbered 42/50 in pencil, printed by Kelpra Studio, published by Waddington Graphics, London, with wide margins, framed Plate 544 x 687mm (21 3/8 x 27 1/8in)
Interlocking Pink and Vermilion with Blue, 1970 screenprint in colors on wove paper, edition: 58/100, numbered, signed and dated below image '58/100, Patrick Heron, '70'
§ Patrick Heron C.B.E (British 1920-1999) Marigold, Crimson and Ultramarine, September 1968, 1968 signed, titled and dated on artist's label (verso) gouache on paper (17.7cm x 23.7cm (7in x 9 1/4in)) Provenance The Estate of the Artist Waddington Galleries, London, where acquired by the present owner in 2006 'My gouaches are not a substitute for the oil paintings, nor are they preliminary sketches, or means for trying out new colour-shapes or configurations of dovetailed colour-shapes to feature in later paintings on canvas. They are works in their own right; and their quality, in fact, doesn’t even overlap with the canvases’ in many respects. Or so I feel…In my gouaches, the tempo is dictated, quite apart from the particular needs of the area-shapes I make, by the nature of the wet medium itself. I like the water in the paint mixture to lead me: to suggest the scribbled drawing which gives birth to the images…My gouaches have always had this fast-moving fluidity of drawing, and a softness, coming from the watery medium itself, which the oil paintings cannot share…[and a]…quality of fluent, fluid colour.' Patrick Heron, 'A Note on my Gouaches', written to accompany his exhibition at the Caledonian Club, Edinburgh, 1985; quoted in Patrick Heron: Gouaches from 1961 to 1996, Waddington Galleries, London, 9 February – 12 March 2005, p.5
§ PATRICK HERON C.B.E. (BRITISH 1920-1999) THE BRUSHWORK SERIES Coloured etching, ed. 38 (the sheet 66cm x 79cm (26in x 31in)) Provenance: Ingleby Gallery, Edinburgh - Festival Exhibtion, 1999
† Patrick Heron (1920 - 1999), Brushworks No.4 from The Brushwork series, 1999, etching on Velin Arches paper, Patrick Heron estate stamp verso, and signed by Susannah Heron and Katharine Heron, framed and glazed, 44 x 58 cm The Brushworks Series was Patrick Heron's last work, passing away on the day his work on the plates was completed. They were printed posthumously by the printer Hugh Stoneman and overseen by Patrick Heron's daughters.
Patrick Heron (1920-1999) Interlocking Pink and Vermillion with Blue, 1970 Screenprint in colors on wove paper 28 x 39-1/2 inches (71.1 x 100.3 cm) (sheet) Ed. 22/100 Signed, numbered, and dated in pencil along lower edge HID01801242017
Patrick Heron (1920-1999) Interlocking Scarlet and Pink in Deep Green, 1970 Screenprint in colors on wove paper 28 x 38-1/2 inches (71.1 x 97.8 cm) (sheet) Ed. 33/100 Signed, numbered, and dated in pencil along lower edge HID01801242017
PATRICK HERON (1920-1999) Linear Ceruleum with Five Discs : May 1968 PATRICK HERON (1920-1999) /Linear Ceruleum with Five Discs : May 1968/ signed, inscribed and dated 'PATRICK HERON/'LINEAR CERULEUM WITH FIVE/DISCS : MAY 1968" (on the artist's label attached to the backboard) gouache on paper 22 1/2 x 31 in. (57.2 x 78.8 cm.) Executed in 1968.
Patrick Heron Plate 11 (from the January 1973 series) 1973 screenprint in colors image: 23.25 h × 31.25 w in (59 × 79 cm) sheet: 26.75 h × 35.875 w in (68 × 91 cm) Signed, dated and numbered to lower edge '31/72 Patrick Heron 73'. Signed and titled to verso 'Heron January 1973 11'. This work is number 31 from the edition of 72 printed by Kelpra Studios, London and published by Waddington Graphics, London. This work will ship from Rago in Lambertville, New Jersey.
