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Multiple Choices 2016Editions in support of not-for-profit institutions

Curated by Michael O’Donoghue, Associate and Lucy Cox, Art InternLondon, February to September 2016

Front Cover: Hurvin Anderson, Sun Shade, 2013, Giclée print, acrylic paint, archival ink on acid free lightfast Hahnemühle German etching paper, Edition: 25 signed & numbered, 71.0 x 49.0 cmPrice on application

Published by Simmons & Simmons LLP © Simmons & Simmons LLP, 2016All rights reserved ISBN 978-0-9930956-9-6

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Introduction

The series of temporary exhibitions at Simmons & Simmons

arises from our asking the question “what else can a collection do

in addition to providing pleasure to those who work amongst it?”

Simmons & Simmons’ policy of collecting works early in the

career of artists who work in our communities already helps to

encourage local production in the visual arts. We believe that we

can extend that support by using the depth of the our collection

to promote dialogues in contemporary art; to provide much

needed exhibition space that can be viewed by the public as well

as those who work here; and to expand the provision of Simmons

& Simmons education and outreach initiatives.

With this exhibition, Multiple Choices 2016, we have taken this

one step further. This is our first selling show in the Mezzanine

Gallery – in support of 21 well known non-profit UK institutions.

Our aim is to promote those organisations whilst assisting with

the much needed revenue they gain from the sale of their artist

editions. It also provides an opportunity for clients, visitors, staff

and partners to purchase contemporary art in a familiar setting.

An artist edition, sometimes called a limited edition multiple, is a

curious beast. Few artists in the contemporary mode are known

for their work in multiples. Julie Mehrehtu, Louise Bourgeois and

David Hockney come to mind as artists with a particular interest

in working with technologies of reproduction. Often artists will

happily assist art spaces to produce a limited edition to help them

raise funds; this then provokes an interesting question – “how will

my work transfer to the multiple whilst retaining something of

what to me is necessary in my work?”

Multiplication, or reproducibility, has also provoked debate

within Modern art and the art that has succeeded it. Rather like

some decisions of the Court of Justice, Walter Benjamin’s essay

‘Art in the Age of Technical Reproduction’ is one of those famous

texts upon which the interpretation is rarely agreed. Benjamin

references film and the capacity to distribute its reels widely,

which affects the aura in which art had henceforth been held – as

original, unique, and thereby reified.

Before our own era’s mass distribution via the Internet, Andy

Warhol had already problematised these issues. Warhol used

both the easy reproducibility of screenprint and his factory of

factotums to reproduce already well known celebrity icons –

Mao or Marilyn or Elvis – from familiar photographic images.

He thereby managed to reverse Benjamin’s dereliction of aura

by investing these images with his own pop cult of (his own)

personality. The more multiplied these images and objects were,

the greater the Warhol aura became.

Yet Warhol’s work, despite the chaotic conditions of its

production, cannot be endlessly reproduced: the Andy Warhol

Foundation for the Visual Arts and it intellectual property lawyers

see to that. Hence the rise of the limited edition: by keeping the

number of multiples in an edition limited, something of an aura

is restored.

But some forms of reproduction are not like the others. Whilst,

subject to copyright laws, a digital file can be reproduced

endlessly, an etching cannot without loss, or at least not without

change, to the metal plate on which it is etched. So the first…

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…registration of the plate may well print differently to the

twentieth, or the hundredth. Artists who work in this medium

are often interested in micro-levels of destruction that occur in

order for this form to exist. Compare separate printings of Goya’s

Disasters of War, say the first to the third, and it is easy to read

the loss of detail in the third printing. It is this third edition that

the Chapman brothers (included in the Simmons & Simmons

collection) adapted with original (or at least singular) attention

by painting on top of the prints. Partly what it being played with

here by the iconoclastic brothers is the question of aura.

An example from this exhibition bears these issues out.

Reproducibility is at the heart of the work of Guy Marshall-Brown.

Using the history of ceramic mass production as a starting point,

Marshall-Brown has attempted to hand-build the same vessel

over and over, yet this hand-building and the netsuke-sized

aesthetic play belies the language of reproduction.

This emphasises something that can be experienced in all the

works on show here: that with each supposed repetition or

iteration of the works presented, each one is a form of event that

is different. We are left with a strange experience: I know they are

somehow the same, but are also different.

I am very pleased to welcome to the firm multiple works by artists

in the Simmons & Simmons collection, Howard Hodgkin, Rachel

Whiteread, Paul Morrison (who executed the large wall drawing

in our CityPoint client reception), Mat Collishaw, Alex Gough,

Bob and Roberta Smith, Hurvin Anderson, Michael Craig-Martin,

Catherine Yass, Hamish Fulton, Richard Long, Cornelia Parker and

Michael Landy as well as works by 63 other UK-based artists. And

I am very grateful to the galleries who so kindly lent the works.

David Stone

Art Partner

Howard Hodgkin

Untitled, Brushstrokes, 2011Silkscreen printed on Somerset textured white 100% rag, mounted and framed in solid natural ash and glazed in acrylic Edition: 75 signed & numbered36.1 x 25.1 cm£900

Howard Hodgkin’s work forms part of the Simmons & Simmons collection and is displayed in our Amsterdam, London, Milan and Munich offices

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The Art FundThe Art Fund is the national fundraising charity for art. In the past five years alone, the Art Fund has given £34 million to help museums and galleries acquire works of art for their collections. It also helps museums share their collections with wider audiences by supporting a range of tours and exhibitions, including ARTIST ROOMS and the 2013-18 Aspire tour of Tate’s Salisbury Cathedral from the Meadows by John Constable, and makes additional grants to support the training and professional development of curators.

