1. TOM SLINGSBY
Writer & Editor
ABOUT
Tom is a writer and editor with a passion for
communication and creativity. In recent years he has
transferred the skills acquired during his doctoral
research to challenging professional environments;
the worlds ofpublishing and art dealing. In these
scenarios he has thrived as a communicator ofbrand
values and product information to a wide range of
audiences.
CONTACT
tom@tomslingsby.co.uk
uk.linkedin.com/in/tomslingsby

2. ARTWORK DOCUMENTATION
for Aidan Meller Galleries
Henry Matisse, figure studies
extract
These drawings were made during the years 1901–1903, a
formative stage in Matisse's career. Since moving to Paris in
the early 1890s, he had accomplished little in the way oftruly
innovative work. But this was all to change with his discovery
ofvan Gogh and the warm colours ofsouthern France.
From the turn ofthe century onwards, Matisse was
discovering a unique voice ofhis own, developing the daring
works that spearheaded Fauvism.As his conviction in his
creativity grew, so did his public profile.
He had his first solo show with AmbroiseVollard in 1904,
and the following year exhibited his masterpieceWoman with
a Hat at the Autumn Salon, establishing his relationship with
collectors Gertrude and Leo Stein.
***
The two studies on the recto side ofthis object (left) bear a
striking resemblance to Matisse’s friend Mecislas Golberg,
whom we believe to be the subject. Golberg was a Russian-
Polish Jew, former anarchist, and political philosopher.
Having been deported from France on two occasions for
acts ofsubversion, Golberg was eventually granted provisional
leave to remain in exchange for abandoning all political
activities.Thus, on his return to France at the dawn ofthe
new century, he brought his fierce intelligence to bear on the
question ofart. He began to promote his theories ofa new
art“ofreduction, ofmovement, and ofspeed” - qualities
which are effectively pursued in this dynamic drawing.
Biographer Hilary Spurling explains that Golberg and
Matisse met through sculptorAntoine Bourdelle:
The two certainly got to know one another well in
Bourdelle’s studio, and perhaps they worked together as well,
for in addition to his private sittings, Golberg posed naked
for the entire sculpture class in 1900.
In addition to modelling, Golberg scraped a living
publishing magazine articles. Bourdelle, meanwhile, was
Matisse’s sculpture tutor, and had formerly worked for
Auguste Rodin.At this stage Golberg was suffering from
malnutrition and late-stage tuberculosis and came to be
affectionately known as “the living skeleton”.
His gaunt features would have been ofgreat interest to any
student ofanatomy, and we believe they are the ones
represented in this drawing.

3. Just as in early twentieth-century Paris, the rich reserves of
talent which pooled in 1940s NewYork were in need ofa
great promoter to put them on the map.
They found this in Peggy Guggenheim, born into the less
affluent branch ofa very wealthy family ofJewish business-
men and philanthropists. Peggy's father, a native of
Philadelphia, died in theTitanic sinking.When she was
twenty-one years old Peggy inherited $2.5m dollars, leaving
her in the enviable position ofbeing able to buy whatever art
she pleased.
Guggenheim grew up to be a woman ofunconventional
tastes and morals who, after setting up her first gallery in Paris,
was forced to flee France with the Nazis about to invade. In
this sense, her personal story embodies a wider transition of
artistic influence from Paris to NewYork.
Once described as possessing a“whim ofiron”, Guggen-
heim is said to have had a short attention span.Yet her career
was shot through with a knack for discovering great talents
and entrusting them with the freedom and support they
needed to realize their potential.
***
As a young woman, Peggy incited the disapproval ofher
parents when she took up a job as a clerk at SunwiseTurn, an
avant-garde bookshop which sold cutting-edge poetry and
fiction. It also dealt in reproductions ofworks by artists such
as Picasso and Matisse. Guggenheim was able in her role at
the bookshop to meet some ofmodernism's key agents in the
USA, such as poet Margaret Anderson, founding editor ofthe
seminal journalThe Little Review.
This mind-opening experience planted in the young
heiress a fascination with European modernism, and it was in
pursuit ofthis passion that she moved to Paris, where she
married the writer and artist LaurenceVail.Vail typified the
avant-garde spirit ofthe 'Lost Generation' ofexpatriate
Americans in Paris, earning him the nickname 'The King of
Bohemia'. He introduced Guggenheim to all ofthe key
players in the city's artistic milieu.
But when her marriage withVail broke down,
Guggenheim found herselfdrifting aimlessly across Europe
with little to occupy her.At the suggestion ofher friend
PeggyWaldman, she opened an art gallery, Guggenheim
Jeune, on London's Cork Street in 1938. It was here that she
first demonstrated her innovative tastes and talent for scandal.
Her first exhibition, by Jean Cocteau, included a large
drawing which was impounded by customs because ofits
depictions ofnudity. So as not to disappoint the artist,
Guggenheim bought the piece herself, something which was
to become an expensive habit.
BOOK
for Aidan Meller Galleries
The Insider's Guide to the Art World
Chapter Five: New York City, extract

