'One Too Many Perhaps' by Chris Gollon, 76 x 56cm acrylic on paper 2013.

Provenance: Chris Gollon Estate, available from IAP Fine Art

This painting is shown in the new documentary ‘CHRIS GOLLON: Life in Paint’ (85mins) to demonstrate Gollon’s innovative use of spray paints and a printmaker’s roller. Bacon and Hockney had been criticised for flatness in acrylic which Chris Gollon managed to avoid by combining Old Master techniques, using very thin glazes, with printmaking techniques and – as shown here in this painting – fine art spray paints.

I Knew The Bride When She Used To Rock n' Roll (after the Eleanor McEvoy version of the Nick Lowe song)')

This painting features in the new documentary ‘CHRIS GOLLON: Life in Paint’ (85mins), and shoes the artist’s consummate skill with both fine art spray paints and his use of black. It also shows how he combined Old Master techniques of thing glazes with the modern medium of acrylic, which is seen in the flesh tones.
Having been very taken with the Eleanor McEvoy version of the Nick Lowe song, Chris Gollon wanted to show both young and old in one figure.

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The Night May Still Be Young, But I Am Not

The sadness of ageing was a theme that Chris often returned to during his career, always finding a beauty and dignity in the acceptance of ageing.

This powerful work was painted just a few months before the artist’s untimely death, and is among a final series of works  where he returned to painting on oil rather than acrylic.

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'The Fashion Show' by Chris Gollon, 48” x 24” (122 x 61cm) acrylic on panel 2002

This comi-tragic painting features in the new documentary ‘CHRIS GOLLON: Life in Paint’ (85mins), and in the film art historian Mary Rose Beaumont notes that Chris Gollon “had a fine sense of the ridiculous”.

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‘Still Life with Hands & Jug’ by Chris Gollon, 24” x 30” (61 x 76cm) acrylic on canvas 2007

Chris Gollon was one of the greatest painters of drinking, perhaps since Hogarth. The origin of this painting might well be Spanish, since Gollon loved a sherry bar he came across in Madrid. They gave you wonderful sherries at the bar and simply chalked the number you had–literally with chalk–onto the bar, keeping a tab. If you ordered more than 2 sherries, tapas started to arrive.
When Chris first visited he used to wonder why there were men unconscious on the floor, each with chalk on their elbows. It soon became clear that their last act was to wipe the slate, erase the chalk.
As a painter attracted to all things Spanish, the history of art, the bodegas, the literature, cuisine and the wines; as well as having a warm comi-tragic view of life, that bar scene was a gift, as this painting shows.