The Art Fund is independently funded, with the core of its income provided by 122,000 members who receive the National Art Pass and enjoy free entry to over 230 museums, galleries and historic places across the UK, as well as 50% off entry to major exhibitions. In addition to grant-giving, the Art Fund’s support for museums includes the annual Art Fund Prize for Museum of the Year (won by The Whitworth, Manchester, in 2015), a publications programme and a range of digital platforms.

Tom PhillipsTesting Brush and Colours, 2012

Epson, silkscreen and gold-leaf on Somerset Velvet 330gsm Cotton Rag mould made paperEdition: 75 signed & numbered

36.1 x 25.1 cm£500

Howard HodgkinUntitled, Brushstrokes, 2011

Silkscreen printed on Somerset textured white 100% Cotton RagEdition: 75 signed & numbered

36.1 x 25.1 cm£900*

Paula RegoPregnant One, 2012

SilkscreenEdition: 75 signed & numbered

36.1 x 25.1 cm£500

Antony GormleyFeeling Material, 2014

Hand-printed etching, hard bite into soft ground plate from an iPad drawing, printed in Bone Black GCIC ink on Somerset Cotton Rag,

300gsm mould-made paper, presented in a hinged linen spine folder in black acid-free conservation board with cotton ties

Edition: 100 signed & numbered, verso27.0 x 31.5 cm

£950

* framed

www.artfund.org

Susan Hiller

Rough Moonlit Nights (Cyan), 2015Archival Pigment print on Hahnemühle photo ragEdition: 5077.9 x 55.5 cm£650

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Camden Arts CentreCamden Arts Centre is a place for world-class contemporary art exhibitions and education. With artists at the core of the programme, Camden Arts Centre strives to involve members of the public in the ideas and processes of today’s artists, and the artists who inspire them. In addition to gallery spaces, the building comprises of studios which schools can use free of charge and in which people of all ages and abilities can learn skills in ceramics, painting, drawing and writing as part of the courses programme.

The exhibition and education programmes are developed with equal significance and are continually intertwined. The year-round programme includes exhibitions, artist residencies, talks and events, school and artists’ projects, courses and off-site activities, ensuring Camden Arts Centre remains a dynamic place for seeing, making and talking about art.

Susan HillerRough Moonlit Nights (Cyan), 2015

Archival Pigment print on Hahnemühle photo ragEdition: 50

77.9 x 55.5 cm£650

Florian RoithmayrQuince Fur, 2015

Concrete (each slightly different)Edition: 12

28.0 x 20.0 x 1.5 cm£250

Lubna ChowdharyNothing to Fear, 2015

Glazed ceramicEdition: 5

9.5 x 14.5 x 6.0 cm£350

Dorothy CrossEverest, 2015

Archival pigment print on Hahnemühlefine art fibre based matt paperEdition: 25 signed & numbered

30.5 x 9.0 cm£250

Lynn LooEnd Rolls, 2012Unframed print

Edition: 2051.0 x 40.5 cm

£180

www.camdenartscentre.org

Alex Gough

Untitled, 2013Woodblock on black Somerset paperEdition: 1538.0 x 48.0 cm£100

Alex Gough’s work forms part of the Simmons & Simmons collection and is displayed in our London office

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Centre for Recent DrawingCentre for Recent Drawing is London’s museum space for drawing – a member of the Museum Association of the UK and a UK Registered Charity. Founded as an artist project in 2004, C4RD has since provided a public exhibition series, residencies, talks, publications and encouraged production towards independent and non-commercial aims. C4RD is in the unique position of being able to provide a whole building dedicated to drawing – showing continuous exhibitions of a broad variety of drawing practice – and also housing residencies specifically for those for whom drawing is a core part of their practice. This is in addition to the C4RD web presence, the C4RD Community registry, publications (D4RD and Z4RD), Special Projects, and Online Residencies.

C4RD’s purpose is to make space for drawing. By maintaining the visibility of a characteristically humanist approach that is drawing – in the encouragement and refinement of the understanding of drawing, the arts and society at large can benefit. C4RD seeks to facilitate access and dialogue for current drawing practice independent of structural forces in commercial and institutional settings.

Alex GoughUntitled, 2013

Woodblock on black Somerset paperEdition: 15

38.0 x 48.0 cm£100

Jason HicklinTory Island Series, 2012

Etching on Somerset paperEdition: 30 (15 retained by the Artist), signed & numbered

30.0 x 40.0 cm£100

Joan EdlisLandscape – Particle Energy 1, 2012

Etching on Somerset paperEdition: 15 signed & numbered

38.0 x 57.0 cm£100

Guy Marshall-BrownAssembled Drawing Components, 2016

Glazed EarthenwareEdition: 15

3.0 x 2.5 x 2.5 cm£30

Dhahabu NgumbaoDadu, 2012

Stitch-work on linenEdition: 15

24.0 x 16.0 cm£100

Phil GossTeapot, 2016

Lino-print on paperEdition: 15 signed

30.0 x 40.0 cm£100

www.c4rd.org.uk

Ron Henocq

Priority Seat, 2015Digital PrintEdition: 50 signed22.8 x 17.8 cm£24

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CGP LondonCGP London is an artist led gallery of contemporary art based across two venues in Southwark Park: The Gallery and Dilston Grove. Founded in 1984 by The Bermondsey Artists’ Group, the gallery has commissioned and presented over 140 free exhibitions by emergent, overlooked and established British and international artists.

CGP’s mission is to foster career development by providing excellent opportunities for artists and curators to develop their ideas and practice through the supportive and professional presentation of their work in its unique park setting, integrated within a meaningful community and learning programme. It has a commitment to the promotion of contemporary artists and the positioning of their work in national and private collections.

