ANNE MAGILL

J O U R N E Y S

10 DECEMBER 2010 ---- 16 JANUARY 2011

HEARTBREAK17 Bulstrode Street | London W1U 2JH

+44 (0)20 3219 5710 / info@heart-break.co.uk

Open Monday to Saturday 10am --- 6pm, Sunday 11am --- 4pm

www.heart-break.co.ukwww.annemagill.com

ANNE MAGILL

JOUR NEYS

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ANNE MAGILL

JOUR NEYS

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ANNE MAGILL

JOUR NEYS

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Many of the figures in the latest collection of Anne Magill’sMany of the figures in the latest collection of Anne Magill’spaintings have somehow found themselves at the land’s end, orpaintings have somehow found themselves at the land’s end, orbeen otherwise drawn to some stretch of water, to stand andbeen otherwise drawn to some stretch of water, to stand andgaze over it. We can only speculate as to what pre-occupiesgaze over it. We can only speculate as to what pre-occupiesthem. Whether they’re trying to muster the courage to make athem. Whether they’re trying to muster the courage to make ajourney across that water or whether it’s some business backjourney across that water or whether it’s some business backin-land which has driven them to such a place.in-land which has driven them to such a place.

There’s a universal stillness to them. Often they have their backsThere’s a universal stillness to them. Often they have their backsturned towards us, or stand in near-silhouette. It could be dawnturned towards us, or stand in near-silhouette. It could be dawnor dusk. On occasion, it’s almost as if the figures are a part ofor dusk. On occasion, it’s almost as if the figures are a part ofthe land, have become rooted to it, and making precious littlethe land, have become rooted to it, and making precious littleprogress in whatever decision they came here to make.progress in whatever decision they came here to make.

These men – and the characters in Anne’s work are predominantlyThese men – and the characters in Anne’s work are predominantlymen – seem lost in silence. Whether alone or leaning overmen – seem lost in silence. Whether alone or leaning overrailings in twos or threes, they are all quietened by something.railings in twos or threes, they are all quietened by something.Even those paintings in which they are active – rowing a boat,Even those paintings in which they are active – rowing a boat,say, or restoring some vintage motorbike (something Annesay, or restoring some vintage motorbike (something Annespent endless hours doing with her father and uncles when shespent endless hours doing with her father and uncles when shewas a girl) – there is a sense of silent industry. It would be nowas a girl) – there is a sense of silent industry. It would be noexaggeration to say that these are men, at this particularexaggeration to say that these are men, at this particularmoment at least, of very few words.moment at least, of very few words.

When I first encountered Anne Magill’s paintings it took me aWhen I first encountered Anne Magill’s paintings it took me awhile for my eyes to find their focus. As if the characters werewhile for my eyes to find their focus. As if the characters wereemerging from memory, or fading into it. They put me in mindemerging from memory, or fading into it. They put me in mindof those late-Victorian photographs, like of those late-Victorian photographs, like Whitlingham ValeWhitlingham Vale bybyG. Christopher Davies, in which a ghostly boat eases its wayG. Christopher Davies, in which a ghostly boat eases its wayalong a winding river, or P.H. Emerson’s along a winding river, or P.H. Emerson’s At the Ferry – A MistyAt the Ferry – A MistyMorningMorning, in which a milk cart stands at the water’s edge. Anne’s, in which a milk cart stands at the water’s edge. Anne’spaintings seem to occupy a similar, half-dreamed territory. A hazypaintings seem to occupy a similar, half-dreamed territory. A hazyplace, both powerfully present and weighed-down with the past.place, both powerfully present and weighed-down with the past.

