Although the theme of the artist at work is harder to find in Katrin Bellinger’s favourite area, 16th- and 17th-century Italian drawings, the collection does include some beautiful examples by Parmigianino, Pier Francesco Mola and Livio Mehus, among others. The 18th century is well represented, both in Italy, with drawings by Giambattista and Domenico Tiepolo, and in France, with Antoine Watteau, Jean-Honoré Fragonard, Hubert Robert and Jean-August-Dominque Ingres. The subject’s omnipresence in the 19th century is reflected in the collection’s holdings, which include Pierre Puvis de Chavannes, Paul Mathey, Georges Seurat and James Ensor. Self-portraits and studio scenes continue to proliferate in the 20th century, as shown by the works of Max Liebermann, Lovis Corinth, William Orpen, Egon Schiele and Horst Janssen.
Artists have always enjoyed depicting their tools and workspaces. Whether for didactic purposes or as means of self-expression, tools such as pens, brushes, ink pots, paint boxes and paper constitute a captivating subject for artists working across media and styles. This varied selection from the Katrin Bellinger collection exemplifies well the fascination with studio miscellanea and the tools of the trade.
While artists’ tools feature in nearly all of the collection’s works, in this group they are allowed to take centre stage. Whether arranged in a still-life composition or shown as if only momentarily relinquished, representations of artists’ tools offer insights into the intimate space of the workshop. For artists across periods, such as François Bonvin and John Sergeant, their palettes, brushes, pencils and portfolios became favourite subjects to be lovingly and meticulously portrayed. Typical of his lively sketches of everyday objects, Adolphe von Menzel’s witty drawing brings his spectacles, penknife and quill to life.
From the early 1960s, American artist Jim Dine deployed his paintbrush and studio tools as markers of his persona, in what he called an ‘autobiography through objects’. Contemporary Norwegian printmaker Erling Valtyrson also self-identified with his tools and exotic collectables by titling his mezzotint, Self-portrait.
Related blog article: Pens and mahl sticks: in the drawn world of John Sergeant
The Katrin Bellinger collection’s holdings offer a wide-ranging overview of the theme of the artist’s model, with examples spanning from the 18th century, with Giambattista Tiepolo’s Academy of the nude, to the present. While many works focus on the didactic aspect of the life class, others place the spotlight on the model as an individual, perhaps showing them in a moment of rest. Others still, like Thomas Rowlandson’s and Charles West Cope’s satirical images, poke fun at the obsessive pursuit of ideal beauty and the ever-present fear of immorality.
Drawing from life was the final stage in the three-part training prescribed for artists since the Renaissance. Young apprentices first had to train their hand by copying their master’s drawings and studying antique casts. French academies introduced the life class in the 17th century, admitting male models exclusively. From its establishment in late 1768, the Royal Academy of Art in London also prescribed several years of drawing the nude for its pupils. A comprehensive understanding of the workings of the male body was considered essential for any artist regardless of his future ambitions.
In the second half of the 19th century, with the rise of realism, the demand for models of both genders increased exponentially. Although female models were a common sight by that point, a certain uneasiness endured. A flurry of images exposes the unsettling relationship between the overwhelmingly male cohort of artists and the exposed body of the model. By playing with multiple levels of gaze, Georges Paul Leroux’s and Maxime Dethomas’s drawings blur the boundary between sanctioned practice and voyeurism.
Numerous 20th-century photographs capture the interaction between artist and model both in the studio and in the art school. Less well represented is the experience of women artists working from the nude model, a taboo that long outlived the restrictions imposed on women’s artistic education. It is refreshing to see Bill Brandt’s shot of a nude model posing for Brynhild Parker, showing her as a fine practitioner of the British figurative style.
The tradition of representing painting, sculpture and architecture as female figures – abstract entities guiding the (usually male) artist to glory –, emerged during the sixteenth-century. In his Lives of the Artists, Giorgio Vasari described Painting, Sculpture and Architecture as the three Sister Arts all born from one father, Disegno, signifying both the act of drawing and the conceptual ideation of design. The ambition of Italian Renaissance artists to elevate the status of the visual arts from manual to intellectual activities thus resulted in their inclusion among the nobler Liberal Arts.
The sisterhood between the Arts is at the centre of Michel François Dandré-Bardon’s drawing and Daniel Berger’s print after Angelica Kauffman. While a light-hearted sketch by Pietro Testa adds a hint of irony to the traditional paragone, or rivalry, between painting and sculpture, by exaggerating the latter’s creative frenzy.
From the 17th century, the easily-blurred boundary between portraits of women painters and allegories of Painting allowed for ambitious affirmations of female agency in the arts. Much rarer is the representation of Design (in Italian, Disegno is a masculine noun) as a female artist intently studying a classical cast. In her ground-breaking work, one of her four Elements of Art painted for the ceiling of the Royal Academy’s Council Room in Somerset House, Angelica Kauffman reclaimed women’s proficiency in all realms of artistic creation.
While artists’ hands at work are a common sight within the Katrin Bellinger collection, this selection is devoted to works that thematise the hand as the primary object of investigation. The group features hands drawing, writing, painting, and sculpting, but also hands sharpening quills and cleaning brushes. Notoriously difficult to depict, hands have always been a challenging subject-matter for artists, often serving as a testing ground for their skills in representation. Even more testing is to draw one’s own hands. Just as, with the aid of a mirror, training artists turn to their own faces as a readily available subject, so they may also study their hands, as we see in Edgar Degas’ drawing of his right hand sketching his left.
