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JANE WARD | INVESTING IN ART
A British painter and photographer with an MA in Printmaking from the Royal College of Art, London, this multi-faceted artist who was new to Eyestorm in 2015, won the Terrence Conran Foundation Award and the Tim Mara Prize shortly after her graduation and was shortlised for the Art Gemini prize in 2015.
 
Ten years on from her Masters degree and Ward has her work in the prestigious Royal Academy of Arts Summer Exhibition in London as well as an artist residency in Gsteig bei Gstaad, Switzerland, both in summer 2017.
The cityscapes, villages, rural and industrial settings depicted in the work of Jane Ward, are both disturbing and alluring as they allude to the cycles of destruction and regeneration witnessed in our everyday surroundings. Many questions arise concerning our perception of the world in Jane Ward’s work; what constitutes reality and what the imaginary? What is utopian and what dystopian? Via the serene colours in the work and the minuscule details that feature foliage, high rise buildings, and flecks of the city, Ward tackles complex issues of displacement, fragmentation and the mercurial passage of time.
Jane Ward

The Other Side of the Mountains 1 , 2015

100(w) x 75(h) cm
39.37(w) x 29.53(h) inches
Archival print with screenprint and gold and palladium leaf on Somerset Satin Enhanced 330gsm paper

To see larger and more detailed image (2Mb file opens in new window), please click here
Edition of 50
PRICE (INCL. VAT)
£ 935.00
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ART TRENDS ADVISOR
Increase IN PRICE SINCE RELEASE
+10 %
SEE MORE ART TRENDS HERE
Whenever we uncover an artist, it’s important to understand their current working practice and how they've produced their work in the past. Jane's transient landscapes are constructed by digitally placing together various fragments of images, either from photographs she's taken herself or that she's sourced from elsewhere, which are then accompanied by hand-drawn elements that are either scanned in and added to the image digitally, or painted directly onto the surface of the paper. The result of this multi-media approach to print-making shows up stunning scenery that seems dreamlike, allows the viewer to feel deported into an imagined world and to borrow a phrase from the artist Graham Crowley’s interpretation of the work- ‘in this topsy-turvy world, light misbehaves and gravity seems to have taken a holiday’.

With her expertise in print-making, it was no surprise that Jane Ward would make her very first prints with screen-printed elements, an indulgence in technique and artistry. Having previously created prints as digital and photographic collages, her collaboration with Eyestorm was the point where for the first time she created limited edition prints with hand-pulled ink layers added. It was also the first occasion where she used palladium and gold leaf on her prints, showing off the meticulous technique of hand-applied leafing that’s not demonstrated in her other work. The Other Side of the Mountains 1 and The Other Side of the Mountains 2 were released with Eyestorm in 2015 and are stunning landscapes-come-cityscape scenes typical of Ward’s style. Formed in the ether and shaped in the imagination, the first is an extravagant display of the many textured, hand-applied elements that go into screen-printing. The piece displays a vast range of gloss inks, metallic glazes and water-colour painted elements together and with the introduction of precious metal leafing, it’s a stand-out collector’s piece.
Jane Ward

The Other Side of the Mountains 2 , 2015

75(w) x 100(h) cm
29.53(w) x 39.37(h) inches
Archival print with screenprint on Somerset Satin Enhanced 330gsm paper

To see larger and more detailed image (2Mb file opens in new window), please click here
Edition of 50
PRICE (INCL. VAT)
£ 825.00
COLLECT NOW
 
 
  THANK YOU FOR MAKING AN OFFER  
  YOU WILL RECEIVE AN EMAIL SHORTLY WITH A COPY OF YOUR OFFER  
 
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ART TRENDS ADVISOR
Increase IN PRICE SINCE RELEASE
+10 %
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The screenprinted touches in the Other Side of the Mountains series really set the work apart from other digital-print works. Screen-prints have the active involvement of the artist invested into the physical process of making them, either by hand or by directing other screenprinters with a watchful eye. Collectors of such screenprints can therefore be said to be buying ‘original’ prints, ones which has been made from scratch with a greater intrinsic value than a photo of a painting made into a digital print. Oftentimes artists and art galleries work in such a way that by signing a digital print, the artist approves and endorses it, yet they may not have had a hand in actually making that print themselves. In some instances, artists have no involvement at all in the technical processes of printmaking other than simply signing the limited edition prints. So what emerges is that while an artist’s signature or stamp on a print is important to its value, it’s not always the answer to conclude that it’s the main factor in deciding whether a print has investment potential.

Another clue to help identify an investment-worthy print is to see how widespread its popularity is, and Jane Ward’s screenprints are noted to be universally engaging with collectors in countries all over the world. A few years ago we launched our Arts Trends Advisor, which is intended to a be guide for inspiration and to show the movements in value since the time a print is released. The two prints are currently an investment for the fact they are priced very close to their initial launch price. By the time both editions of 50 screenprints are sold, their prices are usually double that of what they were in 2015.

Ultimately the value of Jane Ward’ prints must be understood to be rooted in the comprehensive range of printing techniques which both enchant with their complex beauty as well as provide multiple layers of visual meaning. The works convey a sense of not being tied to a place, of having broken the bonds of the local, a feat which is miraculously achieved by making the work intricate and detailed, which really seems a contradiction in terms but is inexplicably achieved. Perhaps because we are all hyper-aware of global states of flux in the 21st century, Ward’s work becomes all the more relevant to Contemporary British art in the here and now.
 
RECENT NEWS ARTICLES
November 10th 2017
Henrik Simonsen’s most recent screenprint edition, Untamed, sees the artist use the rich, heavy, warm light of late summer as influence for the colours he uses in this 15-colour screenprint. With cool blue tones against deep crimson and russet, the work also captures the play of sunlight and shadow that is so typical of the climate in the Western hemisphere at the height of its glory - just before it descends into Fall.
January 19th 2018
Best known for his metal sculptures of balloon dogs and everyday objects, Jeff Koons takes industrially-made articles, strips them of their practical use and re-presents them as art icons. He plays with themes of banality, mass-appeal and commerce with arguably greater showmanship, and on a grander scale, than any artist before him.
PRINT EDITION RELEASE
by Henrik Riis
INVESTING IN ART
by Carys Lake-edwards
September 6th 2015
We are excited to be launching two new Eyestorm editions with a brand new artist Jane Ward, who creates beautiful transient three dimensional landscapes from another world.
£ 935.00
£ 825.00
DO YOU OWN A DAMIEN HIRST PRINT EDITION YOU WISH TO SELL?
Valium
With two major exhibitions during the Venice Biennale, 2017 was a year which increased the awareness of Damien Hirst. With Hirst still actively releasing new print editions, many collectors focus on his earlier work from 2000 and before, such as Valium, Lysergic Acid Diethylamide (LSD), Opium, Beautiful, Galactic, Exploding Screenprint (Spin) and Painting-by-Numbers.

If you have one of the above prints that you are potentially interested in selling, please do get in touch with us via the Contact page, which you can find here.
 
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