Over the last 32 years the gallery has hosted exhibitions and events by internationally renowned artists including Cornelia Parker, Richard Wilson, Marcus Coates, Ackroyd and Harvey, Grayson Perry, Eduardo Paolozzi, Anne Bean, Patrick Caulfield, Iain Sinclair, Andrew Kötting, Uta Kogelsberger, Tony Bevan, Mark Titchner, Matt Collishaw, Ben Rivers, Huw Locke, Stuart Brisley and Sutapa Biswas.

Ron HenocqPriority Seat, 2015

Digital PrintEdition: 50 signed

22.8 x 17.8 cm£24

www.cgplondon.org

Rachel Whiteread

Installation of Ghost, 1990–2012Digital C-Type print on Fuji Crystal Archive paperEdition: 100 + 25 Artist proofs42.0 x 29.7 cm£500

Rachel Whiteread’s work forms part of the Simmons & Simmons collection and is displayed in our Düsseldorf, London, Milan and Munich offices

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Chisenhale GalleryChisenhale Gallery supports the production and presentation of new forms of artistic activity and engages diverse audiences. This expands on its award winning, 33-year history as an innovative forum for contemporary art. It enables emerging or under-represented artists to make significant steps and pursue important new directions in their practice. At the heart of its programme is a remit to commission new work, supporting artists from project inception to realisation and representing an inspiring and challenging range of voices, nationalities and art forms.

For audiences, Chisenhale Gallery provides an opportunity to experience the process of art production intimately – this is a place where art is not collected for presentation but where it is made. As such Chisenhale Gallery operates alternately as an exhibition hall, production agency, research centre and community resource.

Chisenhale Gallery occupies a renovated 1930s veneer factory on Chisenhale Road located in the London Borough of Tower Hamlets, close to Victoria Park in the heart of London’s East End.

Rachel WhitereadInstallation of Ghost, 1990–2012

Digital C-Type print on Fuji Crystal Archive paperEdition: 100 + 25 Artist proofs

42.0 x 29.7 cm£500

Hilary LloydDress, 2013

Digital pigment print on Somerset Photo Satin paperEdition: 80 + 10 Artist proofs

42.0 x 29.5 cm£250

Christina MackieDark Drops, 2012

Handmade ink and wax interventions onto Digital Pigment Print with 1 colour silkscreen plus Glaze onto Somerset Photo satin

Edition: 40 + 5 Artist proofs28.3 x 38.0 cm

£295

Ahmet ÖğütPeople’s Park, 2015

Digital and lino print onto Somerset Photo SatinEdition: 30 + 5 Artist proofs

38.5 x 29.5 cm£195

www.chisenhale.org.uk

Charles Avery

Coscienza Coming Towards, Conscienza Going Away From, 2007WoodcutEdition: 260.5 x 48.5 cm x 2£2,000

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Drawing RoomDrawing Room explores ideas around contemporary drawing and makes them visible in the public domain.

The programme incorporates a wide range of ideas and media, from the traditional to the experimental, and is informed by contemporary artistic practice. It supports the production of new work and acts as a catalyst to test the parameters of drawing, providing opportunities for artists, writers and curators to produce, examine and research contemporary drawing.

Drawing Room has delivered an international programme of solo and group exhibitions that have included established, emerging and historical artists. Many of these exhibitions have toured to galleries and museums throughout the UK and beyond. Since its first Drawing Biennial fundraiser in 2003, over 1,000 works have been made especially for Drawing Room.

Charles AveryCoscienza Coming Towards, Conscienza Going Away From, 2007

WoodcutEdition: 2

60.5 x 48.5 cm x 2£2,000

Peter LiversidgeProposal (for the Library Rules), 2014

Carbon on PaperA4 conqueror paper

Edition: 50 + 15 artist proofs 29.7 x 21 cm

£250

Peter LiversidgeThe Rules, 2014

Single colour silkscreenFabriano 5, smooth 300 gsm paper

Edition: 50 + 15 artist proofs59.3 x 42 cm

£250

www.drawingroom.org.uk

Charlotte Prodger

Richard / Chain, 2014Risograph on Munken Lynx PaperEdition: 20039.4 x 27.7 cm£40

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Glasgow InternationalGlasgow International is a world-renowned biennial festival of contemporary art. Every two years, for 18 days, all the city’s major cultural institutions present an ambitious programme of free art exhibitions, events, talks, performances and projects. 2016 marks the seventh edition, bringing together work by local and international artists from 8–25 April for the second time under the guidance of Director, Sarah McCrory.

Glasgow International works in close collaboration with artists to offer limited editions and unique artworks. All editions are exclusive to Glasgow International and signed and numbered by the artist. Glasgow International is part of Glasgow Life, which is a registered charity (SC037844). Income generated from the sale of artists’ editions ensures that the ambitions and aspirations of the festival continue to be realised.

As is traditional in editions publishing, prices will increase as the edition starts to sell out. For terms and conditions please visit www.glasgowinternational.org/shop.

Tobias MadisonUntitled, 2015

Xerox sewn on canvas, back painted with dispersionEdition: Series of 10, each unique

£650 (Benefactors £520)

Anthea Hamilton & Nicholas ByrneWhat’s On Your Mind, Grapes?, 2014

Digital pigment print with silkscreen glaze on Hahnemühle photo rag paper

Edition: 5050.0 x 33.85 cm

£150 (Benefactors £120)

Charlotte ProdgerRichard / Chain, 2014

Risograph on Munken Lynx PaperEdition: 200

39.4 x 27.7 cm£40

www.glasgowinternational.org

Helen Bermingham

Untitled, 2013Giclée print on Hahnemühle PaperEdition: 529.5 x 22.0 cm£260

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Hundred Years GalleryHundred Years Gallery is a dynamic art space situated in Hoxton, East London supporting experimental and innovative art from London-based and international artists. The Gallery`s exhibition programme is aimed at presenting a wide spectrum of contemporary art production with an emphasis on providing a platform for radical ideas and young or unrepresented artists. The space also provides opportunities for those in the arts to become part of its exhibition programme through annual open calls and editions projects.

