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Editorial (Books, magazines and newspaper) - extended
Print and/or digital. Single use, any size, inside only. Single language only. Single territory rights for trade books; worldwide rights for academic books. Print run up to 5000. 7 years. (excludes advertising)
$175.00
Editorial (Books, magazines and newspaper) - standard
Print and/or digital. Single use, any size, inside only. Single language only. Single territory rights for trade books; worldwide rights for academic books. Print run up to 1500. 7 years. (excludes advertising)
$100.00
Corporate website, social media or presentation/talk
Web display, social media, apps or blogs.
Not for advertising. All languages. 1 year + archival rights
$190.00
Personal website, social media or presentation/talk
Web display, social media, apps, or blogs. Use in academic and non-commercial presentations/talks included. 5 years. Not for commercial use or advertising. All languages. 5 years
$50.00
Personal products
Personal Prints, Cards, Gifts, Slide Presentations, Reference. 5 year term. Not for commercial use, not for public display, not for resale. example: For use on birthday cards sent to family members. 5 years
Philip Wilson Steer was first trained at the Gloucester School of Art and later went on to study in Paris at Julians under the Salon painter Bouguereau and at the Ecole des Beaux-Arts. Strangely he did not seem to come into contact with the work of the Impressionists until his return to London in July 1883 when Dowdeswells held a major exhibition. In the following year he returned to England and thereafter divided his time between his London studio and frequent trips to the France and areas of Britain, one of his frequent and favourite haunts being the coast of Norfolk.
He developed a very spontaneous style making small, lively, plein-air sketches which would later be used as studies towards his larger studio canvases. His early impressionist-influenced land and seascapes, which are generally now considered to be his best works, were initially considered avant-garde and failed to find favour with the artistic establishment. As a result he became a founder member of the New English Art Club in 1886 and continued to exhibit there for nearly fifty years.
In 1889 he contributed to the "London Impressionist Exhibition" at the Goupil Gallery and in 1894 held his first one man show. He was painting tutor at the Slade for nearly forty years and is represented in many public collections including that of the Tate Gallery