| exhibition archive The Discerning Eye Exhibition 2005 14th exhibition ~ 17 to 27 November 2005 My interest in pictures started at school when a very committed art master introduced his somewhat sceptical pupil to the appreciation of art and architecture. Of all the lessons of my school days these are the ones I remember - they are the only ones I remember. Why are they so etched? I wish I could articulate an answer! They lifted the soul of a bloody-minded teenager who was not looking to be uplifted. So when I joined Barings in 1977 and found the task of managing the firm's art collection tagged on to my job, I could hardly believe my good luck. Here for the first time I witnessed others being uplifted by art. These 'others' were, of course, the staff. I very quickly learnt two things - a huge constituency of real interest existed and people with the most unpractised of eyes could instinctively pick out strong pictures and were unhappy with anything else. Even the most resistant could be uplifted! But there were other lessons to be learnt. Artists need support. In particular they need space to show their pictures, people to come and look at them and the confidence that this creates. These lessons should have been obvious but they came as a surprise when we initiated ING's art programme following its acquisition of Barings' business in 1995. Being able to deliver on this, albeit in a modest way, was hugely thrilling and, for me, an ING career highlight. Part of this programme was ING's involvement with Discerning Eye in a wide range of events. Many of these, in one way or another, brought artists and staff together; it was extraordinary fun and enormously rewarding. But the annual Discerning Eye exhibition was central in this programme. It has huge strengths, bringing together established and aspiring artists, identified only by name, on one high profile platform. If testimony to success is needed, attend the artists' preview which buzzes with exuberance. Being part of this year's selection process was as privileged as it was enjoyable and self-indulgent. I can't wait to see my selection hung. What will people think? Will I be challenged? My taste is on the line! My own discerning eye never so much in the spotlight! I sense the artist has been here before me! | 3/5 | Long horizon, pale yellow | £350 |
| 3/12 | A dart of moonlight from the heart | £2,750 |
| 3/13 | Tin roof, Nant-y-moel | £950 |
| 3/19 | St Marks Rise, Dalston - March | £750 |
| 3/23 | Houses at Trellispane | £1,800 |
| 3/24 | School, Cleveleys | £1,650 |
| 3/26 | Five brown paper bags | £500 |
| 3/27 | Study for portrait of Ronny, Kippenberger and Pollock | £350 |
| 3/29 | Squashed dog basket | £1,500 |
| 3/30 | Evening calm, Fife | £2,100 |
| 3/31 | Greek island harbour — found object assemblage 20 | £460 |
| 3/32 | Greek island harbour - found object assemblage 22 | £460 |
| 3/38 | Between the breaks | £289 |
| 3/40 | Porthcurnick Beach | £850 |
| 3/42 | Object on a shelf | £1,000 |
| 3/43 | Open doors - sunlight | £1,250 |
| 3/44 | Open doors - presence | £1,250 |
| 3/45 | Gorthleck near Inverness, Scotland 1 | £600 |
| 3/46 | Gorthleck near Inverness, Scotland 2 | £600 |
| 3/50 | Girl by the window | £180 |
| 3/51 | Morning in Venice | £190 |
| 3/52 | A large glass of wine | £100 |
| 3/58 | Cretaceous sponge I | £595 |
| 3/60 | Looking towards Jerusalem | £500 |
| 3/66 | Not on the itinerary | £170 |
| 3/67 | Shakespeare's sister | £800 |
| 3/69 | The Groom II (after Hans Baldung Grien) | £185 |
| 3/70 | The Knight of Celano (after Giotto) | £185 |
Deborah Schneebeli-Morrell | 3/74 | In the Nelson, Southwold | £530 |
| 3/78 | Green night homecoming | £350 |
| 3/80 | Waiting 2 - Mexico | £950 |
| 3/81 | Fish market, Venice | £395 |
| 3/82 | Still life with eggs and glass | £2,000 |
| 3/83 | Still life with hat, book and egg | £2,500 |
| 3/84 | Small painting no. 4 | £1,200 |
| 3/85 | Small painting no. 5 | £1,200 |
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