Nick J S ThompsonUntitled #8, 2012

C-Type print Fuji Crystal Archive Matt paperEdition: 5

30.4 x 40.6 cm£450*

Helen BerminghamUntitled, 2013

Giclée print on Hahnemühle PaperEdition: 5

29.5 x 22.0 cm£260*

Helen BerminghamDigging, 2013


21.5 x 21.5 cm£250*

Helen BerminghamUntitled, 2013


29.5 x 22.0 cm£260*

Lex ThomasPrisoner’s Cinema (Drake), 2015


20.3 x 25.4 cm£350*

Lex ThomasPrisoner’s Cinema (Fallen), 2015


20.3 x 25.4 cm£350*

* price is for a framed editionwww.hundredyearsgallery.com

Tomas Saraceno

Untitled, 2008Giclée print on paperEdition: 50 signed & numbered, verso50.0 x 40.0 cm£560

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ICA (Institute of Contemporary Arts)Founded in 1946, the ICA seeks to embrace the urgency surrounding contemporary art and culture. Continually looking forward, the ICA lays claim to an extraordinary legacy, being home to the Independent Group, as well as playing a pivotal role in the development of Pop Art, Op Art and Brutalist Architecture. It charted the course of Punk, Performance, Independent Cinema and Young British Art, while showcasing numerous international artists, from Yoko Ono to Gerhard Richter.

The ICA has always supported interdisciplinary practice, encouraging artists to experiment and explore unresolved ideas. Comprising film screenings, exhibitions, talks and events, the ICA Programme can be experienced at our base on The Mall, via our website and social media, or as ‘Off-Site’ projects at alternative venues, nationally and internationally. The ICA has a longstanding fascination with the evolution of Pop culture in our mass digital age.

Nicholas ByrneFaces, 2011

Polymer gravure print on Somerset paperEdition of 24 (one from a pair of prints, each an edition of 12), signed &

numbered, verso49.5 x 38.0 cm

£255

Paul SimononCrash Helmet (Green and Black), 2015

Linocut on Kraft paper hand printed and colouredEdition: 20 signed & numbered

30.0 x 37.5 cm£450

Zhang DingSound Absorber (Silkscreen Print on Mirror), 2015

Four colour silkscreen print with gold and silver mirrored inkEdition: 35, accompanied by a signed & numbered certificate

31.0 x 42.0 cm£850

Loris GréaudCellar Door Shadow Bubble, 2010

Varnished screenprint on black pike archival paperEdition: 100 signed & numbered, verso

50.0 x 70.0 cm£120

Prem SahibOuting, 2015

Laser print on black paperEdition: 85 signed & numbered, verso

42.0 x 29.7 cm£200

Fia BackströmStudies in Leadership, 2009

Silkscreen printEdition: 50 signed & numbered

81.0 x 61.0 cm£185

Tomas SaracenoUntitled, 2008

Giclée print on paperEdition: 50 signed & numbered, verso

50.0 x 40.0 cm£560

www.ica.org.uk

Hamish Fulton

From A to B Switzerland, 1995Edition: 10020.0 x 30.0 cm£90

Hamish Fulton’s work forms part of the Simmons & Simmons collection and is displayed in our Frankfurt and London offices

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Ikon GalleryIkon is an internationally acclaimed art gallery situated in central Birmingham. It is an educational charity and works to encourage public engagement with contemporary art through exhibiting new work in a context of debate and participation.

In 1964, the artists’ group that founded Ikon published a prospectus that was as clear as it was idealistic. Their aesthetic proposition was neatly summarised: “Ikon is intended as an antithesis to exclusive art establishments and galleries … [it] has been formed because of the need for an accessible place where the exchange of visual ideas can become a familiar reality.”

The gallery programme features artists from around the world. A variety of media are represented, including sound, film, mixed media, photography, painting, sculpture and installation. Ikon’s off-site programme develops dynamic relationships between art, artists and audiences outside the gallery. Projects vary enormously in scale, duration and location, challenging expectations of where art can be seen and by whom.

Education is at the heart of Ikon’s activities, stimulating public interest in and understanding of contemporary visual art.

Hamish FultonFrom A to B Switzerland, 1995, 2012

Inkjet printEdition: 100

26.0 x 42.0 cm£90

Robert OrchardsonStudy for Endless Façade, 2011

Giclee printEdition: 50

37.0 × 25.0 cm£80

Boyd & EvansMotel Six, 2012

Archival inkjet printEdition: 50

35.0 x 60.0 cm£150

www.ikon-gallery.org

Benedict Drew

Headroom, 2014C-Type print, Kodak Flex PaperEdition: 50 + 5 artist proofs29.9 x 29.9 cm£190

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Matt’s GalleryEstablished in 1979, the underlying principle of Matt’s Gallery is to identify artists at key stages of their career that require the time, support and development to produce ambitious projects for public output.

Robin Klassnik’s mission remains at the forefront of the gallery’s operations; to be a significant driver and supporter of artistic development, to foster public debate and alternative ways of working and to share in the exchange of ideas which contribute to contemporary culture for future generations to come.

Matt’s Gallery has commissioned exhibitions that have become international points of reference in the art world, including seminal projects by Mike Nelson, Susan Hiller, Richard Wilson, Lindsay Seers, Willie Doherty and Jimmy Durham.