Arguably the fundamental instrument of the artist, hands constitute a beguiling topic of investigation. Representing an individual’s hands may bring one closer to the origin of their creative powers. At times equated to portraits or self-portraits, depictions of hands can be as different as the motivations behind them. Vincenzo Gemito’s bronze cast of the hands of his mentor Jean-Louis Ernest Meissonier is not only a tribute to the older master but also a proxy for the man himself, whose company Gemito sorely missed.
Sir Francis Seymour Haden’s series of prints of his own hands, variously drawing, etching, dry-pointing, or painting are a true catalogue of his skills. Photographer Nicola Bensley said of the resting hand of Frank Auerbach that it was ‘the hand of a master painter…truly.’ Georg Baselitz’s both haunting and powerful prints of his own hand belong to a broader personal investigation of the human form. Finally, the hand-prints collected by Marianne Raschig, signed and dated by each artist, stand as compelling testimonies of direct contact as well as being instruments through which Raschig developed her influential theories on palm-reading.
The German Romantic drawings now include Carl Julius Milde’s intimate portrait of Julius Oldach and Erwin Speckter in their studio in Munich, of 1826; inscribed in red pen by Speckter ‘Mr Jul: Oldach and I and our Friedel in the workshop / for my dear mother.’ Given both friends’ untimely death before the age of 30, this youthful image is a precious testimony of their companionship and shared aspirations.
Also datable to the mid-to-late 1820s is a jewel-like painting by Carl Gustav Boerner, in typical Biedermeier style and a rare example of the famous art dealer’s artistic talents. The room is embellished with all the usual paraphernalia of the painter’s studio and a mannequin in a toga looks over the artist’s shoulder.
Another notable addition to the paintings collection is an intriguing view of Sir Lawrence Alma Tadema’s studio at Townshend House by the artist’s sister-in-law, Emily Epps Williams. The panel belongs to the set of forty-five which originally formed part of a decorative scheme in the hall of Alma-Tadema’s remodelled house on Grove End Road.
The depictions of female artists at work now feature Katherine Read’s masterful pastel portrait of her niece, Miss Helena Beatson, a child prodigy. Described as possessing ‘a most astonishing genius from Drawing’, Helena is portrayed having just completed a tender image of a mother and child. Our pastel was displayed at the Society of Artists in 1767 and translated into a mezzotint by James Watson the following year.
A new technique was introduced to the collection with a Gothic revival stained-glass panel by Clayton & Bell representing an allegory of the visual arts enclosed within a floral frame.
The fast-expanding prints collection now includes an iconic self-portrait by Jean-Etienne Liotard; an expressive aquatint by Emile Nolde; and Pablo Picasso’s Sculpteur songeant, Modèle aux Cheveux noirs et Bol avec trois Anémones from his sought after Suite Vollard.
Amongst the recently acquired photographs, a rare albumen print showing the sumptuous Roman studio of Mariano Fortuny senior (1838-1874), the leading Spanish painter of his day and father of Mariano Fortuny y Madrazo. Produced with the technically complex ‘wet collodion’ process, it is a testament to the fine details and deep rich tones that the method allows.
In the past year the collection has also expanded considerably into the contemporary, with both established and emerging artists. Celia Paul’s Artist in her Studio (with man painted out) attests to her deeply personal reflection on the studio as a space of her own. While in his blue watercolour Ali Kazim relies on his own likeness to blend painstaking miniature painting techniques and highly individual imagery informed by past visual culture.
The practice of working out of doors to create landscape sketches and studies to be later worked up in the studio is a long established one. An early example from the Katrin Bellinger collection is Lambert Doomer’s draughtsman sketching by a tree of circa 1660, where he captures a colleague working out of doors. An Italian drawing, Remigio Cantagallina’s artist walking and sketching in a landscape, is another early example.
From the late 18th century onwards sketching excursions with fellow artists became common practice, as shown in the drawings and prints of Friedrich Preller the Elder, Johann Adam Klein and Wilhelm von Kobell. Thomas Rowlandson’s Artist travelling in Wales shows an elderly artist heavily laden with painting-materials in the pouring rain, making a witty commentary on the trials of the touring painter.
Indeed, although drawing implements, watercolours and sketchbooks are easily transported, the equipment available to artists before the 19th century limited their ability to produce a finished painting in nature. Pigments had to be ground and mixed with linseed oil to obtain colours, and a pig’s bladder was needed to carry them outside the workshop. This changed with the introduction of paint in tubes (invented in 1841) and of lightweight portable easels, contributing to the rise of plein air painting. The method became more widespread from the 1860s and was made famous by the impressionists who advocated the need to capture the quality of natural light and its effect on both landscape and figures.
Ever since she started collecting, Katrin Bellinger has sought representations of female artists at work, as counterparts to the overwhelming majority of portraits and self-portraits of male artists. Despite the difficulties and limitations historically encountered by women wanting to pursue a career in the arts, women are shown making art in a variety of images ranging vastly in date and geographical provenance, as the present selection demonstrates. The earliest in the collection is a woodcut illustration from Boccaccio’s 14th-century De Mulieribus Claris (Concerning Famous Women), which shows the Roman artist Marcia. The most recent is a 2019 piece by London-based South African artist Lisa Brice.