In fact, photographs have sometimes played a part in the earlyIn fact, photographs have sometimes played a part in the earlystages of Anne’s work. Specifically, stages of Anne’s work. Specifically, foundfound photographs – oddphotographs – oddsnaps picked up in junk shops, or mildewed albums ofsnaps picked up in junk shops, or mildewed albums ofsomeone’s travels bought at car boot sales. The fact that thesesomeone’s travels bought at car boot sales. The fact that theseare real, lived lives is clearly important, as is the fact that theare real, lived lives is clearly important, as is the fact that theindividuals in the photographs are ultimately unknown andindividuals in the photographs are ultimately unknown andunknowable. It is as if Anne is determined to honour them – tounknowable. It is as if Anne is determined to honour them – torescue them from oblivion. In that respect her work is an act ofrescue them from oblivion. In that respect her work is an act ofrestoration, of recovery.restoration, of recovery.

I was down in Anne’s studio a couple of weeks ago. Two of theI was down in Anne’s studio a couple of weeks ago. Two of thelarger canvases leaned up against the main wall and anotherlarger canvases leaned up against the main wall and anotherthree or four, released from their stretchers, hung from a linethree or four, released from their stretchers, hung from a lineacross the windows, gently lifting in the breeze. We were talkingacross the windows, gently lifting in the breeze. We were talkingabout talismans – the lucky charms we keep around the place.about talismans – the lucky charms we keep around the place.Anne had already shown me a battered portrait of the kindlyAnne had already shown me a battered portrait of the kindlygent she’d bought for a tenner in a Notting Hill junk shop fifteengent she’d bought for a tenner in a Notting Hill junk shop fifteenyears ago. Most of the time he’s tucked away out of sightyears ago. Most of the time he’s tucked away out of sightsomewhere, but his beneficence is all-pervading. He is a sort ofsomewhere, but his beneficence is all-pervading. He is a sort ofhousehold god. And now she leafed through a pile of papershousehold god. And now she leafed through a pile of papersand produced a small photograph, probably taken in theand produced a small photograph, probably taken in the1920s. A man in a knee-length leather coat stands on a beach,1920s. A man in a knee-length leather coat stands on a beach,

with the sea and rocks spread out behind him. In his hands hewith the sea and rocks spread out behind him. In his hands heholds a pair of Mark 9 motorcycle goggles.holds a pair of Mark 9 motorcycle goggles.

Around the beginning of each new collection of paintings AnneAround the beginning of each new collection of paintings Anneoften works on some new sketch or miniature of that character.often works on some new sketch or miniature of that character.Once the show’s complete (months, sometimes years later) sheOnce the show’s complete (months, sometimes years later) shewill return to her most recent interpretation of the chap on thewill return to her most recent interpretation of the chap on thebeach and, as often as not, find that it contains some intimationbeach and, as often as not, find that it contains some intimationas to the tones and textures of the paintings that followed.as to the tones and textures of the paintings that followed.

Drawing things to a close can be just as tough as getting thingsDrawing things to a close can be just as tough as getting thingsmoving. Whenever I’ve visited Anne’s studio there have been atmoving. Whenever I’ve visited Anne’s studio there have been atleast a dozen or more works around the place, in various stagesleast a dozen or more works around the place, in various stagesof completion. It must be difficult, I imagine, to know when aof completion. It must be difficult, I imagine, to know when apainting is finished – when to leave it alone. Anne tells me thatpainting is finished – when to leave it alone. Anne tells me thatjust when it feels as if the whole process is in danger of grindingjust when it feels as if the whole process is in danger of grindingto a halt, a minor adjustment to one of the paintings will act asto a halt, a minor adjustment to one of the paintings will act asa tipping point for all the others, and they will all suddenly a tipping point for all the others, and they will all suddenly fall into place.fall into place.

It reminded me of a cutting I’ve kept in a scrapbook since theIt reminded me of a cutting I’ve kept in a scrapbook since the1980s – an interview with Tom Waits (a fount of wisdom, in1980s – an interview with Tom Waits (a fount of wisdom, inmy opinion, on the creative process and much else besides).my opinion, on the creative process and much else besides).