Benedict DrewHeadroom, 2014

C-Type print, Kodak Flex PaperEdition: 50 + 5 artist proofs

29.9 x 29.9 cm£190

Benedict DrewNo Body, 2014

C-Type print, Kodak Metallic Papermounted on 2mm aluminium battens

Edition: 50 + 5 artist proofs24.0 x 18.4 cm

£150

www.mattsgallery.org

Cornelia Parker

‘Meteorite lands...in the middle of nowhere (the American series), 2001’:[Hitting] Bethlehem, North Carolina Map revealing burn mark left by the meteoriteEdition: 20 signed and numbered65.0 x 47.0 cm£1,950*

Cornelia Parker’s work forms part of the Simmons & Simmons collection and is displayed in our London office

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The Multiple StoreThe Multiple Store commissions new limited editions (most in 3-D) by leading contemporary artists including Turner Prize nominees Fiona Banner, Anya Gallaccio, Langlands & Bell, Cornelia Parker, Yinka Shonibare MBE, David Shrigley and Alison Wilding.

Founded in 1998 as a not-for-profit company by solicitor Nicholas Sharp and arts editor Sally Townsend, its aims are to commission new limited editions in 3D by some of the best contemporary British artists (established and emerging) and to provide opportunities for artists to explore new materials and processes; also to enable collectors to acquire editioned work by major artists whose unique work is often priced beyond their reach.

Its commissions have been exhibited at many major venues including the Institute of Contemporary Arts (ICA), Whitechapel Gallery, Tate Liverpool, Yorkshire Sculpture Park and Scottish National Gallery of Modern Art. Many leading international collections include Multiple Store commissions in their permanent collections, such as the Arts Council and British Council collections, the Victoria & Albert Museum, The Museum of Modern Art, New York and the Walker Center for British Art.

Dan HaysSpring Snow, 2009

Screenprint on Velin Arches Blanc paperEdition: 65 signed & numbered

70.5 x 89.0 cm£850

Cornelia Parker‘Meteorite lands...in the middle of nowhere (the American series), 2001’:

[Hitting] Bethlehem, North Carolina.Map revealing burn mark left by the meteorite

Edition: 20 signed & numbered65.0 x 47.0 cm

£1,950*

Cornelia Parker‘Meteorite lands...in the middle of nowhere (the American series), 2001’:

[Missing] Truth or Consequences, New MexicoMap revealing burn mark left by the meteorite


£1,950*

David ShrigleyBrass Tooth, 2009

Solid polished brass, wooden boxEdition: 80

8.0 x 6.0 x 14.0 cm£2,250

Jonathan CallanPoem, 2000

Laser-cut book with siliconeEdition: 50

19.0 x 6.5 x 14.5 cm£1,750

Rose Finn KelceyIT Rules, 2002

Circuit board with green LEDsencased in vacuum formed plastic


£1,500

* price is for a framed editionwww.themultiplestore.org

Mat Collishaw

Third Degree, 2015Lambda print100 signed & numbered75.0 x 75.0 cm£235

Mat Collishaw’s work forms part of the Simmons & Simmons collection and is displayed in our Amsterdam and London offices

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The New Art Gallery, WalsallDesigned by Caruso St John architects and opened in February 2000, The New Art Gallery Walsall, situated in the West Midlands, is one of the UK’s largest public art galleries. A critically acclaimed exhibition programme focuses on the very best in national and international contemporary art – recent and upcoming major exhibitions include Eva Rothschild, Mat Collishaw, Martin Parr, Richard Long and Chiharu Shiota.

On permanent display is The Garman Ryan Collection which was gifted by Lady Kathleen Epstein (nee Garman), widow of the great 20th century sculptor Jacob Epstein. The Collection includes works by Van Gogh, Monet, Constable, Picasso, Degas and Matisse, as well as by friends and family members, such as Epstein, Matthew Smith, Theo Garman and Lucian Freud.

The Gallery’s Artists’ Studio and Artist Development programmes support artists from across the region and an active education and community programme provides a broad cultural experience for everyone.

Mat CollishawThird Degree, 2015

Lambda printEdition: 100 signed & numbered

75.0 x 75.0 cm£235

Richard LongNO FOOTPRINTS, 2013

Offset LithographEdition: 150 signed & numbered

63.0 x 43.6 cm£295

www.thenewartgallerywalsall.org.uk

Thomas Schütte

Gisela, 2012Etching, drypoint & carborundum on paperEdition: 100 signed & numbered73.0 x 53.0 cm£960

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Serpentine GalleriesSerpentine Galleries are some of Britain’s best loved galleries, attracting up to 1.2 million visitors in any year. The Art Newspaper lists the Serpentine Galleries as the 9th most visited museum or gallery in London and the 66th worldwide.

Since 1970, the Serpentine has gained an international reputation for excellence, working with over 2,876 artists, architects and designers in 46 years and offering innovative ways for people of all ages to engage with modern and contemporary art through its exhibition, architecture, design, education and public programmes.

The Serpentine Gallery, a Grade II listed former tea pavilion was opened by Arts Council England on 1 May 1970. Situated a five-minute walk from the Serpentine Gallery in Kensington Gardens is the Serpentine Sackler Gallery which opened in 2013, designed by Pritzker Architecture Prize laureate Zaha Hadid. Together the Serpentine Galleries provide a cultural destination and landmark in the heart of London, surrounded by the beautiful parkland of Kensington Gardens.

Thomas SchütteGisela, 2012

Etching, drypoint & carborundum on paperEdition: 100 signed & numbered

73.0 x 53.0 cm£960

Cerith Wyn EvansSomething Like A Picture (For Gustav), 2009

Resin coated print on Ilford Pearl paperEdition: 150 signed & numbered, verso

31.5 x 21.5 cm£216

www.serpentinegalleries.org

Paul Morrison

Asplenium, 2013Screenprint with 24 carat gold leaf on Somerset Tub paperEdition: 45 signed & numbered, verso29.0 x 80.0 cm£950

Paul Morrison’s work forms part of the Simmons & Simmons collection and is displayed in our London office

33

South London GallerySouth London Gallery is an internationally acclaimed contemporary art space which has been free to the public since opening in 1891. Its founding mission was to “bring art to the people of south London” and in the last twenty years it has become known for showing challenging new work by emerging and established British and international artists.

