selected by Paul Hughes
01 Aug - 24 Oct 2021
The Old Chapel, Maiden Bradley Duke of Somerset Estates
THU-SAT: 10:00-18:00, SUN: 10:00-16:00, or by Appointment

“All Art was Once Contemporary”

The essence of the exhibition “Continuities”, as presented at The Old Chapel, Maiden Bradley Duke of Somerset Estates, in association with Paul Hughes Fine Arts and 36 NINE Projects, originated from living artists within our constellation who share a passion for that mystical otherworldliness in art and to enter into a dialogue with our museum quality collection of ancient Andean Pre-Columbian archaeological textiles.


Paul Hughes Collection | Anni and Josef Albers | Augusto Ballardo | Lawrence Calver | Fiona Curran | Maria Simonds-Gooding | Ben Hughes | Ptolemy Mann | Katharine Swailes

Paul Hughes Collection 

In the archaeology of textiles, the fortunate preservation of Andean Pre-Columbian textiles is truly a marvel. These ancient Andean artists have engendered within a continuous living tradition spanning more than 3000 years to our days a wider corpus of technical virtuosity and iconography than any other known culture. Considered from the viewpoint of composition, materials and aesthetics these textiles attained the highest levels of artistic expression imbued with symbolic signification.

The textile arts of the ancient Andes are one of the most important contributions to the worlds artistic legacy combined with a technical virtuosity that’s hardly surpassed, these artists were deeply aware of their reciprocal relationship with nature and their gods as cosmic forces, counting on the Upper World and Lower Interior World to heed their call. They believed that divine response to their invocations was contingent upon a display of respect and veneration by mortals. It is for this reason that such exquisite works, glowing with luminescent colours and vibrant designs, radiate a profound faith and an exquisite transcendental sense of unique splendour.

Nazca Feather Tunic (Rainbow Colour)

Nazca culture, 132 x 177 cm, c.200 AD
feathers and camelid fibres

Huari Stripe Tunic 

Huari culture, 70 x 110 cm, c.800 AD
camelid fibres

Anni Albers

Among many known artists, the Albers have been the most avid admirers and practitioners in exploring the Pan-American cultural legacy. Anni and Josef first encountered Andean Pre-Columbian Textiles circa 1922 at the Volkerkunde Museum in Berlin. The study of Andean Pre-Columbian Textiles were then incorporated as part of the weaving curriculum at the Bauhaus school which Anni developed with her mentor Paul Klee.

In 1933 they both accepted teaching positions at Black Mountain College. They soon made frequent trips to Latin America, collecting ancient art from many regions and spending a year in Peru in 1953 where they further formed a museum-quality collection of Andean Pre-Columbian Textiles that remain at the Albers Foundation and the Yale University Art Gallery Museum. The Albers shared a kinship akin to both an emotional thread with these anonymous ancient Andean weavers, and in aesthetic composition, colour values and virtuosity of technical skill creating resonances between their collecting and art-making  disciplines.

Second Movement II

etching & aquatint on paper, 5/8
84 x 84 cm (with frame)
GBP 7,600


Augusto Ballardo (b.1986) lives and works in Peru. He takes on a more archaeological approach in deconstructing the Pre-Colombian Andean’s geometric language. In his recent investigation at the Amano Pre-Columbian Textile Museum, Augusto worked simultaneously with the Pre-Columbian feather collection from Yoshitaro Amano and the recycled Peruvian aircraft relics. By polishing the relics surface and applying the most symbolic visual language of PreColumbian cultures on its surface, Augusto perpetuates the aesthetic quality of geometric abstraction, while highlights the tension between the past and presence, between the industrialised pragmatism and merit of pre-modern craftmanship.

Ballardo has participated in various group exhibition inside and outside of Peru, and integrated art residences around Latin America, such as Pivô Research (São Paulo, 2019), Espacio Showroom (Guanajuato, 2016), Curatoría Forense (Santiago de Chile, 2015), Casa da Xiclet (São Paulo, 2014), Memorial de América Latina (São Paula, 2014), and Zona30 (Lima, 2011),  He was also invited to participate in recognized institutions as in ArtNexus Foundation at Más allá de la abstracción (Bogota and Miami, 2015), and Hagasé la luz (Bogota and Miami, 2017), Fundación-Colección EPPCI AC. (San Miguel de Allende, 2016), MAC Museum (Lima, 2016), ARCO Madrid Art Fair (Madrid, 2019), ARTBO Art Fair (Bogota, 2019), MUNA Museum (Lima, 2021), and the Cuenca Biennial (Cuenca, 2021)


