Art Commissions

'Flux' St James's Buildings (2013)
acrylic on canvas on board. 350cm x 140cm.

Commissioned by the building's owner, Bruntwood Estates, for the entrance to St James's Buildings, Oxford Street, Manchester to celebrate 100 years of the building's existence and its occupation by the Calico Printers Association from 1912-1972. Motifs are based on textile designs created by the CPA at St James's Buildings between 1920 and 1959 and now archived at the V&A national textile collection in London. The painting also refeences aspects of the building's important period architecture. Painted on 3 panels, 'Flux' follows a timeline from left to right of the development of textile designs from the early 20s through the 2nd World War and into the late 50s.0
 
'Flux' - Installation St James's Buildings (2013)
acrylic on canvas on board. 350cm x 140cm.

Commissioned by the building's owner, Bruntwood Estates, for the entrance to St James's Buildings, Oxford Street, Manchester to celebrate 100 years of the building's existence and its occupation by the Calico Printers Association from 1912-1972. Motifs are based on textile designs created by the CPA at St James's Buildings between 1920 and 1959 and now archived at the V&A national textile collection in London. The painting also refeences aspects of the building's important period architecture. Painted on 3 panels and installaed above one of the two main lift vestibules.0
 
'Reverie' St James's Buildings (2013)
acrylic on canvas on board. 350cm x 140cm.

Commissioned by the building's owner, Bruntwood Estates, for the entrance to St James's Buildings, Oxford Street, Manchester to celebrate 100 years of the building's existence and its occupation by the Calico Printers Association from 1912-1972. Motifs are based on textile designs created by the CPA at St James's Buildings between 1920 and 1959 and now archived at the V&A national textile collection in London. The painting also references aspects of the building's important period architecture including the 1912 safe desposit boxes in the basement. Painted on 3 panels the painting explores a dream-like aspect of some of the CPA designs, especially from the inter-war period when fun and eccentric textile designs reflected the high society culture of that period.0
 
'Reverie' - installation in St James's Buildings (2013)
acrylic on canvas on board. 350cm x 140cm.

Commissioned by the building's owner, Bruntwood Estates, for the entrance to St James's Buildings, Oxford Street, Manchester to celebrate 100 years of the building's existence and its occupation by the Calico Printers Association from 1912-1972. Motifs are based on textile designs created by the CPA at St James's Buildings between 1920 and 1959 and now archived at the V&A national textile collection in London. The painting also references aspects of the building's important period architecture including the 1912 safe desposit boxes in the basement. Painted on 3 panels above on of the two main lift vestibules, the painting explores a dream-like aspect of some of the CPA designs, especially from the inter-war period when fun and eccentric textile designs reflected the high society culture of that period. 0
 
'Flux' complete in studio (2013)
acrylic on canvas on board. 350cm x 140cm.

Thje two paintings only just fitted into studio.0
 
'Reverie' complete in studio (2013)
acrylic on canvas on board. 350cm x 140cm.

0
 
St James's Commission work in progress, Rose House Studio, Garrigill (2013)
acrylic on canvas on board. 0cm x 0cm.

Commissioned by the building's owner, Bruntwood Estates, for the entrance to St James's Buildings, Oxford Street, Manchester to celebrate 100 years of the building's existence and its occupation by the Calico Printers Association from 1912-1972. Motifs are based on textile designs created by the CPA at St James's Buildings between 1920 and 1959 and now archived at the V&A national textile collection in London. The painting also references aspects of the building's important period architecture including the 1912 safe desposit boxes in the basement. Each painted on 3 panels they explore aspects of some of the CPA designs, especially from the inter-war period reflecting the high society culture of that period.0
 
Pallettes for painting 'Flux' St james Commission (0)
acrylic on canvas on board. 0cm x 0cm.

I used several plastic food trays as acrylic palettes for different colour ranges. Cling film was used to stop paints drying during food breaks or overnight.0
 
'Flux' day 1 Rose Hopuse Studio Dec 2012. (2012)
acrylic on canvas on board. 350cm x 140cm.