Patrick Heron (British, 1920-1999) Small Red: January 1973: 2 Screenprint in colours, 1973, on wove, signed, dated and numbered 40/72 in pencil, printed by Kelpra Studio, London, published by Waddington Graphics, London, the full sheet, 500 x 585mm (19 3/4 x 23in)(SH)(unframed) For further information on this lot please visit the Bonhams website
Patrick Heron (British, 1920-1999) Anniversary Print Lithograph printed in colours, 1998, on Somerset wove, a proof aside from the numbered edition of 40, printed and published by Curwen Studio, Chilford, on the occasion of the exhibition 'Forty Years at Curwen Studio: 1948-1998', Curwen Gallery, London, with margins, 555 x 765mm (21 7/8 x 30 1/8in)(I)(unframed) For further information on this lot please visit the Bonhams website
§ PATRICK HERON C.B.E. (BRITISH 1920-1999) SIX IN LIGHT ORANGE WITH RED IN YELLOW - 1970 Screenprint, 42/100, signed, dated and numbered in pencil to margin (70cm x 100cm (27.5in x 39.25in))
Patrick Heron CBE (1920-1999) EMERALD WITH REDS AND CERULEUM : FEBRUARY-APRIL 1977 oil on canvas signed, titled and dated on reverse h:59.50 w:82.75 in. Provenance: Waddingtons, 1990; Private collection, 1990-2003; Collection of George and Maura McClelland Exhibited: 'Patrick Heron - Paintings 1950-55 and 1970-77', Oriel Gallery, Cardiff, 5-28 April 1979, catalogue no. 18; 'Paintings by Patrick Heron 1965-1977', The University of Texas at Austin Art Museum, 28 March to 7 May 1978, catalogue no. 27; 'Patrick Heron - Gouaches', Waddington & Tooth Galleries, London, December 1977; 'Coast-Lines', IMMA Main Galleries, Dublin, 13 October to 16 September 2018 Literature: Isabel Hitchman, Patrick Heron, Patrick Heron, Paintings 1950-55 and 1970-77. Oriel, Cardiff, 1979, p. 14 (illustrated, b&w); Patrick Heron, R. C. Kenedy, Alan Bowness, Kelly Fearing et.al, Paintings by Patrick Heron 1965-1977. The University of Texas at Austin Art Museum, Texas, 1978, Unpaginated (illustrated, colour); Kelly Fearing, Patrick Heron, The Colour of Colour. E William Doty Lectures in Fine Arts, Third Series 1978. The University of Fine Arts, Austin, Texas, 1978, Unpaginated (illustrated, colour) Emerald with Reds and Cerulean, 1977 was executed during a pivotal period in Patrick Heron's career from the mid-1960s when his visual language moved away from the motifs which defined his earlier work, the soft-edged circles and squares, to a more personal idiom, his 'wobbly, hard-edge' forms, a reference to the more linear work of this time and his answer in some respects to the hard-edged abstraction of the New York painters. In the artist's words, "The 'wobbly hard-edge' which is a feature of all my work since 1965 has itself become the source, or vehicle I should perhaps say, of what still looks to me to be a limitless variety of spatial ambiguities or mysteries. Most obvious of these spatial ambiguities or contradictions are those cases where the 'drawing' of the outline of a colour-area implies recession but its colour generates the opposite sensation of something protruding - or vice versa." (Patrick Heron, 'The Shape of Colour', The Power Lecture in Contemporary Art, 1973) Patrick Heron was born in Leeds and studied at the Slade School of Fine Art from 1937 to 1939. In the 1940s Heron worked as an art critic for the New English Weekly, New Statesman and Nation and Arts (New York). In the 1950s he relocated to Cornwall and became identified with the St. Ives artists, among them Ben Nicholson, Roger Hilton and, later, Irish artist Tony O'Malley. Heron declined to accept a knighthood from Margaret Thatcher's government and rejected an invitation to become a member of the Royal Academy. He was a Trustee of The Tate Gallery from 1980-1987 and was the subject of a major retrospective there in 1998, the year before his death. Tate St Ives hosted another landmark retrospective twenty years later which toured to Turner Contemporary, Margate, until January 2019. The importance of colour in Patrick Heron's oeuvre cannot be underestimated. It is both the subject and the mechanism for communicating his unique interpretation of the world and while his paintings do not figuratively represent the surroundings of his studio and home the essence of them is felt through his expert use of form, line and colour. The artist's daughter, Katharine Heron, a Professor of Architecture, recalled for the 2018 Tate retrospective the influence of the French masters on her father's work, particularly Henri Matisse: "Patrick had an experiential spatial approach to paintings. I have a vivid memory of going to Paris with him and my mother, Delia, in 1970 to see the centennial exhibition of Matisse at the Grand Palais. Here were the rarely seen (and never before seen by Patrick) great paintings collected by Sergei Chtchoukine in Russia - La Danse 1909 and La Musique 1910 - each measuring 2.6 metres in height and 3.91 in length. Patrick walked up and down the space before them, his figure close enough to their surfaces to paint them himself, immersed in their majestic size and absorbed by their colour." Emerald with Reds and Cerulean, 1977 was on long-term loan to the Irish Museum of Modern Art from the prestigious collection of George and Maura McClelland and was most recently included in their 2018 show 'Coast-Lines' where it was shown in room 3 alongside the work of another champion of British abstract art, John Hoyland and American artist, gallerist and pioneer of the 'found object' Betty Parsons. Its inclusion in this show was apt with the museum describing 'Coast-Lines' as "Drawing on the paradox implicit in the word 'coastline' - for never has a coast followed a linear course - the title…[throwing] a line around a 12 month program of changing displays of artworks and archival material that [explore] our sense of place, perception, representation and memory." The show included numerous other renowned artists including Dorothy Cross, Carlos Cruz-Diez, Donald Teskey, Tony O'Malley, Bridget Riley to name but a few each mapping what the senses perceive through their respective practice. In 2021 London gallery Hazlitt Holland-Hibbert presented their first exhibition of Heron's work - Patrick Heron: The Colour of Colour Paintings 1965-1977 - since taking on representation of the artist's estate. The present work Emerald with Reds and Cerulean, 1977 can be seen in a studio photograph in their exhibition catalogue captioned: Paintings in progress at Porthmeor Studios, St Ives, 1977 alongside four other works by the artist. This seminal work would have made an appropriate addition to this most recent celebration of Heron's oeuvre. The estate of Patrick Heron is preparing the forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to The Patrick Heron Trust, c/o Whyte's, 38 Molesworth Street, Dublin 2. We are grateful to Dr Andrew Wilson for his kind assistance in cataloguing this lot.
