Golden Jubilee London
Martin Stuart Moore

Golden Jubilee London by Martin Stuart Moore

Golden Jubilee London

Limited Edition Print 1952 copies
Image Size 743mm x 524mm
Published in 2002

Print Sold Out

Collectors Series
Open Edition Print
Image Size 9" x 6"

Double Mounted Print £ 35.00

Golden Jubilee London was conceived in autumn 2001. The last copies of 'London Millennium' were going out to the galleries. The total limited edition was to break all records and sell out in twelve months. Although Edinburgh had just been published, the London galleries were starting to ask about the next painting; would there be another London on the easel soon? This doesn't put any pressure on the artist! And there are other cities in the world to do.

Anyway the decision was made in October and Stuart headed back to the Capital to see new buildings and visit corners of the city that he had not included in previous paintings. With a hundred or so more photographs to add to his collection, he set to work in November on London IV. One area of the picture shows his attraction to Camden with its canal details, and strange shop frontages; another part shows his determination to give Christopher Wren's masterpiece grater prominence than it had been allowed in previous paintings; also Tower Bridge deserved a complete view which he had not given it before. Tate Modern was now complete, the Millennium Bridge was going to be back in action — sometime, and The Greater London Authority building was well advanced. . . so all received close attention.

Sometimes during a painting (around six months in gestation) something crops up that finds its way into the composition. This time the funeral of Queen Elizabeth the Queen Mother registered, although not in the foreground, whilst another lesser known figure — the father of the owners of a major selling gallery — passed away. He appears in the picture as a tribute to his enthusiasm for the 'London Millennium' and the way he sold one after the other of them to people in his home town. As usual Stuart's family and animals find their way into the composition, and self-consciously so does he. . . in the foreground!

The decision to publish an edition of 1952 reflects the great interest in England during 2002 for the Queen's Golden Jubilee and it was felt an appropriate tribute.

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