2021, 23,5 x 27.5 x 40 cm
painting on aircraft fuselage and plexiglass
GBP 750.00


2021, 25 x 27 x 40 cm
painting on aircraft fuselage and plexiglass
GBP 650.00


2021, 23,5x27,5x40 cm
painting on aircraft fuselage and plexiglass
GBP 750.00

Lawrence Calver

Lawrence Calver (b.1992) is a British artist who works closely with unique and vintage textiles sourced from all corners of the world. He hand dyes, manipulates and stitches together the textiles to compose contemporary renditions of the original fabrics that are used.  Inspiration for Calver is at times drawn from marked or stained cloth, often leaving the textiles as close as possible to their original state, showing its passage of time that can make the viewers eyes & mind wander, question even.

Red checkered

2021, 190 x 190 cm
dye, bleach on stitched cotton 

Tropical landscape

2021, 180 x 225 cm
dye, bleach on stitched cotton, linen

Fiona Curran

Fiona Curran (b.1971) read Philosophy at the University of Manchester before studying at Manchester School of Art and the Slade School of Fine Art, she teaches at the Royal College of Art in London, lives in Hertfordshire and works from her studio at Wysing Arts Centre in Cambridge. Fiona has exhibited widely in the UK and internationally including solo exhibitions at the Broadway Gallery, Letchworth Garden City; Cornerhouse Manchester; Chapter Gallery, Cardiff; MAC, Birmingham and Touchstones; Rochdale. Fiona has also undertaken a series of site-specific public art projects for organisations including the National Trust, Kielder Forest Trust and Vital Arts, she is currently working on a permanent sculptural commission with the Contemporary Art Society for Eddington in Cambridge.

Fiona works with painting, textiles and site-specific installation, exploring the poetics and politics of landscape and the impacts of screen-based technologies on our sensory engagement with the natural world. Her works reveal a recurring utopian impulse, formal idealism and sense of escapism. The bright colours and layered surfaces of her collaged paintings and tapestries mimic the fractured, illuminated and seductive spaces of the computer screen whilst immersing the viewer in a more physical and sensory engagement with materials and space. Curran is committed to slow, often labour-intensive processes of making that mark the passage of time, slowing down and paying attention. She has a strong investment in the meaning that can be derived from engaging with processes of making and encountering the material world in all its beauty, resonance and complexity.

A million atoms of soft blue

2021, 35.5 (w) x 46 (h) x 3.3 cm (d) cm (with frame)
Linen and wool tapestry 
GBP 2,850

Glide above the grass,

2021, 35.5 (w) x 46 (h) x 3.3 cm (d) cm (with frame)
Linen and wool tapestry
GBP 2,850

Maria Simonds-Gooding

Born in India, Maria Simonds-Gooding (b.1939) moved with her family to Ireland in 1947. She studied at Dublin’s National College of Art, Le Centre de Peinture in Brussels and the Bath Academy of Art, Corsham. In 1981 she was elected member of Aosdána. An organisation who honours artists whose work has made an outstanding contribution to the creative arts in Ireland.

Her work has featured in numerous group and solo exhibitions throughout Europe and the USA Her commissions include a tapestry for the Four Seasons Hotel, Dublin. Simonds-Gooding’s work is held in many public collections such as the Irish Museum of Modern Art; Department of Foreign Affairs, Dublin; Albuquerque Museum, New Mexico; Hirshorn Museum, Washington D.C.; Israel Museum, Jerusalem; National Gallery of Modern Art, New Delhi; Saatchi Collection, London and the Metropolitan Museum of Art, New York. Maria Simonds-Gooding lives and works on the Dingle Peninsula, Co. Kerry, Ireland.

The Field by the Water Hole

1999, 69 x 97 cm
carborundum, 50/50 
GBP 2,000

Harvest in the Valley

1999, 69 x 97 cm
carborundum, 39/40
GBP 2,150

Ben Hughes

Benedict Hughes (b.1986) graduated with an MA in Fine Art from City and Guilds of London Art School in 2016 and currently works and lives in London. After graduating he spent a year in India studying traditional ceramics, followed by a solo show at Brocket gallery. Prior to graduation he had a number of group shows and commissions including making large- scale sculptures for companies including Guinness, Honda and Wieden and Kennedy. Having initially foregone the traditional art school path, Hughes trained in metalwork at Pangolin Editions foundry in Gloucestershire learning the art of fabrication and bronze casting. Hughes is a recipient of The Ingram Collection’s Purchase Prize for Young Contemporary Talent (2018) and his work is part of the Ingram permanent collection.

