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  • Morning 1965 - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 24.jpg
  • Morning 1965 - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 23.jpg
  • Untitled 2004 (her last painting) - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 21.jpg
  • Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 20.jpg
  • Untitled #8 - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 19.jpg
  • Untitled #8 - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 18.jpg
  • Untitled 2002 - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 17.jpg
  • Untitled 2002 - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 16.jpg
  • Homage to Life 2003 (L), Untitled 1959, Gratitude 2001 and Untitled 2004 (R) - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 14.jpg
  • Homage to Life 2003, Untitled 1959 (C) and Gratitude 2001 (R) - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 12.jpg
  • Homage to Life 2003, Untitled 1959 (C) and Gratitude 2001 (R) - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 11.jpg
  • Untitled #1 2003 and Untitled 2004 (her last painting) - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 10.jpg
  • Untitled 2004, her last drawing - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 09.jpg
  • Untitled #1, #14 and #12 - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 08.jpg
  • Untitled #1, #14 and #12 - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 07.jpg
  • The Islands - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 06.jpg
  • The Islands - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 04.jpg
  • Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 02.jpg
  • Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 03.jpg
  • Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 01.jpg
  • Morning 1965 - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 25.jpg
  • Untitled 2004 (her last painting) - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 22.jpg
  • Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 15.jpg
  • Untitled 1959 (C) - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 13.jpg
  • The Islands - Tate Modern opens major retrospective of American painter Agnes Martin. The exhibition covers the full breadth of her practice from early experimental works with found objects to her late evocative paintings, reasserting her position as a key figure in the traditionally male-dominated field of American abstraction. Highlights include: Martin’s important early work Friendship 1963, a gold leaf covered canvas incised with Martin’s emblematic fine grid;	The artist’s group of white paintings The Islands I – XII 1979; and a selection of Martin’s large-scale late square paintings rarely seen together including the artist’s last work before her death in 2004
    Tate Agnes Martin GBPhotos 05.jpg
  • Captain Tom Mobbs RM , Commander Paul Haines RN, Corporal James, Martin RM and Commander Pat Douglas RN (l to r) stand with the car.An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10653.jpg
  • Captain Tom Mobbs RM , Commander Paul Haines RN, Corporal James, Martin RM and Commander Pat Douglas RN (l to r) stand with the car.An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10651.jpg
  • Captain Tom Mobbs RM , Commander Paul Haines RN, Corporal James, Martin RM and Commander Pat Douglas RN (l to r) stand with the car.An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10648.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and is displayed by international auctioneers Coys.<br />
The Old Admiralty Building, Whitehall London
    GB10640.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10674.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10673.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10672.jpg
  • The armed police escort. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10671.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10667.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel (pictured) Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10663.jpg
  • Commander Pat Douglas RN stands with the car before driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10660.jpg
  • Commander Pat Douglas RN stands with the car before driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10658.jpg
  • Commander Pat Douglas RN stands with the car before driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10657.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10656.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10655.jpg
  • Commander Pat Douglas RN sits in the car before driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10646.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10644.jpg
  • Commander Pat Douglas RN sits in the car before driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10645.jpg
  • Commander Paul Haines RN tries out the driving position. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10642.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10641.jpg
  • Commander Pat Douglas RN stands with the car after driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys.Dukes Hotel, St James's Place,l London
    GB10676.jpg
  • Commander Pat Douglas RN stands with the car after driving it to Dukes Hotel. An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys.Dukes Hotel, St James's Place,l London
    GB10675.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10668.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10666.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10664.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10661.jpg
  • An Aston Martin DB 2/4, which is understood to have been Ian Fleming's inspiration for James Bond’s Aston Martin in the original novel Goldfinger. It was recently discovered and refurbished by owners  John and Daniel Walford.  It is to be auctioned on 12 July at Blenheim Palace  by international auctioneers Coys. The Old Admiralty Building, Whitehall London
    GB10654.jpg
  • A simulator on the Lockheed Martin stand - The DSEI (Defence and Security Equipment International) exhibition at the Excel Centre, Docklands, London UK 15 Sept 2015
    DSEI GBPhotos 11.jpg
  • Martin Johnson after finishing the London to Surrey 100. Prudential RideLondon a festival of cycling, with more than 95,000 cyclists, including some of the world's top professionals, participating in five separate events over the weekend of 1-2 August.
    GB21019.jpg
  • Gerry Adams and Martin McGuiness. Tony Benn's funeral at 11.00am at St Margaret's Church, Westminster. His body was brought in a hearse from the main gates of New Palace Yard at 10.45am, and was followed by members of his family on foot. The rout was lined by admirers. On arrival at the gates it was carried into the church by members of the family. Thursday 27th March 2014, London, UK. Guy Bell, 07771 786236, guy@gbphotos.com
    Tony Benn Funeral GBPhotos 20.jpg
  • Martin Lamb CEO of IMI plc announces interim results - Guy Bell Photography, GBPhotos.com
    CEO IMI plc.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 22.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 14.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 09.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 25.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 24.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 23.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 21.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 20.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 19.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 18.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 17.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 16.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 15.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 13.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 11.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 10.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 08.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 07.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 06.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 04.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 26.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 12.jpg
  • Michael Craig-Martin<br />
Transience<br />
Serpentine Gallery, Kensington Gardens, London. The show includes a  3 metre-tall sculpture entitled Lightbulb (magenta). Based on Craig-Martin's characteristic line drawings of ordinary objects, this bright pink form was commissioned on the occasion of the exhibition. The show also features new wallpaper that has been conceived in response to the gallery spaces.
    Serpentine Gallery GBPhotos 05.jpg
  • With racks of completed ceramics - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 35.jpg
  • FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 33.jpg
  • FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 32.jpg
  • FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 17.jpg
  • Filling th nmoulds - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 14.jpg
  • Clare Twomey (c) working with students in FACTORY: the seen and the unseen - an installation in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 08.jpg
  • Student Bridgitte Chang getting a jug out of a mould - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 21.jpg
  • Student Flor Mendschein collects some more raw clay - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 52.jpg
  • Student Flor Mendschein collects some more raw clay - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 51.jpg
  • Students Flor Mendschein and Bridgette Chang collect some more raw clay - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 50.jpg
  • Students Flor Mendschein and Bridgette Chang collect some more raw clay - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 49.jpg
  • Students Flor Mendschein and Bridgette Chang collect some more raw clay - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 46.jpg
  • Students Flor Mendschein and Bridgette Chang collect some more raw clay - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 45.jpg
  • Students Flor Mendschein and Bridgette Chang collect some more raw clay - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 44.jpg
  • Student Bridgette Chang with racks of completed ceramics - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 43.jpg
  • Student Bridgette Chang with racks of completed ceramics - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 41.jpg
  • Student Bridgette Chang with racks of completed ceramics - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 40.jpg
  • Student Bridgette Chang with racks of completed ceramics - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 38.jpg
  • Student Bridgette Chang with racks of completed ceramics - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 37.jpg
  • With racks of completed ceramics - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 36.jpg
  • With racks of completed ceramics - FACTORY: the seen and the unseen - an installation, in the form of a ceramics factory, by artist Clare Twomey. It is set up in the Blavatnik Building of the Tate Modern and launches the second year of Tate Exchange which, over 2017 and 2018, will focus on the theme of production.
    Ceramics Factory Tate GBPhotos 34.jpg
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