While some of the works are self-portraits, others were made by the artists’ teachers, husbands, and fellow art school students. Aside from a few exceptions, their identity is unknown and from the manner in which they are portrayed it is not always possible to ascertain if these women were professionals or amateurs. Up to the 19th century, young women wishing to learn how to draw were usually taught by a family member or an established artist, as illustrated in Francesco Bartolozzi’s and Arthur Pond’s drawings.
In the second half of the 19th century, access to formal training became progressively more open to women, with private art schools first seeing the benefits in admitting female pupils. Rose Marie Guillaume’s watercolour is set at the renowned Académie Julian in Paris, where she trained and taught, in a separate studio reserved for female students only. Larger institutions slowly followed suit. The London Royal Academy of Arts began admitting women in 1860 – although they could not attend life-drawing classes there until 1893 – and the École des Beaux-Arts in Paris finally opened its doors to female students in 1897. Late 19th-century self-portraits with palette and brushes symbolize the ambitious and self-confident woman artist. The struggle for access and recognition continued throughout the 20th and 21st centuries and arguably up to the present day, with the self-portrait and the studio view still acting as powerful vehicles for the negotiation of women’s artistic identity.
Although not as numerous as those of painters and draughtsmen, representations of printmakers at work form a notable group within the Katrin Bellinger collection. Executed in a variety of media, these images range in date from the 17th century to today. As a group, they show the continued fascination with the tools and craftsmanship required to realize printed images. They also shed light on how the status of the artist-printmaker was negotiated through the genres of self-portraiture and the studio scene.
Abraham Bosse’s famous prints focus on the commercial printmaking workshop and have an informative function. Pierre Baquoy’s later example shows an atelier teeming with assistants, each tasked with a different step in the printing process. In the right foreground, the master engraver inspects an impression. Over his workspace, a light diffusing screen is deployed to soften the light hitting the reflective surface of the plate. This device, seen in several of the works in this group and still in use today, allows the artist to create subtle values undisturbed by the glimmer of the metal.
Most images focus on the figure of the painter-etcher working in his studio in solitude. This format is, at least in part, inspired by Rembrandt’s self-portraits and by the mystique surrounding his persona. As well as promoting his skills in his innovative prints, the Dutch master also cultivated his own image, becoming the quintessential artists’ artist. The 19th-century cult of Rembrandt is exemplified by Paul-Adolph Rajon’s etching after a painting by Jean-Léon Gérôme, Rembrandt biting an etched plate (now lost). With the foundation of the Sociéte des Aquafortistes in 1862, the scene was set for the etching revival, which took hold in France, England and the United States. Images of artists making etchings, as well as engravings, woodcuts and lithographs, proliferate in the 20th and 21st centuries.
Silver print, 60.6 x 48.3 cm Katrin Bellinger Collection, inv. no. 2022-074
Oil on canvas, 140 x 90 cm Katrin Bellinger Collection, inv. no. 2019-001
Oil and wax on zinc, 150 x 200 mm Katrin Bellinger Collection, inv. no. 2022-014
Pigment print on Somerset Satin Photo Paper 300gsm, 100 x 85.9 cm Katrin Bellinger Collection, inv. no. 2022-057
Pastel, charcoal, 605 x 335 mm Katrin Bellinger Collection, inv. no. 2022-096
Oil on canvas, 51 x 46 cm Katrin Bellinger Collection, inv. no. 2022-077
Watercolour, 310 x 200 mm Katrin Bellinger Collection, inv. no. 2022-097
Oil and pencil on paper, 420 x 580 mm Katrin Bellinger Collection, inv. no. 2022-050
Oil on wood panel, 35 x 27 cm Katrin Bellinger Collection, inv. no. 2022-045
Pastel, 400 x 300 mm katrin Bellinger Collection, inv. no. 2022-006
C-type colour print, 800 x 650 mm Katrin Bellinger Collection, inv. no. 2021-142