IntroductionIntroduction

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Anne Magill in her studio, October 2010Fredi Marcarini

Many of the figures in the latest collection of Anne Magill’sMany of the figures in the latest collection of Anne Magill’spaintings have somehow found themselves at the land’s end, orpaintings have somehow found themselves at the land’s end, orbeen otherwise drawn to some stretch of water, to stand andbeen otherwise drawn to some stretch of water, to stand andgaze over it. We can only speculate as to what pre-occupiesgaze over it. We can only speculate as to what pre-occupiesthem. Whether they’re trying to muster the courage to make athem. Whether they’re trying to muster the courage to make ajourney across that water or whether it’s some business backjourney across that water or whether it’s some business backin-land which has driven them to such a place.in-land which has driven them to such a place.

There’s a universal stillness to them. Often they have their backsThere’s a universal stillness to them. Often they have their backsturned towards us, or stand in near-silhouette. It could be dawnturned towards us, or stand in near-silhouette. It could be dawnor dusk. On occasion, it’s almost as if the figures are a part ofor dusk. On occasion, it’s almost as if the figures are a part ofthe land, have become rooted to it, and making precious littlethe land, have become rooted to it, and making precious littleprogress in whatever decision they came here to make.progress in whatever decision they came here to make.

These men – and the characters in Anne’s work are predominantlyThese men – and the characters in Anne’s work are predominantlymen – seem lost in silence. Whether alone or leaning overmen – seem lost in silence. Whether alone or leaning overrailings in twos or threes, they are all quietened by something.railings in twos or threes, they are all quietened by something.Even those paintings in which they are active – rowing a boat,Even those paintings in which they are active – rowing a boat,say, or restoring some vintage motorbike (something Annesay, or restoring some vintage motorbike (something Annespent endless hours doing with her father and uncles when shespent endless hours doing with her father and uncles when shewas a girl) – there is a sense of silent industry. It would be nowas a girl) – there is a sense of silent industry. It would be noexaggeration to say that these are men, at this particularexaggeration to say that these are men, at this particularmoment at least, of very few words.moment at least, of very few words.

When I first encountered Anne Magill’s paintings it took me aWhen I first encountered Anne Magill’s paintings it took me awhile for my eyes to find their focus. As if the characters werewhile for my eyes to find their focus. As if the characters wereemerging from memory, or fading into it. They put me in mindemerging from memory, or fading into it. They put me in mindof those late-Victorian photographs, like of those late-Victorian photographs, like Whitlingham ValeWhitlingham Vale bybyG. Christopher Davies, in which a ghostly boat eases its wayG. Christopher Davies, in which a ghostly boat eases its wayalong a winding river, or P.H. Emerson’s along a winding river, or P.H. Emerson’s At the Ferry – A MistyAt the Ferry – A MistyMorningMorning, in which a milk cart stands at the water’s edge. Anne’s, in which a milk cart stands at the water’s edge. Anne’spaintings seem to occupy a similar, half-dreamed territory. A hazypaintings seem to occupy a similar, half-dreamed territory. A hazyplace, both powerfully present and weighed-down with the past.place, both powerfully present and weighed-down with the past.

In fact, photographs have sometimes played a part in the earlyIn fact, photographs have sometimes played a part in the earlystages of Anne’s work. Specifically, stages of Anne’s work. Specifically, foundfound photographs – oddphotographs – oddsnaps picked up in junk shops, or mildewed albums ofsnaps picked up in junk shops, or mildewed albums ofsomeone’s travels bought at car boot sales. The fact that thesesomeone’s travels bought at car boot sales. The fact that theseare real, lived lives is clearly important, as is the fact that theare real, lived lives is clearly important, as is the fact that theindividuals in the photographs are ultimately unknown andindividuals in the photographs are ultimately unknown andunknowable. It is as if Anne is determined to honour them – tounknowable. It is as if Anne is determined to honour them – torescue them from oblivion. In that respect her work is an act ofrescue them from oblivion. In that respect her work is an act ofrestoration, of recovery.restoration, of recovery.