Bare cotton duck canvas stretched over 3 MDF panels stiffened with Poplar to minimise risk of warping over time. Sized with PVA glue and grounded with acrylic gesso.0
 
St James proposal 1 (2012)
acrylic. 0cm x 0cm.

Preliminary design idea for 3.5m painting based on Calico Printers Association textile designs from 1920 to 1957 and elements 1912 architecture of St James's Buildings, Oxford Street, Manchester. Commissioned by Bruntwood Estates.0
 
St James proposal 2 (2012)
acrylic. 0cm x 0cm.

Preliminary design idea for 3.5m painting based on Calico Printers Association textile designs from 1920 to 1957 and elements 1912 architecture of St James's Buildings, Oxford Street, Manchester. Commissioned by Bruntwood Estates.0
 
St James proposal 3 (2012)
acrylic. 0cm x 0cm.

Preliminary design idea for 3.5m painting based on Calico Printers Association textile designs from 1920 to 1957 and elements 1912 architecture of St James's Buildings, Oxford Street, Manchester. Commissioned by Bruntwood Estates.0
 
St James proposal 4 (2012)
acrylic. 0cm x 0cm.

Preliminary design idea for 3.5m painting based on Calico Printers Association textile designs from 1920 to 1957 and elements 1912 architecture of St James's Buildings, Oxford Street, Manchester. Commissioned by Bruntwood Estates.0
 
Harthwaite Sike, Vale of Eden. (0)
oil on board SOLD. 105cm x 0cm.

Based on drawings made at Harthwaite Sike from Pennine Way LDP Cumbria. The beck or sike cuts through glacial clays down to the red sandstones of the Eden Valley. Commissioned set of 5 paintings.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Keisley Fell and Gregory. (0)
oil on board SOLD. 105cm x 0cm.

Based on drawings near Gregory hill off the Pennine way, Cumbria. Commissioned set of 5 paintings.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Great Rundale, Cumbria. (0)
oil on board SOLD. 105cm x 0cm.

Based on drawings of Great Rundale from Dufton Pike. Commissioned set of 5 paintings.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Little Rundale (0)
oil on canvas SOLD. 130cm x 0cm.

Based on drawings made under Little Rundale near Dufton Pike, Cumbria. Commissioned set of 5 paintings.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Great Rundale, Dufton Pike. (0)
oil on canvas SOLD. 150cm x 95cm.

Based on drawings from under Dufton Pike looking north to the Solway Firth. Commissioned set of 5 paintings.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Hartside Road to Eden (HP14) (2010)
Oil on canvas NFS. 100cm x 75cm.

One of 4 paintings done for a private customer in Cumbria. Based on drawings and memory of a brief explosion of colour at sunset sitting on a hill side under Melmerby Scar above the famous Hartside Pass road.0
 
Wuthering Heights 1 (0)
. 0cm x 0cm.

Inspired by Emily Bronte's Wuthering Heights. Based on the peat moor above Top Withins near Haworth.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Cheviot Hills from Yellow Rigg, Northumberland (N002) (0)
Oil on canvas NFS. 101cm x 75cm.

A notional view of Northumberland and the Cheviot Hills from Yellow Rigg as imagined from memory. The customer did not want an accurate view from a particular place but rather a composition that felt right. I based some aspects on drawings such as the shape of the Cheviots from Yellow Rigg near Hexham. The pattern of fields and woods was largely invented as were the clouds and the foreground. The painting was built up in layers over 3 months at the same time as another painting of Northumnberland of the same size (N001 in the paintings gallery). The customer was offered a choice of the two paintings.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Cheviot in Winter 5 (2009)
Oil on canvas 1430. 122cm x 76cm.

Commissioned by Dept of Rheumatology, Freeman Hospital, Newcastle upon Tyne for Ian Griffiths' retirement gift. Drawings made in Cheviots after discussion with client. Painting based on drawings. Articles about this commission published in Dutch magazine Palet and British publication, Artists and Illustrators magazine in 2009.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Bamburgh Castle in the dunes (2008)
Oil on board 600. 75cm x 57cm.