Fibreglass mannequin, Dutch wax printed cotton textile, globe, steel base plate, easel, canvas, and acrylic Katrin Bellinger Collection, inv. no. 2021-002
Gothic revival stained glass panel, 86 x 86 cm Katrin Bellinger Collection, inv. no. 2022-064
Silver gelatin print, printed later, 500 x 400 mm katrin Bellinger Collection, inv. no. 2022-061
Black chalk and charcoal on paper, 219 x 166 mm katrin Bellinger Collection, inv. no. 2022-037
Pen and black ink and grey wash on laid paper, 187 x 195 mm katrin Bellinger Collection, inv. no. 2022-002
Oil on canvas, 33 x 24.7 cm Katrin Bellinger Collection, inv. no. 2021-093
Etching, 450 x 340 mm Katrin Bellinger Collection, inv. no. 2021-087
Etching and aquatint, 402 x 330 mm Katrin Bellinger Collection, inv. no. 2022-062
Carran d'ache and graphite on paper, 660 x 510 mm katrin Bellinger Collection, inv. no. 2022-001
Oil on canvas, 63.7 x 56.4 cm Katrin Bellinger Collection, inv. no. 2023-011
Oil on panel, 81.3 x 19 cm Katrin Bellinger Collection, inv. no. 2023-026
Black, red and white chalks on grey-blue paper, 255 x 345 mm Katrin Bellinger Collection, inv. no. 2023-073
Pencil, 215 x 174 mm Katrin Bellinger Collection, inv. no. 2023-030
Oil on wood, 195 x 240 mm Katrin Bellinger Collection, inv. no. 2023-048
Albumen print, 280 x 380 mm Katrin Bellinger Collection, inv. no. 2023-087
Watercolour pigments on paper, 430 x 560 mm Katrin Bellinger Collection, inv. no. 2023-027
Pastel on paper, 590 x 460 mm Katrin Bellinger Collection, inv. no. 2023-043
Etching and roulette, 210 x 167 mm Katrin Bellinger Collection, inv. no. 2023-039
Black and white chalks on paper, 285 x 255 mm Katrin Bellinger Collection, inv. no. 2020-018
Pen and brown ink, 165 x 227 mm Katrin Bellinger Collection, inv. no. 2001-027
Stipple engraving, 398 x 436 mm Katrin Bellinger Collection, inv. no. 2001-002
Brush in brown wash, over black chalk, 200 x 247 mm Katrin Bellinger Collection, inv. no. 1987-002
Red chalk, 164 x 211 mm Katrin Bellinger Collection, inv. no. 2006-003
Etching, 124 x 86 mm Katrin Bellinger Collection, inv. no. 2003-010
Etching, 301 x 226 mm Katrin Bellinger Collection, inv. no. 2014-017
Black chalk, light grey wash (Bouchardon, The Spirit of Learning); black chalk (Boucher), 172 x 120 mm (sheet) Katrin Bellinger Collection, inv. no. 2012-007
Pencil and grey wash, 114 mm (diam.) Katrin Bellinger Collection, inv. no. 2018-006
Pencil and red wash, 221 x 414 mm (approx.) Katrin Bellinger Collection, inv. no. 1991-006
Etching, 143 x 119 mm Katrin Bellinger Collection, inv. no. 2017-057
Sanguine within black chalk framing line, squared in red chalk, 285 x 440 mm Katrin Bellinger Collection, inv. no. 2019-008
Pen and brown ink, brown wash and black chalk, 380 X 462 mm Katrin Bellinger Collection, inv. no. 1992-025
Pen and brown ink, squared in black chalk, 182 x 270 mm Katrin Bellinger Collection, inv. no. 1999-008
Epoxy resin, 290 x 190 mm Katrin Bellinger Collection, inv. no. 2020-017
Etching, 212 x 146 mm Katrin Bellinger Collection, inv. no. 2018-033
Etching with sugar-lift aquatint on Hahnemühle Bütten 300 gsm paper, 537 x 394 mm Katrin Bellinger Collection, inv. no. 2021-017
One from a set of ten aquatint and sugar-lift aquatints from two plates on 300gsm Hahnemühle Bütten paper, 780 x 535 mm Katrin Bellinger Collection, inv. no. 202-019
Silver gelatine fibre based hand print, 508 x 406 mm Katrin Bellinger Collection, inv. no. 2016-021
Pen and brown ink, brown wash, pricked for transfer, 107 x 202 mm Katrin Bellinger Collection, inv. no. 2018-012
Pen and black ink with gouache on blue laid paper, 295 X 210 mm Katrin Bellinger Collection, inv. no. 2017-013
Black pen and ink, black crayon, watercolour, 295 x 387 mm Katrin Bellinger Collection, inv. no. 2011-057
Gelatin silver print, 406 x 356 mm Katrin Bellinger Collection, inv. no. 1998-026
Drypoint printed in sepia ink on cream Continental watermarked laid paper, 139 x 212 mm Katrin Bellinger Collection, inv. no. 2011-052
Etching, drypoint and pencil, 102 x 148 mm Katrin Bellinger Collection, inv. no. 1993-007
Woodcut, 225 x 254 mm Katrin Bellinger Collection, inv. no. 1995-016
Red and white chalk on blue paper, 290 x 209 mm Katrin Bellinger Collection, inv. no. 1989-005
Ink on paper, touched with graphite, c. 210 x c. 165 mm Katrin Bellinger Collection, inv. no. 213-017