I was down in Anne’s studio a couple of weeks ago. Two of theI was down in Anne’s studio a couple of weeks ago. Two of thelarger canvases leaned up against the main wall and anotherlarger canvases leaned up against the main wall and anotherthree or four, released from their stretchers, hung from a linethree or four, released from their stretchers, hung from a lineacross the windows, gently lifting in the breeze. We were talkingacross the windows, gently lifting in the breeze. We were talkingabout talismans – the lucky charms we keep around the place.about talismans – the lucky charms we keep around the place.Anne had already shown me a battered portrait of the kindlyAnne had already shown me a battered portrait of the kindlygent she’d bought for a tenner in a Notting Hill junk shop fifteengent she’d bought for a tenner in a Notting Hill junk shop fifteenyears ago. Most of the time he’s tucked away out of sightyears ago. Most of the time he’s tucked away out of sightsomewhere, but his beneficence is all-pervading. He is a sort ofsomewhere, but his beneficence is all-pervading. He is a sort ofhousehold god. And now she leafed through a pile of papershousehold god. And now she leafed through a pile of papersand produced a small photograph, probably taken in theand produced a small photograph, probably taken in the1920s. A man in a knee-length leather coat stands on a beach,1920s. A man in a knee-length leather coat stands on a beach,

with the sea and rocks spread out behind him. In his hands hewith the sea and rocks spread out behind him. In his hands heholds a pair of Mark 9 motorcycle goggles.holds a pair of Mark 9 motorcycle goggles.

Around the beginning of each new collection of paintings AnneAround the beginning of each new collection of paintings Anneoften works on some new sketch or miniature of that character.often works on some new sketch or miniature of that character.Once the show’s complete (months, sometimes years later) sheOnce the show’s complete (months, sometimes years later) shewill return to her most recent interpretation of the chap on thewill return to her most recent interpretation of the chap on thebeach and, as often as not, find that it contains some intimationbeach and, as often as not, find that it contains some intimationas to the tones and textures of the paintings that followed.as to the tones and textures of the paintings that followed.

Drawing things to a close can be just as tough as getting thingsDrawing things to a close can be just as tough as getting thingsmoving. Whenever I’ve visited Anne’s studio there have been atmoving. Whenever I’ve visited Anne’s studio there have been atleast a dozen or more works around the place, in various stagesleast a dozen or more works around the place, in various stagesof completion. It must be difficult, I imagine, to know when aof completion. It must be difficult, I imagine, to know when apainting is finished – when to leave it alone. Anne tells me thatpainting is finished – when to leave it alone. Anne tells me thatjust when it feels as if the whole process is in danger of grindingjust when it feels as if the whole process is in danger of grindingto a halt, a minor adjustment to one of the paintings will act asto a halt, a minor adjustment to one of the paintings will act asa tipping point for all the others, and they will all suddenly a tipping point for all the others, and they will all suddenly fall into place.fall into place.

It reminded me of a cutting I’ve kept in a scrapbook since theIt reminded me of a cutting I’ve kept in a scrapbook since the1980s – an interview with Tom Waits (a fount of wisdom, in1980s – an interview with Tom Waits (a fount of wisdom, inmy opinion, on the creative process and much else besides).my opinion, on the creative process and much else besides).

IntroductionIntroduction

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He’d been asked how he sets about composing a collection ofHe’d been asked how he sets about composing a collection ofsongs for an album.songs for an album.

‘What I usually do,’ he said, ‘is I write two songs and I put ‘em‘What I usually do,’ he said, ‘is I write two songs and I put ‘emin a room together and they have children.’in a room together and they have children.’

That sense of inter-dependence, of a shared genetic code betweenThat sense of inter-dependence, of a shared genetic code betweena collection's individual elements, sounds about right to me.a collection's individual elements, sounds about right to me.I’ve heard Anne describe her paintings as being members of theI’ve heard Anne describe her paintings as being members of thesame family. There may be times when they don’t sit so wellsame family. There may be times when they don’t sit so welltogether, but the influence they’re capable of exerting on eachtogether, but the influence they’re capable of exerting on eachother is something to behold.other is something to behold.