South London Gallery is a registered charity which raises more than half of its income from trusts, foundations, sponsors, fundraising events and a network of individual supporters to realise its ambitious programme of exhibitions and events. Artists have played a crucial role in this by donating works to auctions and making artists’ limited editions to sell in its shop. South London Gallery is set to expand after being gifted the currently derelict, Grade II listed former Peckham Road Fire Station, just 100m from the gallery’s main site on Peckham Road. The four-storey building will be transformed into a new cultural centre and annexe to the South London Gallery due to open in 2018. Fundraising for the project is underway and the gallery has already received support from the Heritage Lottery Fund to develop the project plans, with a pledge for a further £1.5m on condition that the gallery raises £2m in match funding by June 2016, more than half of which has already been secured.

Paul MorrisonAsplenium, 2013

Screenprint with 24 carat gold leaf on Somerset Tub paperEdition: 45 signed & numbered, verso

29.0 x 80.0 cm£950

Peter LiversidgeSomething On Your Mind, 2015

Plaque, hand-painted baked enamel, cast aluminiumEdition: 5 signed & numbered

22.8 x 11.0 cm £750

Peter LiversidgeHello Stranger, 2015

Plaque, hand-painted baked enamel, cast aluminiumEdition: 5 signed & numbered

22.8 x 11.0 cm£750

Mark TitchnerStudy for Sceaux Gardens TRA Hall, 2014

Giclée print on Somerset velvet enhanced 255 gsmEdition: 35 signed & numbered

42.0 x 57.7 cm£180

www.southlondongallery.org

Andrea Büttner

Neon, 2014Neon tubes painted baseEdition: 1560.0 x 46.1 cm from £2,500

35

Studio VoltaireFor over twenty years, independent arts charity Studio Voltaire has championed emerging and underrepresented artists, offering an alternative and agenda-setting view of contemporary art.

Many exhibitions are an artists’ first solo presentation in London. Studio Voltaire invests in the production of new work that might not always be possible in commercial galleries or institutions, giving artists the chance to expand their practice, often working in residency in the gallery. Exhibiting artists have included Phyllida Barlow, Marvin Gaye Chetwynd, Nicole Eisenman, Jo Spence, Judith Bernstein, Ella Kruglyanskaya, Elizabeth Price, Henrik Olesen, Charlotte Prodger, Sanya Kantarovsky, Richard Slee and Cathy Wilkes.

Studio Voltaire’s programme is intergenerational, supporting both emerging artists and those who have been underrepresented but deserve championing, often at a key stage in the artist’s career.

Studio Voltaire is a place of constant creativity, with a full year-round programme of exhibitions, events and education projects, as well as the on-site complex of affordable artist studios. Meanwhile innovative fundraising store House of Voltaire offers unique artworks, limited edition prints, homewares, clothing and objects by leading contemporary artists and designers – giving many people their first chance to own art and collect contemporary art and design. Whether online or from one of their international temporary presentations, every purchase from House of Voltaire directly supports Studio Voltaire’s exhibition and education programmes.

Duncan CampbellBeer Can Light, 2015

Beer can on base with internal light bulbEdition: 50

25.0 x 17.0 x 10.0 cm from £250

Andrea BüttnerNeon, 2014

Neon tubes painted baseEdition: 15

60.0 x 46.1 cm from £2,500

www.houseofvoltaire.org

Michael Craig-Martin

Globe, 2015Letterpress print on Zerkall 902 Smooth White PaperEdition: 40 signed and numbered50.0 x 48.2 cm£720

Michael Craig-Martin’s work forms part of the Simmons & Simmons collection and is displayed in our London office

37

Tate When Tate first opened its doors to the public in 1897 it had just one site, displaying a small collection of British artworks. Today Tate has four major sites and the national collection of British art from 1500 to the present day and international modern and contemporary art, which includes nearly 70,000 artworks. A number of new developments are planned for Tate Modern, Tate Britain and Tate St Ives to ensure the galleries continue to expand.

Tate’s mission is to increase the public’s enjoyment and understanding of British art from the sixteenth century to the present day and of international modern and contemporary art.

Fiona RaeGather All The Treasure, 2011

Giclée print on Hahnemühle photo rag paperEdition: 150 signed & numbered

61.0 x 44.0 cm£350

Michael Craig-MartinGlobe, 2015

Letterpress print on Zerkall 902 Smooth White PaperEdition: 40 signed & numbered

50.0 x 48.2 cm£720

www.tate.org.uk

Nina Ogden

Unherd, 2013Giclée print on German etching paperEdition: 25 signed & numbered, verso29.7 x 21.0 cm£165

39

Transition Transition was founded in 2002 in Hackney, East London by artist Cathy Lomax. The gallery is a not-for-profit, contemporary art organisation run by practising artists with an aim to bring new art to new audiences. Transition shows artists at the beginning of their careers alongside more established artists and as well as hosting exhibitions, organising talks, screenings and off-site projects and publishing accompanying books and essays.

Transition’s magazines, Garageland and Arty, are stocked by art gallery bookshops in the UK and internationally.

The gallery is visited by a varied audience of local residents, art students and professionals and art collectors and institutions all of whom are keen to see the best of new art. Work from Transition has been bought by a number of national and international collections, notably The Saatchi Collection.