Ink on paper, touched with graphite, c. 210 x c. 165 mm Katrin Bellinger Collection, inv. no. 213-017
Ink on paper, touched with graphite, c. 210 x c. 165 mm Katrin Bellinger Collection, inv. no. 213-017
Etching, 450 x 344 mm Katrin Bellinger Collection, inv. no. 2017-030
Oil on wood, 200 x 250 mm Katrin Bellinger Collection, inv. no. 2019-007
Oil on panel, 380 x 510 mm Katrin Bellinger Collection, inv. no. 1995-048
Engraving Katrin Bellinger Collection, inv. no. 1995-070
Black, red and white chalks, 212 x 153 mm Katrin Bellinger Collection, inv. no. 2008-021
Pen and black ink, grey wash heightened with white bodycolour, with black ink framing lines, 220x 263 mm Katrin Bellinger Collection, inv. no. 2005-007
Black chalk heightened with white on buff paper, 266 x 205 mm Katrin Bellinger Collection, inv. no. 1995-034
Red chalk, 530x 400 mm Katrin Bellinger Collection, inv. no. 1989-006
Black and white chalk on blue paper, 410 x 540 mm Katrin Bellinger collection, inv. no. 1993-022
Etching, 575 x 440 mm Katrin Bellinger Collection, inv. no. 2020-007
Charcoal on paper, 500 x 326 mm Katrin Bellinger Collection, inv. no. 2017-032
Oil on board, 105 x 182 mm Katrin Bellinger Collection, inv. no. 2015-022
Pencil, pen and grey-brown ink and watercolour Katrin Bellinger Collection, inv. no. 1990-009
Oil on paper, 398 x 323 mm Katrin Bellinger Collection, inv. no. 2001-004
Etching, overworked with black chalk and black ink, 142 x 190 mm Katrin Bellinger Collection, inv. no. 2012-014
Pen, black chalk and watercolour heightened with white, 268 x 353 mm Katrin Bellinger Collection, inv. no. 1994-002
Pen and grey ink and watercolour, 184 x 236 mm Katrin Bellinger Collection, inv. no. 1991-010
Oil on canvas, 460 x 380 mm Katrin Bellinger Collection, inv. no. 1997-017
Vintage gelatin silver print, 235 x 176 mm Katrin Bellinger Collection, inv. no. 2001-040
Lithograph, 354 x 494 mm Katrin Bellinger Collection, inv. no. 2017-011
Etching, II/II, 365 x 237 mm Katrin Bellinger Collection, inv. no. 2009-034
Gelatin silver print, 189 x 244 mm Katrin Bellinger Collection, inv. no. 1997-010
Gelatin silver print, printed later, 250 x 306 mm Katrin Bellinger Collection, inv. no. 1997-012
Oil on mahogany panel, 28 x 24 cm Katrin Bellinger Collection, inv. no. 2013-033
Pastel, 520 x 710 mm Katrin Bellinger Collection, inv. no. 1989-002
Albuminous print mounted on cardboard, 220 x 165 mm Katrin Bellinger Collection, inv. no. 2020-013
Watercolour, 260 x 360 mm Katrin Bellinger Collection, inv. no. 2020-016
Etching and engraving, printed à la poupée and finished by hand, 270 x 174 mm Katrin Bellinger Collection, inv. no. 2020-125
Drypoint on heavy wove paper, 205 x 252 mm Katrin Bellinger Collection, inv. no. 2020-010
Drypoint, 275 x 180 mm Katrin Bellinger Collection, inv. no. 2020-160
Oil on canvas, 350 x 275 mm Katrin Bellinger Collection, inv. no. 2020-162
Oil on linen, 254 x 203 mm Katrin Bellinger Collection, inv. no. 2020-025
Watercolour , 265 x 380 mm Katrin Bellinger Collection, inv. no. 2020-021
Graphite on paper, 880 x 660 mm Katrin Bellinger Collection, inv. no. 2020-024
Pen and black ink, grey wash, 178 x 203 mm Katrin Bellinger Collection, inv. no. 2020-035
Oil on canvas, 34.9 x 38 cm Katrin Bellinger Collection, inv. no. 2012-002
Zimmermann lead, grey-brown wash, watercolour, 630 x 100 mm Katrin Bellinger Collection, inv. no. 1993-031
Pen and black and brown ink on wove paper, 203 x 141 mm Katrin Bellinger Collection, inv. no. 2018-052
Mezzotint, 360 x 590 mm Katrin Bellinger Collection, inv. no. 2018-026
Charcoal, black and coloured chalk, white heightening, 243 x 321 mm Katrin Bellinger Collection, inv. no. 2002-026
Coloured chalk on blue paper, 188 x 306 mm Katrin Bellinger Collection, inv. no. 2005-001
Watercolour on pencil, 300 x 500 mm Katrin Bellinger Collection, inv. no. 2010-005
Pencil Katrin Bellinger Collection, inv. no. 2006-010
Watercolour, 270 x 370 mm Katrin Bellinger Collection, inv. no. 2011-029
Black chalk, 224 x 175 mm Katrin Bellinger Collection, inv. no. 2013-006
Oil on panel, 160 x 220 mm Katrin Bellinger Collection, inv. no. 2008-006
Etching, 212 x 146 mm Katrin Bellinger Collection, inv. no. 2018-033
Drypoint on laid paper, 224 x 148 mm Katrin Bellinger Collection, inv. no. 1999-040
Chinese ink and watercolour on paper, 222 x 291 mm Katrin Bellinger Collection, inv. no. 2020-011