It’s perhaps no surprise that so many of Anne’s subjects are drawnIt’s perhaps no surprise that so many of Anne’s subjects are drawnto the point where the land meets the water. By all accounts, sheto the point where the land meets the water. By all accounts, shespent half her teenage years staring out from the shore ofspent half her teenage years staring out from the shore ofCounty Down where, on a clear day, she could see mainlandCounty Down where, on a clear day, she could see mainlandBritain thirty miles away. And it’s easy to see why she might haveBritain thirty miles away. And it’s easy to see why she might havedeveloped such a fascination for photographs when her owndeveloped such a fascination for photographs when her ownchildhood was so sorely lacking in them. The few photos thatchildhood was so sorely lacking in them. The few photos thatwere taken tended to be put into a drawer and forgotten. Anne’swere taken tended to be put into a drawer and forgotten. Anne’smother methodically ripped herself out of every one. Photographsmother methodically ripped herself out of every one. Photographscan be a way of plotting out one’s life as it unfolds – especiallycan be a way of plotting out one’s life as it unfolds – especiallyone’s infant years. Of memorializing them.one’s infant years. Of memorializing them.

But we should be wary of making too many assumptions. WhatBut we should be wary of making too many assumptions. Whatis often so compelling about Anne’s paintings is the sheeris often so compelling about Anne’s paintings is the sheerimpenetrability of the characters who populate them. I’ve heardimpenetrability of the characters who populate them. I’ve heardAnne say that the closer she gets to completing a painting theAnne say that the closer she gets to completing a painting theless sure she is what’s going on in it. ‘It could be good, could beless sure she is what’s going on in it. ‘It could be good, could bebad,’ she once told me. That ambiguity only encourages us tobad,’ she once told me. That ambiguity only encourages us tocome up with our own narratives. And that, in turn, helpscome up with our own narratives. And that, in turn, helpsmake them our own.make them our own.

Anne was eighteen when she left Northern Ireland. She remembersAnne was eighteen when she left Northern Ireland. She remembersher father seeing her off from the docks at Belfast, with herher father seeing her off from the docks at Belfast, with heruncles beside him. Another group of big, silent men at the water’suncles beside him. Another group of big, silent men at the water’sedge. It was only later that Anne appreciated that her unclesedge. It was only later that Anne appreciated that her unclesmight also have been there to offer moral support to her father.might also have been there to offer moral support to her father.

As a young man, Anne’s father was all set to make his ownAs a young man, Anne’s father was all set to make his ownmomentous journey, to start a new life out in North America,momentous journey, to start a new life out in North America,but in the last few days prior to his departure he met a girl whobut in the last few days prior to his departure he met a girl whoworked at the local draper’s shop. He never did get on that boat,worked at the local draper’s shop. He never did get on that boat,unlike his friends who, according to legend, went off to the Newunlike his friends who, according to legend, went off to the NewWorld and made their fortune. Who knows what might haveWorld and made their fortune. Who knows what might havehappened if he’d gone, or how not going affected him?happened if he’d gone, or how not going affected him?

Our lives are full of all sorts of journeys and we may have lessOur lives are full of all sorts of journeys and we may have lesscontrol over our destinations than we care to admit. But wecontrol over our destinations than we care to admit. But weshould give thanks that Archie Magill turned his back on theshould give thanks that Archie Magill turned his back on theAtlantic and chose to stick it out on the coast between BallywalterAtlantic and chose to stick it out on the coast between Ballywalterand Donaghadee. Otherwise there would very likely be noand Donaghadee. Otherwise there would very likely be noAnne Magill and for a whole host of reasons the world wouldAnne Magill and for a whole host of reasons the world wouldbe a much poorer place for it.be a much poorer place for it.