Nina OgdenUnherd, 2013

Giclée print on German etching paperEdition: 25 signed & numbered, verso

29.7 x 21.0 cm£165

Ryan MosleyPrimitive Ancestory XI, 2012

Giclée print on Somerset velvet paperEdition: 75 signed & numbered, verso

51.0 x 42.0 cm£200

Rose WylieBlue Girl, 2013

Seven colour screenprintEdition: 50 signed & numbered

75.0 x 56.0 cm£310

Paul HousleyThree Bananas, 2015

Four layer screenprint with hand drawn element,Fabriano Rosapina fine art paper


£310

Henry HusseyVanitas, 2016

Dyed damask, dyed cotton, embroidered cotton, chain stitch embroidery and bleach


£2,000

Chlöe ManassehReel; Japan Rail, 2015

Digital print on trace with bambooEdition: 5

42.0 x 30.0 cm£200

www.transitiongallery.co.uk

Bob and Roberta Smith

Bird Search, 200912 colour Giclée print archival pigmentink on acid free lightfast Hahnemühle German etching paperEdition: 100 signed & numbered48.0 x 58.0 cm£250

Bob and Roberta Smith’s work forms part of the Simmons & Simmons collection and is displayed in our London office

41

Vital ArtsVital Arts is the arts organisation for Barts Health NHS Trust, charitably funded to deliver art projects that improve the hospital environment and, in turn, the patient experience. It has developed an international reputation for producing ambitious, innovative and pioneering art programmes that offer patients and staff the opportunity to interact with contemporary art, including work by Roger Hiorns, Catherine Yass, Darren Almond, Hurvin Anderson, Richard Wentworth, Peter Liversidge, Cornelia Baltes, Ruth Ewan, Amalia Pica among many others. All projects are site-specific and born of a long engagement by the artists with the Trust hospitals, which include the Royal London, Barts, Mile End, Whipps Cross and Newham University.

Along with commissioning permanent artworks, Vital Arts also runs a Participation Programme which brings music, dance and performance into the hospitals, partnering with organisations such as the LSO, Trinity Laban, National Portrait Gallery, Royal Academy of Music, Tate, Barbican and Artangel.

Bob and Roberta SmithBird Search, 2009

Giclée print archival pigment ink on acid free lightfast Hahnemühle German etching paper


£250

Lothar GötzHütte im Grünen, 2012

Giclée print archival ink and acid free lightfast Hahnemühle German etching paperEdition: 20 signed & numbered, verso

42.0 x 59.4 cm£325

Marta MarcéPinballing, 2008

Giclée print archival pigment ink on acid free lightfast Hahnemühle German etching paper


£175

Blaise DrummondMountain Streams and Rivers, 2013

Giclée print archival ink and wallpaper on Hahnemühle German acid free lightfast etching paper


£325

Georgie HoptonA Veg Print For All Seasons, 2013

Silkscreen, acrylic and collage on Somerset GreyEdition: 25 signed & numbered

67.8 x 92.4 cm£325

Catherine YassSleep (Swamp), 2009

Giclée inkjet print using archival pigment ink on acid free lightfast Hahnemühle German fine art pearl


£300

Hurvin AndersonSun Shade, 2013

Giclée print, acrylic paint, archival ink on acid free lightfast Hahnemühle German etching paper


Price on application

Blaise DrummondAll Forest Margins, in Meadows and Fields, 2013

Giclée print archival ink, oil cloth and string on Hahnemühle German acid free lightfast etching paper


£325

www.vitalarts.org.uk

Michael Landy

Homo Bulla, (mauve versions) 2011Lithograph print on Somerset Hot PressEdition: 15 signed & numbered54.0 x 43.4 cm£495

Michael Landy’s work forms part of the Simmons & Simmons collection and is displayed in our Bristol, Düsseldorf and London offices

43

Whitechapel GalleryWhitechapel Gallery was founded in 1901 to bring great art to the people of East London.

The Gallery’s history is a history of firsts: in 1939 Picasso’s masterpiece, Guernica was displayed at the Whitechapel Gallery on its first and only visit to Britain; in 1958 the Gallery presented the first major show in Britain of American abstract expressionist Jackson Pollock; and in 1970 and 1971 the first shows of David Hockney, Gilbert & George and Richard Long were staged to great acclaim.

Exhibitions in the 1980s and 90s included Donald Judd, Cy Twombly, Cindy Sherman and Lucian Freud. From 2000, the Gallery has shown Liam Gillick, Nan Goldin, Cristina Iglesias, Paul McCarthy, Mark Wallinger and Franz West.

The Gallery is internationally renowned for its exhibitions of modern and contemporary art and its pioneering education and public events programmes. The Whitechapel plays a unique role in the capital’s cultural landscape and is pivotal to the continued growth of East London as a leading contemporary art quarter.

Zhao YaoPainting of Thought 1-493, 2015

7 colour overprint of multi-layered plasticol ink on printed buckramEdition: 55 signed & numbered

59.5 x 52.6 cm£495

David BatchelorFound Monochrome, 2015

PrintEdition: 55 signed & numbered

50.8 x 40.5 cm£395

John BaldessariBox Hat Frame and Chair, 2011

Archival inkjet print on Hot Press paperEdition: 60 signed & numbered

66.0 x 66.0 cm£2,950

Michael LandyHomo Bulla, (mauve version) 2011

Lithograph print on Somerset Hot PressEdition: 15 signed & numbered

54.0 x 43.4 cm£495

Angela de la CruzLoose Fit, 2014

Pigment print on Somerset Enhanced Radiant White Satin with silkscreen glazeEdition: 30 signed & numbered

45.2 x 39.2 cm£445.50

Eva StenramDrape XIV, 2015

Silver gelatin print on fibre paperEdition: 42 signed & numbered

29.5 x 29.5 cm£225

Jaime GiliLake 9, 2010

Five colour screenprintEdition: 75 signed & numbered

59.4 x 42.0 cm£535

www.whitechapelgallery.org

Cindie Cheung

Compositional Study; Pose #1, 2010Lambda C-PrintEdition: 10 + 2 artist proofs40.6 x 27.0 cm£165

45

Zabludowicz CollectionZabludowicz Collection is a philanthropic organisation including a growing collection of contemporary art and a programme of international exhibitions, events and artists’ residencies. Founded in 1994, the Collection is dedicated to fostering new audiences and a sustainable environment for contemporary art, offering a variety of opportunities and support for artists and art organisations. All of its activities are privately funded and free for the public to access.