C-Print, 180 x 239 mm Katrin Bellinger Collection, inv. no. 2018-037
Watercolour and graphite on paper, 345 x 250 mm Katrin Bellinger Collection, inv. no. 2015-023
Watercolour and graphite on paper, 340 x 245 mm Katrin Bellinger Collection, inv. no. 2015-024
Etching on copperplate deluxe paper, 59.7 x 90.2 cm (plate) Katrin Bellinger Collection, inv. no. 2015-026
Felt pen and pencil on handmade paper, 165 x 236 mm Katrin Bellinger Collection, inv. no. 2019-072
Digital print on Hahnemühle Photo Rag Bright White 310gsm paper, 420 x 290 mm Katrin Bellinger Collection, inv. no. 2019-048
Etching, 257 x 327 mm Katrin Bellinger Collection, inv. no. 2010-009
Etching, 257 x 327 mm Katrin Bellinger Collection, inv. no. 2010-010
Lithograph, 190 x 163 mm Katrin Bellinger Collection, inv. no. 2018-047
Etching and engraving, 181 x 315 mm Katrin Bellinger Collection, inv. no. 2012-028
Etching, 103 x 104 mm Katrin Bellinger Collection, inv. no. 2009-039
Etching and drypoint (artist proof), 220 x 234 mm Katrin Bellinger Collection, inv. no. 1994-008
Lithograph, 289 x 219 mm Katrin Bellinger Collection, inv. no. 2017-010
Pen and black ink, 187 x 225 mm Katrin Bellinger Collection, inv. no. 1990-001
Oil on paper on canvas, 525 x 372 mm Katrin Bellinger Collection, inv. no. 2011-058
Etching, 137 x 147 mm Katrin Bellinger Collection, inv. no. 1993-019
Pencil and pen in brown ink, with white gouache, 315 x 228 mm Katrin Bellinger collection, inv. no. 1992-019
Etching with drypoint and engraving, 159 x 130 mm Katrin Bellinger Collection, inv. no. 2012-003
Graphite on vellum paper, 357 x 270 mm Katrin Bellinger Collection, inv. no. 1995-038
Drypoint on China paper, 990 x 128 mm Katrin Bellinger Collection, inv. no. 2018-063
Oil on canvas, 135 x 180 mm Katrin Bellinger Collection, inv. no. 1993-003
Etching, 330 x 250 mm Katrin Bellinger Collection, inv. no. 2019-62
Etching, 127 x 101 mm Katrin Bellinger Collection, inv. no. 2015-015
Lithograph, 350 x 257 mm Katrin Bellinger Collection, inv. no. 2008-019
Drypoint on handmade paper, 216 x 162 mm Katrin Bellinger Collection, inv. no. 1998-015
Contemporary proof on albumin paper, 203 x 264 mm Katrin Bellinger Collection, inv. no. 2015-069
Engraving, 650 x 500 mm Katrin Bellinger Collection, inv. no. 2016-037
Selver gelatin print, 317 x 470 mm Katrin Bellinger Collection, inv. no. 2013-023
Vintage silver print, 327 x 220 mm Katrin Bellinger Collection, inv. no. 2019-065
Vintage carbon print, 203 x 105 mm Katrin Bellinger Collection, inv. no. 2019-078
Engraving, 172 x 224 mm Katrin Bellinger Collection, inv. no. 2019-053
Pen and grey wash, over an underdrawing in pencil, 199 x 138 mm Katrin Bellinger Collection, inv. no. 2019-071
Oil on wooden artist's palette, 400 x 270 mm Katrin Bellinger Collection, inv. no. 2019-070
Pastel, 610 x 500 mm Katrin Bellinger Collection, inv. no. 2019-060
Watercolour, black and red chalk, 335 x 215 mm Katrin Bellinger Collection, inv. no. 2019-011
Black chalk with white heightening on white paper, 310 x 205 mm Katrin Bellinger Collection, inv. no. 2019-058
Black chalk, watercolour, gouache, 610 x 440 mm Katrin Bellinger Collection, inv. no. 2011-012
Pastel and black chalk on paper, 590 x 460 mm Katrin Bellinger collection, inv. no. 2015-007
Black and red chalk, heightened with white, 360 mm (diameter) Katrin Bellinger Collection, inv. no. 2017-054
Oil on canvas, 210 x 150 mm Katrin Bellinger collection, inv. no. 2015-090
Watercolour, 441 x 278 mm Katrin Bellinger Collection, inv. no. 1990-003
Pastel on linen canvas, 640 x 508 mm Katrin Bellinger Collection, inv. no. 2017-007
Woodcut, 256 x 181 mm Katrin Bellinger Collection, inv. no. 1995-028
Pen and ink, 457 x 305 mm Katrin Bellinger Collection, inv. no. 2011-028
Black and red chalk, on laid paper, 254 x 364 mm Katrin Bellinger Collection, inv. no. 2017-004
Pen and brown ink and wash, 240 x 300 mm Katrin Bellinger collection, inv. no. 2008-011
Red and black chalk, 483 x 375 mm Katrin Bellinger collection, inv. no. 2011-013
Pen and brown ink, brown wash heightened with white on blue paper, 269 x 197 mm Katrin Bellinger collection, inv. no. 2019-056
Oil on canvas, 242 x 187 mm Katrin Bellinger Collection, inv. no. 2018-041
Black chalk, 237 x 156 mm Katrin Bellinger Collection, inv. no. 1999-013
Oil on canvas, 790 x 550 mm Katrin Bellinger Collection, inv. no. 2001-016