Mick JacksonMick Jackson

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On The Journey Home (detail), Catalogue No.27

T H E PA I N T I N G S

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Harbour (detail), Catalogue No.4

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1 Nearly Home Acrylic on Canvas 47 x 49 ins £55,000

2 In the Halflight Acrylic on Canvas 36 x 40 ins £35,000

3 Of Few Words Oil on Canvas 36 x 36 ins £35,000

4 Harbour Acrylic on canvas 63 x 63 ins £76,000

5 Harbour II Acrylic on board 7 x 7 ins £8,000

6 Homecoming II Acrylic on Canvas 20 x 39 ins £35,000

7 Eclipse Acrylic on board 11 x 48 ins £35,000

8 When I think of you, you’re always smiling Oil on Canvas 8 x 8 ins £9,000

9 Early Autumn Acrylic on Canvas 12 x 39 ins £30,000

10 A Perfect Day Acrylic on board 8 x 5 ins £8,500

11 Shelter Acrylic on panel 7 x 7 ins £7,500

12 Late Evening Acrylic on board 24 x 42 ins £40,000

13 Before the Race Acrylic on canvas 7 x 5 ins £7,500

14 Summer Song Acrylic on panel 7 x 7 ins £7,500

15 Spring Morning Acrylic on board 8 x 13 ins £9,500

16 Nocturne Acrylic on Canvas 7 x 9 ins £8,500

17 The Letter Acrylic on board 8 x 9 ins £8,500

18 Memento Acrylic on board 5 x 4 ins £7,000

19 After the Storm Oil on Board 7 x 8 ins £7,000

20 And then there was you Acrylic on board 12 x 25 ins £16,500

21 Dusk Oil on Canvas 8 x 8 ins £9,500

22 Home Acrylic on canvas 16 x 20 ins £12,500

23 Big Cloud Acrylic on canvas 16 x 20 ins £12,500

24 Morning Oil on Canvas 5 x 7 ins £6,500

25 Looking at the River, thinking of the Sea Acrylic on panel 7 x 8 ins £7,500

26 Where the River meets the Sea Acrylic on canvas 63 x 63 ins £55,000

27 On the Journey Home Charcoal and Pastel 47 x 70 ins £17,500

28 Shoreline Charcoal and Pastel 6 x 6 ins £3,800

29 On the Shore Charcoal and Pastel 17 x 25 ins £12,500

30 And still we wait Charcoal and Pastel 6 x 10 ins £4,200

31 The Gathering Charcoal and Pastel 7 x 11 ins £4,200

32 Midnight Charcoal and Pastel 9 x 11 ins £4,200

Catalogue

33 Our Story Charcoal and Pastel 8 x 12 ins £4,200

34 By the Window Charcoal and Pastel 5 x 6 ins £3,800

35 And the light danced on the water Acrylic on board 4 x 6 ins £6,500

36 Before the Race II Acrylic on Canvas 12 x 24 ins £18,500

37 Sway Acrylic on board 4 x 6 ins £7,500

38 Our Celebration Acrylic on board 13 x 13 ins £14,500

39 ..and the Sun Shone Oil on canvas 10 x 14 ins £14,500

40 ..for you to come Acrylic on panel 6 x 8 ins £8,000

41 A dear Friend Oil on panel 13 x 9 ins £9,500

42 The Night before the Race Oil on board 6 x 8 ins £7,500

43 Three Friends Acrylic on board 6 x 16 ins £9,500

44 A Day Out Charcoal and pastel 24 x 33 ins £15,000

45 Dawn Acrylic on canvas 28 x 40 ins £35,000

46 Leaving Acrylic on canvas 12 x 24 ins £14,500

47 The Workshop Acrylic on board 11 x 48 ins £35,000

48 Morning Light Acrylic on linen 18 x 18 ins £16,500

49 In the Wings Acrylic on board 11 x 8 ins £8,500

50 Backstage Acrylic on board 11 x 8 ins £8,500

51 A Special Place Oil on canvas 26 x 28 ins £25,000

52 Nothing else matters Acrylic on board 15 x 14 ins £16,500

53 A Perfect Morning Acrylic on board 32 x 47 ins £45,000

Prices are inclusive of VAT (UK Sales Tax) at the prevailing rate. For information about Net Export prices, please contact the gallery.

If you are interested in buying or reserving a work by Anne Magill, please contact: Nathalie Martin or Sophie Harral at Heartbreak on 020 3219 5710 or via email: nathalie@heart-break.co.uk | sophie@heart-break.co.uk.