4. LEAFLET COPY
for Aidan Meller Galleries
Special Collections
The Club affords its members access to leading
private art collections and exclusive experiences of
public art institutions. Its events programme is
steeped in the heritage ofWestern art, journeying
from the Old Masters through to cutting-edge
contemporary art.With the launch ofthe Club in
2016, members will visit Oxford’s hidden Pre-
Raphaelite treasures, the Rothschild Collection, and
make a behind-the-scenes visit to the Royal
Academy.
A Wealth of Experience
Aidan MellerArt Club enables members to start and
continue their journeys as collectors with the finest
resources the art world has to offer.They enjoy the
illustrious society ofprominent art experts and
fellow connoisseurs.This is because collecting is
about the experiences and knowledge, as well as the
artworks, you acquire.
In Cultured Company
To ensure a convivial group ethos, all candidates for
membership are required to submit letters of
reference and are carefully vetted. Membership is by
invitation only and is typically drawn from the body
ofcollectors best known to the Aidan Meller
Galleries.This selective approach means that
members can count on meeting individuals who will
enrich their experience ofthe Club.
Reap the Rewards of Art Club

5. FEATURE ARTICLE
for Aidan Meller Galleries
The outlandish and magical artefacts which filled James
Hooper’sTotems Museum in Arundel stood as representatives
ofa bewildering array oftribal cultures.They also bore
witness to the curiosity ofan enthusiast who assembled a
collection ofnearly 2,000 artefacts by the time ofhis death.
Hooper came from humble beginnings, a fact belied by his
status as one ofBritain's most important collectors of
ethnographic art. Unlike many acclaimed collectors, his
achievements were made without the advantage ofa wealthy
background. His career began when he was still a schoolboy,
and his father, a police inspector, made him a gift ofa tribal
spear. Hooper cleaned the spear and proudly mounted it on
his bedroom wall. He wrote that the incident made him
wonder who had produced it.What did the maker look like?
Where did he live? Such questions were the beginning ofa
lifelong obsession.
After serving briefly in the FirstWorldWar, Hooper
moved to Littlemore near Oxford, where he was just a stone's
throw away from the Pitts Rivers museum.There he
befriended Henry Balfour, the museum's first Curator.
Balfour was one ofthe country's foremost authories on art
from tribal societies and travelled widely, visiting the
countries from which the museum's exhibits were sourced
and meeting other ethnologists. He took Hooper under his
wing, opening his mind to the extraordinary richness and
interest ofethnographic art, spurring Hooper on in the
development ofhis collection.
Whereas Balfour's knowledge had been honed by travel,
Hooper's success came not from perilous voyages down the
Congo, but from tapping into the rich resources located
within the confines oftheThamesValley. Hooper never
visited any ofthe societies whose art he collected. Scouring
junk shops and advertisements, he was able to get his hands
on the abundant ethnographic jetsam which was a legacy of
Britain’s colonial presence overseas.
Fascinated by the mysterious ritual practises ofthe
societies they encountered, British colonial servants often
tended to acquire examples ofceremonial African art, as
trophies, souvenirs and conversation pieces. Scholars have
commented on the contradictions involved in the practice.
This form ofcollecting was both a continuation ofthe
violence inflicted against indigenous communities, and an
expression ofadmiration for them.
On their retirement and return to Britain, these civil
servants would often sell items which they assumed to be of
low value. Many stunning examples oftribal art thereby
found their way into the hands ofenthusiasts such as Hooper,
who was able to source exotic masks and statues from the
small ads and cosy junk shops ofthe Home Counties.
The Art Collector
Collector in Focus: James Hooper, extract