Black chalk, pen and grey ink and wash, heightened with white gouache, 320 x 404 mm Katrin Bellinger Collection, inv. no. 2008-012
Pencil, 248 x 165 mm Katrin Bellinger collection, inv. no. 2011-063
Graphite on vellum, 282 x 222 mm Katrin Bellinger collection, inv. no. 2015-017
Stipple engraving, 330 x 260 mm Katrin Bellinger collection, inv. no. 2002-006
Etching, 216 x 160 mm Katrin Bellinger Collection, inv. no. 2019-045
Etching on chamoise laid paper, 250 x 350 mm Katrin Bellinger Collection, inv. no. 2018-062
Vintage gelatin silver print, 250 x 200 mm Katrin Bellinger collection, inv. no. 2015-019
Vintage silver print, 400 x 299 mm Katrin Bellinger collection, inv. no. 2017-053
Oil on trace, 419 x 296 mm Katrin Bellinger Collection, inv. no. 2019-063
Black chalk, pen and brown ink, single pen and brown ink framing lines, on laid paper, 192 x 252 mm Katrin Bellinger collection, inv. no. 2015-028
Watercolour and bodycolour, brown framing lines, 145 x 223 mm Katrin Bellinger collection, inv. no. 1991-008
Pen and brown ink, brown wash, 145 x 117 mm Katrin Bellinger collection, inv. no. 1992-001
Pen and brown wash, black chalk, and pencil, 150 x 107 mm Katrin Bellinger collection, inv. no. 1996-008
Pencil, 138 x 104 mm Katrin Bellinger collection, inv. no. 1992-023
Etching, 155 x 130 mm Katrin Bellinger collection, inv. no. 1992-027
Etching, 750 x 820 mm Katrin Bellinger collection, inv. no. 1993-005
Etching, 341 x 258 mm Katrin Bellinger collection, inv. no. 2002-010
Pen and grey ink with watercolour over underdrawing in pencil, 130 x 200 mm Katrin Bellinger Collection, inv. no. 2016-006
Pen and watercolour over traces of pencil, 375 x 540 mm Katrin Bellinger collection, inv. no. 2012-017
Pencil and white wash on brown paper, 161 x 139 mm Katrin Bellinger collection, inv. no. 2016-031
Pen and ink and watercolour over touches of pencil (n the artist's original wash line mount), 282 x 282 mm Katrin Bellinger collection, inv. no. 2019-044
Oil on canvas, 36.4 x 45 cm Katrin Bellinger collection, inv. no. 2018-064
Oil on canvas, 45 x 71 cm Katrin Bellinger collection, inv. no. 2012-020
Pen and brown ink, 254 x 177 mm Katrin Bellinger collection, inv. no. 2002-028
Black chalk, 435 x 295 mm Katrin Bellinger collection, inv. no. 2009-014
Pencil on vellum, 218 x 265 mm Katrin Bellinger collection, inv. no. 2018-065
Collodian sepia print, 151 x 105 mm Katrin Bellinger collection, inv. no. 2014-007
Watercolour heightened with gouache, 229 x 133 mm Katrin Bellinger Collection, inv. no. 2017-003
Pen and ink, 85 x 120 mm Katrin Bellinger Collection, inv. no. 2015-032
Oil on board, 38.1 x 28 cm Katrin Bellinger collection, inv. no. 2013-015
Vintage albumen print, 137 x 100 mm Katrin Bellinger collection, inv. no. 2013-034
Oil on canvas, 241 x 349 mm Katrin Bellnger collection, inv. no. 2010-004
Red chalk, lightly squared in black chalk, 253 x 197 mm Katrin Bellinger collection, inv. no. 2018-066
Oil on canvas laid down on panel, 35.2 x 33 cm Katrin Bellinger collection, inv. no. 2018-039
Black chalk, 540 x 380 mm Katrin Bellinger collection, inv. no. 2019-005
Charcoal, 335 x 240 mm Katrin Bellinger collection, inv. no. 2019-006
Silver vintage print, 500 x 400 mm Katrin Bellinger collection, inv. no. 2018-019
C-print, 310 x 248 mm Katrin Bellinger collection, 2018-068
Carbon and casein on paper, 190 x 273 mm Katrin Bellinger Collection, inv. no. 2018-054
Oil on panel, 335 x 318 mm Katrin Bellinger collection, inv. no. 1997-026
Oil on paper, 187 x 172 mm Katrin Bellinger collection, inv. no. 2007-036
Black and red chalk, 157 x 120 mm Katrin Bellinger collection, inv. no. 2014-028
Pen and brown ink, brown and ochre wash, over black chalk, 355 x 470 mm Katrin Bellinger collction, inv. no. 2004-014
Red chalk, 333 x 441 mm Katrin Bellinger Collection, ind. no. 2002-012
Red chalk, 214 x 168 mm Katrin Bellinger collection, inv. no. 1999-035
Pen and ink, coloured chalks, and wash, 178 x 254 mm Katrin Bellinger collection, inv. no. 2002-020
Watercolour, 309 x 244 mm Katrin Bellinger Collection, inv. no. 2010-029
Black and coloured chalks, 560 x 332 mm Katrin Bellinger Collection, inv. no. 2012-016
Black and red crayon, 461 x 292 mm Katrin Bellinger Collection, inv. no. 2013-031
Black conté crayon, 175 x 110 mm Katrin Bellinger Collection, inv. no. 2010-028