The collection contains over 3000 works of art by more than 500 artists, spanning 40 years of art production. Its focus is on emerging art from the late 20th century to the present day and it is in constant development.

In 2007 the Collection opened its main exhibition space in London, in a 19th Century former Methodist Chapel, where it has worked with artists, curators and the collection to produce exhibitions and events examining contemporary art practice in a public forum. The Collection now also runs an international programme of exhibitions, events, residencies and commissions across four permanent venues in the UK, USA and Finland. Works

Cindie CheungCompositional Study; Pose #1, 2010

Lambda C-PrintEdition: 10 + 2 artist proofs

40.6 x 27.0 cm£165

Toby ZieglerThe Alienation of Objects, (the artist’s edition), 2010

Artist’s book re-bound with perch/goat/ray/skin and paper insertsEdition: 10 + artist proofs

19.0 x 14.0 cm£250

www.zabludowiczcollection.com

47

ThanksSimmons & Simmons

David StoneArt Partner

Stuart EvansCurator of the Simmons & Simmons collection

Jon SharplesCo-Chair of the Art Network

Chris LewisCo-Chair of the Art Network

David MicheaudArt work hanger

Chris AndrewsDirector of Risk Management

Jodi YoungHead of Bids & Communications

Peter Cohen & James LangleyVideo Editors & Photographers

Jacob VennBuilding Services Manager, Facilities

Tom WatsonFacilities Co-ordinator

Debbie GrayilngGraphic Design Supervisor

The Facilities teamWilliams Lea (print room)

The lending institutions

Art Fund

Camden Arts Centre

Centre for Recent Drawing

CGP London

Chisenhale Gallery

Drawing Room

Glasgow International

Hundred Years Gallery

ICA (Institute of Contemporary Arts)

Ikon Gallery

Matt’s Gallery

The Multiple Store

The New Art Gallery, Walsall

Serpentine Galleries

South London Gallery

Studio Voltaire

Tate

Transition

Vital Arts

Whitechapel Gallery

Zabludowicz Collection

Terms and conditions(1) All works are offered for sale by the listed institution. They are not offered for sale by Simmons & Simmons. Purchasers will be

put in touch with the listed institution for the purposes of any purchase. For the specific terms and conditions of each institution, please see its website.

(2) All works are multiple editions. The actual edition number purchased is unlikely to be the one on display.

(3) Displayed works will not be available to take away until after 26 September 2016.

(4) All works are offered for sale unframed (unless stated otherwise), and the dimensions given are unframed dimensions supplied by the listed institution.

49

The Simmons & Simmons Art Network

Different studies have placed the average time people spend looking at individual art works in galleries and museums at anywhere

from 17 seconds to as little as 3 seconds.

Looking at art in the corporate environment is a bit different. A work can resonate in a new way after 2 or 3 hours shut in a meeting

room with it. A piece’s meaning can evolve for someone who passes it in a corridor every day for months or even years. Love it or

hate it, spending that much time in front of an artwork means there will often be dialogue with it. It can make us listen to it, and think

something in response, and look again; it’s an intriguing phenomenon to have an ongoing, evolving relationship with something that

is itself unchanging.

That said, artwork hung in any living environment, be it domestic or working, can become wallpaper and simply fade into the

background. This can even happen when the work is by Tracey Emin, or Chris Ofili, or Jake and Dinos Chapman, and so in 2012 the

Art Network was born to raise the profile of the firm’s collection of contemporary art and to provide more opportunities for partners

and staff to engage both with it and the wider contemporary art world.

Since then, the Art Network has gone from strength to strength to the point where we now have over 150 members receiving regular

updates of activities around the collection, such as new acquisitions, re-hangs and exhibitions, as well as invitations to tours and

events both within and outside the firm, and information about pro bono opportunities within the visual arts such as the ‘Lawyers

Volunteering for the Arts’ and ‘Law for the Arts’ programmes.

Since 2013, we have achieved several notable ‘firsts’, including the first staff-curated exhibition “Are you sitting comfortably?”.

Recently, we had our first offsite excursion – a tour behind the scenes of the Government Art Collection – and several more visits

to galleries and artists’ studios are in the pipeline. Network members are writing about the collection in greater numbers than ever

before, both for exhibition catalogues and for ‘art cards’ to be displayed alongside the works throughout our offices, many of which

contain touching, personal responses to those works.

Our ‘private’ art collection is more accessible than ever due to the dedication, enthusiasm and knowledge of members of the Art

Network who have trained to become tour guides. In the last couple of years we have greatly increased the number of tours given to

groups from outside the firm, including popular client entertaining events, sold-out allocations for Open House London and the City

of London Festival, and lots of groups from art institutions and colleges. Our friends outside of the firm can read about these events

and all our other activities by visiting our dedicated art website, by following us on Twitter, or by signing up to our external mailing

list – all of which are maintained by members of the Art Network.

Jon Sharples and Chris Lewis,

Co-Chairs of the Simmons & Simmons Art Network

The Simmons & Simmons contemporary art collectionsimmonscontemporary.com

[email protected]@Simmons_Art

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