6. WEB COPY
for Pighog Press
We're thrilled to have been shortlisted twice in this
year's Michael Marks awards. Pighog has been
nominated inThe Publishers Award Shortlist and
Charlotte Gann's menacingly beautiful debut
pamphletThe LongWoman has been recognised in
The Pamphlet Award Shortlist for its "starkly
beautiful imagery and dark storytelling."
Congratulations to Charlotte! As theWordsworth
Trust puts it,
"The Awards are designed to raise the profile ofpoetry
pamphlets, recognising the enormous contribution that they
make to the world ofpoetry ...Winners will be announced
at a public Readings andAwards Ceremony held at the
British Library on the evening ofFriday 22nd June 2012"
The LongWoman is part ofPighog's Sussex Series
and follows in the footsteps ofSarah Jackson's Milk
in being nominated for the award.To enjoy more
great Pighog poetry, please join us at Brighton
Festival Fringe, where all our ticketed events are now
priced just £5 (£3 concessions)! The programme of
events also features a number offree events at
Metrodeco. For more on Charlotte Gann's poetry,
read an interview with her on our media page.
Pighog recognised in shortlists for the prestigious
Michael Marks Awards

7. Provocative and magical, lyrical and cinematic, a new
generation ofLatin American poets shows offits wit
and invention in this bilingual sampler.
The collection takes readers on a journey across
the vibrant poetic landscapes ofthe Spanish-speaking
Americas. From the desirous unquiet ofJavier
Norambuena, from whose Humedales the volume
takes its title, to the medieval magic ofElena
Salamanca, these are poems that fascinate and inspire
as they explore the uncanny properties ofdomestic
and psychic spaces.
With a captivating cast ofobsessive adolescents,
synthetic flowers, perverse housewives and
mythological figures, Hallucinated Horse presents its
English translations facing the Spanish originals,
making it a superb tool for language students.
56pp ISBN: 9781906309220
Hallucinated Horse: New Latin American Poets
Nicole Cecilia Delgado and Tom Slingsby (eds. and trans.)
WEB COPY
for Pighog Press

8. AI SHEET
for Pighog Press
Strapline:
Britain’s most visionary writer documents Sussex in unique
collaboration
Short Description:
Postcards from the 7th Floor is a unique collaboration between
poet Iain Sinclair and artist Oona Grimes, documenting real-
life stories associated with Marine Court at St Leonards-on-
Sea.
Full Description:
A remarkable collaboration in poetry and drawing, Postcards
from the 7th Floor documents the stories and characters that
gather around Marine Court, a huge modernist residential
block overlooking the ocean at St Leonards-on-Sea, East
Sussex.
Boasting both Grimes’ playful yet meticulous images, and
the mesmerising psychogeographic beat-poetry ofthe finest
literary stylist ofhis generation, Postcards from the 7th Floor
conjures the lost souls and hidden tales which accumulate in
the shadow ofa fading“hymn to the sun”.
Sinclair and Grimes provide different twists on the same
real-life stimuli. From bizarre newspaper headlines to oddly-
clad drunks wandering the shore, this is the forgotten British
coastline at its most vivid and challenging. Stunningly
designed by Aneel Kalsi, the publication reads as a poetry
book from one cover and an artist’s book from the other. It
features 28 poems and 2 prose pieces by Sinclair and 26 high-
fidelity reproductions ofGrimes’ images.
Key Selling Points:
• 2010’s most innovative poetry publication
• Reversable format: artist’s book and poetry book in one.
• Master of psychogeography goes back to beat
roots
• Brilliantly detailed, poppy and playful illustrations
• Collectable, limited edition of 1000
• Printed on exquisite carbon-neutral paper
Postcards from the 7th Floor
Iain Sinclair & Oona Grimes