Items indicated as being currently reserved may become available as they are not confirmed sales. E&OE

Anne MagillAnne Magill

Born in County Down, Northern Ireland in 1962, Anne Magill studied at Born in County Down, Northern Ireland in 1962, Anne Magill studied at St. Martin’s School of Art in London. St. Martin’s School of Art in London.

EducationEducation

1981 - 84 1:1 Hons degree illustration, St. Martin’s School of Art, London1981 - 84 1:1 Hons degree illustration, St. Martin’s School of Art, London1980 - 81 Foundation Course, Liverpool Polytechnic (now Sir John Moore’s College) 1980 - 81 Foundation Course, Liverpool Polytechnic (now Sir John Moore’s College)

Solo ExhibitionsSolo Exhibitions

2010 / 11 2010 / 11 Journeys, Journeys, Heartbreak, LondonHeartbreak, London2008 Art London with Heartbreak, London2008 Art London with Heartbreak, London2008 Art London with Medici Gallery, London 2008 Art London with Medici Gallery, London 20072007 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London20052005 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London20032003 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London20012001 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London19981998 Anne Magill, Anne Magill, Philharmonic Hall Gallery, LiverpoolPhilharmonic Hall Gallery, Liverpool19971997 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London19971997 A Special Place II, A Special Place II, Hybrid Gallery, LondonHybrid Gallery, London19971997 Anne Magill - New Paintings, Anne Magill - New Paintings, J Walter Thompson Gallery, LondonJ Walter Thompson Gallery, London19961996 A Special Place, A Special Place, Hybrid GalleryHybrid Gallery19961996 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London19961996 Mirror of the Soul, Mirror of the Soul, The Chapel of Art Gallery, Criccieth, WalesThe Chapel of Art Gallery, Criccieth, Wales19961996 Arts of Work, Arts of Work, Chelsea Art Club Chelsea Art Club 19941994 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London19941994 Anne Magill - New Work, Anne Magill - New Work, Talberg Taylor GalleryTalberg Taylor Gallery19941994 Winter’s Morning, Winter’s Morning, Equus Gallery, NewmarketEquus Gallery, Newmarket19921992 Anne Magill - New Work, Anne Magill - New Work, Talberg Taylor GalleryTalberg Taylor Gallery1992 1992 Men, Men, Davies LondonDavies London19921992 Anne Magill, Anne Magill, AOI GalleryAOI Gallery

AwardsAwards

1992 B&H Gold Illustration Awards - First Prize1992 B&H Gold Illustration Awards - First Prize1991 B&H Gold Illustration Awards - Highly commended1991 B&H Gold Illustration Awards - Highly commended1984 B&H Gold Illustration Awards - Highly commended1984 B&H Gold Illustration Awards - Highly commended1983 B&H Gold Illustration Awards - Highly commended1983 B&H Gold Illustration Awards - Highly commended1981 Design Council Award - Highly commended1981 Design Council Award - Highly commended

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Anne MagillAnne Magill

Born in County Down, Northern Ireland in 1962, Anne Magill studied at Born in County Down, Northern Ireland in 1962, Anne Magill studied at St. Martin’s School of Art in London. St. Martin’s School of Art in London.

EducationEducation

1981 - 84 1:1 Hons degree illustration, St. Martin’s School of Art, London1981 - 84 1:1 Hons degree illustration, St. Martin’s School of Art, London1980 - 81 Foundation Course, Liverpool Polytechnic (now Sir John Moore’s College) 1980 - 81 Foundation Course, Liverpool Polytechnic (now Sir John Moore’s College)