Painted on the beach south of Bamburgh Castle in mid February on perfect sunny day. Delivered immediately on completion to client.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Angels Over Gateshead, Private commission, L.Tuttiatt (2001)
Oil and acrylic. 100cm x 150cm.

A private commission based on an earlier prototype.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
The Chosen One (2001)
Oil on canavas. 165cm x 210cm.

Commissioned by Forrestals Accountants in collaboration with Bradley O'Mahoney PR for Head Office in Newcastle. Assisted by Sir Ian Wrigglesworth, Chairman Newcastle Gateshead Initiative and the employees and clients of Forrestals.

Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Prior to painting of 150 angels at the launch event of Forrestals new offices. (0)
. 0cm x 0cm.

In my Elswick studio, Newcastle, about to recieve angels.0
 
Sir Ian Wrigglesworth painting his angel. (0)
. 0cm x 0cm.

Like many other guests and employees Sir Ian Wrigglesworth, Chairman of Newcastle Gateshead Initiative, added his angel in ois using a template. He selected the position and the size of angel.0
 
The Chosen One, part complete with 10% of angels painted during launch event (0)
. 0cm x 0cm.

Nearly complete in Forrestals Accountants offices for their grand opening.0
 
Newcastle Airport Commission (2001)
Acrylic on calico on board. 4cm x 2cm.

Based on a research journey to Belfast, Antrim and the Black Mountains organised by Gill Airways. The centre panel is from drawings and photos made near the Harland and Wolff shipyard, the terrace street where the shipbuilders lived. Left panel is Dunluce Castle looking towards Derry from drawings made on location. The right panel is from the Black Mountains looking south towards Dublin.
Each 'scene' connects via a ghostly black figure who walks out from the street scene into the landscape setting. This reflects in some way how a predominantly rural landscape is dominated by the politically troubled city and economic engine of Belfast. In the landscape panels only animals occupy the space whereas in the city humans dominate.
A transatlantic jet trail peeking between the clouds above Belfast is a reminder of how interconnected the world is and that once Belfast was strongly connected to international travel and trade via the shipyard which built the Olympic and Titanic, then the world's largest ships designed to take people to the America in large numbers including Irish emigrants.
Special Branch came to the studio before the painting was hung to check that there was no information in the painting which might be a problem. As result they asked me to change the number plate on a vehicle! No reason was given but it had to be done. It made me wonder who had been watching me on Parker Street off Newtonards Road in Belfast when I sat on my stool to draw and take photos! Nobody took any apparent notice but I felt very exposed doing it.0
 
Dunluce Castle (2001)
Earth, charcoal, rain. 38cm x 29cm.

Drawn on location in Antrim and used in the left panel of the mural. The Skerries lie offshore with Derry beyond.0
 
Giant's Causeway (2001)
Ink and felt tip. 38cm x 29cm.

Drawn on location in Antrim on a bright sunny rainy kind of day. The cliffs on the north coast are quite amazing in their cathedral like grandeur. I hope the tourist industry doesn't spoil it all.0
 
Thompson Dock (2001)
crayon, graphite. 38cm x 29cm.

Drawn at the head of the famous Thompson Dock. It was built in the early 20th century for the Olympic class liners Olympic, Titanic and Britannic and still works. I was able to walk down into the dock bottom and imagine the great liners sitting there on the keel blocks. Now it's all been health and safetyfied and could no longer do this. Also the view has completely changed with the Titanic Quarter development so this is an historic image.0
 
Ian Mowat, Newcastle University (1998)
Oil on linen.. 0cm x 0cm.

Commissioned to celebrate the time Ian Mowat spent as Librarian for Newcastle Universty. Portrait is one of a collection commissioned portraits of past Newcastle University Librarians in the Robinson Library. Sadly Ian died in a hill walking accident soon after taking up his dream post of Edinburgh University Librarian. Ian is shown working in his office in the Robinson Library and is based on drawings and colour sketches done with him in the office. The near empty shelves and the desktop PC symbolise Ian's achievements in getting a large amount of library information onto computer databases for wider and easier access by students and staff.0
 
Riverside 1 at Quayside House Newcastle upon Tyne (1995)
acrylic and collage on canvas. 0cm x 0cm.