Hughes brings a vanguard approach to sculpture’s original subject, the human body. Utilising mediums associated with classical and modernist sculpture—such as carved wood, clay and bronze. Hughes builds monumental figures rife with the traces of their making. Body parts rendered from flat portions of wood adjoin others sculpted in the round to create an interplay between two- and three-dimensional elements. Crouched and stilted on thick limbs, these reductive interpretations convey a striking sense of weight and anatomical structure. By tapping into the nuanced legibility of the human form, Hughes’ figures oscillate between states of power and of vulnerability.

Moche Man

2020, 60 x 26 cm
Painted wood, Unique
GBP 2,000

Seated Idol

2020, 45 x 25 cm
Painted wood, Unique
GBP 1,500

Ptolemy Mann

Ptolemy Mann has been creating art works from her studio since 1997. Architectural and chromatic wall based artworks for private, public and corporate clients using her signature hand dyed and woven technique. She has worked as a commercial textile designer producing a range of furnishing fabrics, cushions, bed linen and throws with various brands and retailers. In 2014 she established her own retail rug collection in collaboration with Rugmaker. In 2005 Ptolemy launched an architectural colour consulting service. For over 20 years she has worked as a textile journalist and lecturer. Her unique approach to hand dyeing and weaving in a dynamic modern context brings her craft into the 21st century. A modern-day Bauhaus philosophy of product and art making combined with intelligent colour theory underpins all of her work both creative and commercial.

Clients and Collaborators include: NHS, Hilton Hotel group, GlaxoSmithKline, The Open University, Cunard, KPMG, Savills, Derwent London, British Land, Building Better Health, Stanhope PLC, Heals, Copper and Silk, Land Securities, Bill Amberg, Ercol, Christopher Farr, Sotheby’s, Swankye Hayden Connell Architects, Stanton Williams Architects, Allies Morrison and Johnson Tiles.

From Darkness to Light - 1.3

2020, 94 x 134 cm (with frame) 
hand dyed, woven viscose and mercerised cotton
GBP 6,500

Threshold (salmon teal)

2021, 51 x 76 cm (with frame) 
watercolour pigment and acrylic gouache on Stonehenge black watercolour paper
GBP 1,200

Katharine Swailes

Cumbrian born Swailes now based in West Sussex, Katharine Swailes (b.1963) works from the studios of Atelier Weftfaced. Swailes produces wall based handwoven abstract tapestries, a minimal number of techniques and materials are used on these works. She uses traditional materials wool linen cotton and gilt. A woven cotton warp castellation selvedges create the top and bottom of the works, a reference to her past creating costume, from linens and cottons. Swailes draws inspiration from the history and process of weaving, particularly antiquity and the Pre-columbian America’s.

Swailes studied at West Dean College, on the then postgraduate course in tapestry weaving (1998-2000), before working for West Dean Tapestry Studio. Here she worked on prestigious commissions including the Stirling Castle tapestries 2001-2013 as Master Weaver and Designer, along side developing her own practice and exhibiting.

Swailes works are held in National, and private collections in the UK and abroad. Swailes was shortlisted for the Cordis prize in 2016 and 2019, Kate Derum Award, 2019, Theo Moorman Award, recipient 2016

Swailes recent exhibitions are Warp Weft Stitch Thread, Arundel, July. 2021, Artefact, London, June 2021, Crafting a Difference, London, 2021, Common Thread, New art centre, Wiltshire 2020, London Art Fair. London, 2020, Kate Derum Award, Australian Tapestry Workshop, Melbourne 2019, Cordis Tapestry Prize-Inverlieth House Edinburgh 2019, Collect-Saatchi Gallery 2019.   

Misplaced Manhattan

2015, 31 x 32 cm 
wool linen cotton gilt
GBP 750

Manhattan Elevation 

2015, 31 x 36.5 cm 
wool linen cotton gilt
GBP 750

Photo credit: Courtesy of the artist / Paul Hughes Fine Arts / 36NINE Projects