Patrick Heron, British 1920–1999 Granada Three: December 1983, 1983; gouache on paper, 31.6 x 18.3 cm (ARR) Provenance: with Waddington Galleries Ltd, London (according to the label attached on the reverse of the frame, numbered A B12406 9902); Contemporary Art Society Market (according to the label attached to the reverse of the frame); private collection, UK, purchased from the above Note: Heron was a central part of the St Ives School which shaped the landscape of 20th-century British art. Living and working largely in Cornwall, Heron was closely connected to figures such as Ben Nicholson and Barbara Hepworth, and worked for Bernard Leach at the Leach Pottery. Heron experimented with a range of styles, producing both highly abstract pieces alongside more representational and figurative work, with his mature work driven principally by his exploration of the depiction of light, space, and colour. Heron’s first solo exhibition was held at the Redfern Gallery in London in 1947, followed by numerous solo shows throughout his career, including at the Museum of Modern Art in Oxford, the Barbican Art Gallery and the Whitechapel Art Gallery in London, the University of Texas Art Museum in Austin, and the Art Gallery of New South Wales in Sydney. His work was also the subject of a significant retrospective held at the Tate Gallery in London in 1998, and was shown at the Tate St Ives in 2018. Works by Heron are currently in the collections of the Courtauld Gallery and the National Portrait Gallery in London, the Scottish National Gallery of Modern Art in Edinburgh, and the National Museum of Wales in Cardiff, alongside university collections, including a number of Oxford colleges. Floated on linen and held in a glazed, painted frame with minor scuff marks. Stain to the linen along bottom edge. Appears to be affixed in each corner but unexamined out of frame. Minor undulation to the sheet. One dot of pigment or residue visible on the underside of the glass but not touching the paper, centre of right edge. Paper and painted surface in good original condition, with only minor wear to the edges.
PATRICK HERON (1920-1999) Three Squares (Ceruleum, Naples, Ochre) in Yellow; February 1960 Oil on paper laid on hardboard, 70.5 x 44.5cm Provenance: With Waddington Galleries, London; Private Collection, Dublin Patrick Heron is one of the finest colourists to emerge in 20th century painting. For an artist whose work is basically so pleasant and chromatically rich, its hard to imagine him being regarded as a challengingly disruptive presence on the British art scene, but that is pretty much how he was treated in the latter 1950s. When he exhibited his first stripe paintings in a group show at the Redfern Gallery in London in 1957 the reception was, he recalled: quite violently hostile. The appalled Sunday Times critic complained that bands of colour didnt make a painting. Despite corrective views offered by no less than Winifred Nicholson and William Scott, the gallery turned the lights out after three days, took down the work and closed the show. He and Bryan Wynter quit the Redfern and joined the Waddington in protest. Heron, a lively, curious and immensely creative artist, was effortlessly cosmopolitan from the first. He was born in Leeds. His father, who manufactured silk blouses, was enthusiastic and informed about the arts. Patrick designed his first fabric aged just 14: he began and remained a champion of art as decoration. By the time he attended the Slade School he was to some extent formed as an artist, open to French painting, including Ce?zanne and then Matisse and later Braque, and he found the insular English teaching a complete wash-out. With childhood connections to Cornwall he worked in Bernard Leachs pottery, a prelude to his later, in 1955, settling in Eagles Nest house and garden in Zennor. Rothko became another important influence. In 1953, after much thought, he titled one of his exhibitions Space in Colour, and realised hed pinned down the core of his artistic concerns, but he found the British public averse to colour, abstraction and foreign influences in general. Even as the stripe paintings - now highly prized - proved a step too far for public opinion, he was exploring another possibility: The first squares followed the first stripes very closely indeed - almost the same week, actually. I always thought that the squares arose from stripes in two directions crossing over. It is clear that the squares paintings developed pretty much in tandem with the stripes, allowing him greater flexibility in exploring the colour relationships between areas of intense, pure colour laid on equally intense though often contrasting colour grounds. These two series produced some of the best, most satisfying work of his career. Here, in complete com- mand of his means, he relishes the dancing interplay between the vibrant, luxuriant yellow ground and the foreground squares, variously calming (Naples yellow) and enlivening (that burst of cerulean blue), in a beautifully textured composition. Aidan Dunne, April 2022