I photographed this in Nov 2014. It's been moved from its original location to this rather tropical spot next to the lifts which really transforms the space and feel of the lift lobby. The building's present owners decided they didn't want the paintings anymore following a refurbishment of the reception area and offered them to Cheryl the Buildings Manager who's worked there since 1996. She's put Riverside 2 in storage pending disposal but had the inspired idea to put this one by the lifts (an interesting parallel with my 2012 Bruntwood commission at St Jame's Buildings in Manchester). I think the two pictures should be offered to Tyne and Wear Museums as they represent an important moment in the development of Newcastle and Gateshead quaysides celebrating the heritage of buildings and bridges but looking forward to a bold and confident architectural future.0
 
Riverscape 2, AMEC DEvelopments Ltd 1995, Quayside House, Newcastle (1995)
Acrylic and collage on canvas. 244cm x 167cm.

One of 2 large paintings commissioned for a new office building, Quayside House, on Newcastle's new quayside development. Based on drawings, photographs and plans supplied by Ove Arup the project designers.0
 
Riverscape 1, AMEC Developments Ltd, Quayside House, Newcastle (1995)
Acrylic and collage on canvas. 244cm x 167cm.

One of 2 large paintings commissioned for a new office building, Quayside House, on Newcastle's new quayside development. Based on drawings, photographs and plans supplied by Ove Arup the project designers.0
 
National Trust Robin Hoods Bay (2000)
Acrylic and collage on laminate. 450cm x 130cm.

5 panel mural for Robin Hoods Bay Museum education room. Commissioned by National Trust and North Yorkshire Moors National Park.


Now available as an A3+ limited edition, framed & mounted print price 195 + p&p or 125+p&p mounted print only or 99 print only in a tube. 0
 
Robin Hoods Bay Old Coastguard House Installation, Nat Trust& NYMoors Nat Park (2000)
Acrylic on laminate. 400cm x 150cm.

Large mural commissioned by The National Trust and the North Yorkshire Moors National Park for their new museum at Robin Hoods Bay. The commission had to satisfy certain conditions to do with education but it also had to have the wow factor of art. The customers were very pleased on all counts though this prestigious commission has yet to generate any new business.0
 
Robin H.B. Comm detail, National Trust & NYork Moors Nat Park, Old Coast Guard Ho. Robin Hoods Bay (2000)
Acrylic on laminate. 400cm x 150cm.

Detail showing reef, Whitby tide tables, yacht, sea plants and fossils.0
 
Robin Hoods Bay Mural, work in progress Day 1 at Volante Ltd, Trimdon Grange, Co Durham, (2000)
Acrylic and collage on canvas. 0cm x 0cm.

The commission was executed in a corner of a factory in Trimdon Grange because my North Shields studio was too small. I was artist in residence at the factory at the time for the Year of The Artist millenium project.0
 
Robin Hoods bay Mural, work in progress Day 8 at Volante Ltd, Trimdon Grange, Co Durham (2000)
Acrylic and collage on canvas. 0cm x 0cm.

 
Robin Hoods Bay mural, work in progress, Day12, detail (2000)
Acrylic and collage on canvas. 0cm x 0cm.

 
Robin Hoods bay Mural, work in progress Day 5 at Volante Ltd, Trimdon Grange, Co Durham (2000)
Acrylic and collage on canvas. 0cm x 0cm.

 
Robin Hoods Bay mural, work in progress Day 5 detail (2000)
Acrylic and collage on canvas. 0cm x 0cm.

 
Robin Hoods Bay mural, work in progress Day 5, detail (2000)
Acrylic and collage on canvas. 0cm x 0cm.

 
Robin Hoods Bay mural, work in progress Day12 (2000)
Acrylic and collage on canvas. 0cm x 0cm.

 
©2004 Tom McElderry