Solo ExhibitionsSolo Exhibitions

2010 / 11 2010 / 11 Journeys, Journeys, Heartbreak, LondonHeartbreak, London2008 Art London with Heartbreak, London2008 Art London with Heartbreak, London2008 Art London with Medici Gallery, London 2008 Art London with Medici Gallery, London 20072007 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London20052005 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London20032003 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London20012001 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London19981998 Anne Magill, Anne Magill, Philharmonic Hall Gallery, LiverpoolPhilharmonic Hall Gallery, Liverpool19971997 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London19971997 A Special Place II, A Special Place II, Hybrid Gallery, LondonHybrid Gallery, London19971997 Anne Magill - New Paintings, Anne Magill - New Paintings, J Walter Thompson Gallery, LondonJ Walter Thompson Gallery, London19961996 A Special Place, A Special Place, Hybrid GalleryHybrid Gallery19961996 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London19961996 Mirror of the Soul, Mirror of the Soul, The Chapel of Art Gallery, Criccieth, WalesThe Chapel of Art Gallery, Criccieth, Wales19961996 Arts of Work, Arts of Work, Chelsea Art Club Chelsea Art Club 19941994 Anne Magill, Anne Magill, Medici Gallery, LondonMedici Gallery, London19941994 Anne Magill - New Work, Anne Magill - New Work, Talberg Taylor GalleryTalberg Taylor Gallery19941994 Winter’s Morning, Winter’s Morning, Equus Gallery, NewmarketEquus Gallery, Newmarket19921992 Anne Magill - New Work, Anne Magill - New Work, Talberg Taylor GalleryTalberg Taylor Gallery1992 1992 Men, Men, Davies LondonDavies London19921992 Anne Magill, Anne Magill, AOI GalleryAOI Gallery

AwardsAwards

1992 B&H Gold Illustration Awards - First Prize1992 B&H Gold Illustration Awards - First Prize1991 B&H Gold Illustration Awards - Highly commended1991 B&H Gold Illustration Awards - Highly commended1984 B&H Gold Illustration Awards - Highly commended1984 B&H Gold Illustration Awards - Highly commended1983 B&H Gold Illustration Awards - Highly commended1983 B&H Gold Illustration Awards - Highly commended1981 Design Council Award - Highly commended1981 Design Council Award - Highly commended

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Heartbreak is delighted and privileged to be representing Anne MagillHeartbreak is delighted and privileged to be representing Anne Magilland for and for JourneysJourneys to be the exhibition with which we see out 2010 to be the exhibition with which we see out 2010 and welcome in 2011. and welcome in 2011.

Anne Magill is one of the art world’s best-kept secrets, despite having workAnne Magill is one of the art world’s best-kept secrets, despite having workheld in high profile corporate and private collections worldwide. She willheld in high profile corporate and private collections worldwide. She willnot remain a secret to the privileged few for much longer, however, as thenot remain a secret to the privileged few for much longer, however, as theevents planned for her in 2011 and 2012 introduce her work to a widerevents planned for her in 2011 and 2012 introduce her work to a wideraudience, both here in the UK and the USA.audience, both here in the UK and the USA.

We are grateful to British Airways for allowing us to feature Magill’sWe are grateful to British Airways for allowing us to feature Magill’sstunning painting, stunning painting, HarbourHarbour, before it goes to New York to be installed as, before it goes to New York to be installed asthe centre piece of their newly refurbished Concorde Lounge at JFK inthe centre piece of their newly refurbished Concorde Lounge at JFK inFebruary 2011.February 2011.

All of us at Heartbreak have hugely enjoyed getting to know Anne andAll of us at Heartbreak have hugely enjoyed getting to know Anne andher work over the last year and we look forward to a long and her work over the last year and we look forward to a long and successful working relationship.successful working relationship.

Nathalie MartinNathalie MartinDirectorDirectorHeartbreakHeartbreak

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E-catalogue published and produced by Heartbreak17 Bulstrode Street, London W1U 2JHTelephone: +44 (0)20 3219 5710E-mail: info@heart-break.co.ukwww.heartbreakpublishing.com

For the 2012 e-catalogue ‘Anne Magill: Journeys’All artworks © Anne MagillIllustrations and Text © Heartbreak

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10 DECEMBER 2010 ---- 16 JANUARY 2011

HEARTBREAK17 Bulstrode Street | London W1U 2JH

+44 (0)20 3219 5710 / info@heart-break.co.uk

Open Monday to Saturday 10am --- 6pm, Sunday 11am --- 4pm

www.heart-break.co.ukwww.annemagill.com

ANNE MAGILL

JOUR NEYS

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