Pencil, 348 x 417mm Katrin Bellinger collection, inv. no. 2010-011
Black chalk Katrin Bellinger Collection, inv. no. 2013-030
Black and red chalk; yellow, red, blue and mauve, brown and white pastels on light brown paper, 315 x 246 mm Katrin Bellinger collection, inv. no. 2016-026
Pen and brown ink and wash over black chalk within pen and brown ink framing lines, 230 x 349 mm Katrin Bellinger Collection, inv. no. 2016-025
Black chalk, stomp and highlights in white chalk on beige paper, 320 x 225 mm Katrin Bellinger Collection, inv. no. 2016-016
Pastel on linen canvas, 653 x 500 mm Katrin Bellinger Collection, inv. no. 2016-015
Pastel, 310 x 235 mm Katrin Bellinger Collection, inv. no. 2011-005
Sanguine on paper, 482 x 370 mm Katrin Bellinger Collection, inv. no. 2017-017
Graphite, 313 x 248 mm Katrin Bellinger collection, inv. no. 2017-006
11 Bronze sticks Katrin Bellinger Collection, inv. no. 2017-043
Bronze, 21.6 x 21.6 cm Katrin Bellinger Collection, inv. no. 2017-040
Silver gelatin print, 200 x 280 mm Katrin Bellinger Collection, inv. no. 2017-062
Oil on canvas, 49.5 x 68 cm Katrin Bellinger Collection, inv. no. 2018-002
Oil on canvas, 70.4 x 57.1 cm Katrin Bellinger Collection, inv. no. 2017-044
Coloured chalks and crayon, 68.6 x 71.1 cm Katrin Bellinger Collection, inv. no. 2017-050
Pencil, 311 X 464 mm Katrin Bellinger Collection, inv. no. 2017-049
Black pencil, charcoal, stumping, white chalk, heightened with gouache on lilac paper, 305 x 223 mm Katrin Bellinger Collection, inv. no. 2018-051
Lithograph on cream laid Japan paper, 315 x 250 mm Katrin Bellinger Collection, inv. no. 2018-027
Graphite on pale pink laid paper, 123 x 234 mm Katrin Bellinger Collection, inv. no. 2018-015
Pen and black ink on laid paper, 248 x 184 mm Katrin Bellinger Collection, inv. no. 2018-050
Etching and engraving, 211 x 172 mm Katrin Bellinger Collection, inv. no. 2018-048
Oil on copper, 280 x 240 mm Katrin Bellinger Collection, inv. no. 1998-039
Engraving, 280 x 175 mm Katrin Bellinger Collection, inv. no. 2017-032
Oil on panel, 547 x 455 mm Katrin Bellinger Collection, inv. no. 2000-024
Oil on canvas, 650 x 500 mm Katrin Bellinger Collection, inv. no. 1998-003
Oil on wood, 43.6 x 60.5 cm Katrin Bellinger Collection, inv. no. 2007-008
Oil on board, 230 x 178 mm Katrin Bellinger Collection, inv. no. 1998-010
Oil on canvas (unlined), 222 x 195 mm Katrin Bellinger Collection, inv. no. 2016-003
Oil on panel, 230 x 190 mm Katrin Bellinger collection, inv. no. 2015-025
Oil on panel, 12 cm (diameter) Katrin Bellinger Collection, inv. no. 2000-015
Oil on panel, 405 x 270 mm Katrin Bellinger collection, inv. no. 2011-002
Oil on zinc, 250 x 170 mm Katrin Bellinger collection, inv. no. 2010-011
Etching, 247 x 192 mm Katrin Bellinger Collection, inv. no. 2011-010
Engraving, 309 x 483 mm Katrin Bellinger Collection, inv. no. 1998-039
Etching, 105 x 93 mm Katrin Bellinger collection, inv. no. 2013-002
Etching with roulette and aquatint, 417 x 566 mm Katrin Bellinger Collection, inv. no. 2012-025
Engraving in printed book, 380 x 300 mm Katrin Bellinger Collection, inv. no. 1995-071
Drypoint on Arches laid paper, 550 x 345 mm Katrin Bellinger Collection, inv. no. 2016-022
Etching, 146 x 146 mm Katrin Bellinger Collection, inv. no. 2016-012
Etching, 368 x 245 mm Katrin Bellinger collection, inv. no. 2016-041
Etching, 315 x 237 mm Katrin Bellinger collection, inv. no. 2016-040
Etching and aquatint, 218 x 153 nm Katrin Bellinger Collection, inv. no. 2017-041
C-type photographic print, 553 x 743 mm Katrin Bellinger Collection, inv. no. 2012-008
Gelatin silver print, 130 x 178 mm Katrin Bellinger Collection, inv. no. 2006-023
Printed from a digital scan of original negative Katrin Bellinger Collection, inv. no. 2008-024
Albumen print, 179 x 217 mm Katrin Bellinger Collection, inv. no. 2000-041
Vintage citrate print, 108 x 170 mm Katrin Bellinger Collection, inv. no. 2013-009
Vintage silver gelatin print, 275 x 475 mm Katrin Bellinger Collection, inv. no. 2016-004
Vintage silver print, 177 x 253 mm Katrin Bellinger Collection, inv. no. 2015-089
Bronze, 28 cm (height) Katrin Bellinger Collection, inv. no. 2014-046
Bronze, 200 mm Katrin Bellinger Collection, inv. no. 2000-007
Boxwood, 450 mm Katrin Bellinger Collection, inv. no. 2011-027
Plaster of Paris, 525 mm Katrin Bellinger Collection, inv. no. 2008-008