John Orbell

John Orbell

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!

Ralph Adron

3/1Painting signals£600

Antel & Wang

3/2Formosissima£635

3/3Petunia£635

Keiko Asahina

3/4The city no. 13£680

Louise Balaam

3/5Long horizon, pale yellow£350

Sue Barnes

3/6Sloping wood II£200

Caroline Bays

3/7Self portrait£950

Akash Bhatt

3/8No escape£1,150

Jason Bowyer

3/9Barry£650

Lucy Cade

3/10The passenger£750

3/11Annunciation£750

David L Carpanini

3/12A dart of moonlight from the heart£2,750

3/13Tin roof, Nant-y-moel£950

Edmund Chamberlain

3/14Junction I£1,800

3/15Brixton Street£1,800

William Clifford

3/16Self portrait£500

Christine Clinch

3/17Newquay beach£270

Andria J Cooke

3/18Cord trainers£320

Tony Coombs

3/19St Marks Rise, Dalston - March£750

Graham Crowley

3/20Late summer£1,200

3/21Pink evening I£1,200

3/22Head£1,800

3/23Houses at Trellispane£1,800

Richard Cuerden

3/24School, Cleveleys£1,650

Richard Davidson

3/25Suits of my life£900

3/26Five brown paper bags£500

Mick Davies

3/27Study for portrait of Ronny, Kippenberger and Pollock£350

Bill Dean

3/28Gare du Nord£300

Bernard Debaillie

3/29Squashed dog basket£1,500

George Devlin

3/30Evening calm, Fife£2,100

Michael Dow

3/31Greek island harbour — found object assemblage 20£460

3/32Greek island harbour - found object assemblage 22£460

D Ellwood

3/33Hideout£350

Tia Flexman

3/34St Ives£300

3/35Sennen Cove£300

Jo Fox

3/36Setting out£580

3/37Which way now£580

Stephen Gibbs

3/38Between the breaks£289

Mathew Gibson

3/39Office units£1,000

Judith Green

3/40Porthcurnick Beach£850

Robin-Lee Hall

3/41Emilly£1,450

Charles Hardaker

3/42Object on a shelf£1,000

3/43Open doors - sunlight£1,250

3/44Open doors - presence£1,250

Professor Eileen Hogan

3/45Gorthleck near Inverness, Scotland 1£600

3/46Gorthleck near Inverness, Scotland 2£600

Adam Holmes-Davies

3/47R.I.P.£650

3/48Home Guard£650

Heather Joy

3/4930+5£220

Lira Kay

3/50Girl by the window£180

3/51Morning in Venice£190

Anita Klein

3/52A large glass of wine£100

3/53Lady by the pool£100

Terry Kubecki

3/54Di£120

Katharine Le Hardy

3/55Sennen£175

Anastasia Lewis

3/56Rose & gold£750

Gerald McGowan

3/57Keeping in touch£800

Heather MacLennan

3/58Cretaceous sponge I£595

Ruth Manfield

3/59Entrance£500

David Marl

3/60Looking towards Jerusalem£500

Sandra Millar

3/61Dance sisters£330

3/62Book club£320

Jean Noble

3/63The odd couple£520

Darek Olenski

3/641 want out£1,120

Hilary Paynter

3/65In exile£170

3/66Not on the itinerary£170

Anna Phelps

3/67Shakespeare's sister£800

3/68Angel£800

Tom Piper

3/69The Groom II (after Hans Baldung Grien)£185

3/70The Knight of Celano (after Giotto)£185

James Rushton

3/71Doppelganger£950

Deborah Schneebeli-Morrell

3/72Fugue 700£857

3/73Finchley Road£660

Michael Smee

3/74In the Nelson, Southwold£530

Richard Spare

3/75Blackbird£159

3/76Flying Jay£159

3/77Blue Tit£159

Gigi Sudbury

3/78Green night homecoming£350

A Lincoln Taber

3/79Ancestor£195

Alastair Taylor

3/80Waiting 2 - Mexico£950

Patricia Theodorou

3/81Fish market, Venice£395

David Tindle

3/82Still life with eggs and glass£2,000

3/83Still life with hat, book and egg£2,500

David Whitaker

3/84Small painting no. 4£1,200

3/85Small painting no. 5£1,200

Toby Wiggins

3/86Anonymous boy£900

 

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