BIRCH AT THE OLD STUDIO IN JULY

£3,860.00 GBP £4,980.00 GBP

BIRCH AT THE OLD STUDIO IN JULY

Name: BIRCH AT THE OLD STUDIO IN JULY
Brand: Lucy Auge Ltd
Price: 3860.00 GBP
Availability: InStock

Currently Available

2025, Sumi ink on Italian paper

Unframed Dimensions: 84cm x 120cm (33.1in x 47.2in)

Framed Dimensions: 90cm x 126cm (35.4in x 49.6in)

Original work, signed by the artist. Accompanied by a certificate of authenticity, with the sale recorded in the artist’s archive.

STUDIO SALE PRICE

Originally £4,980 — inclusive of bespoke framing
Studio Sale Price £3,860 — inclusive of bespoke framing

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All artworks can be supplied framed, with museum-quality bespoke framing and secure crating for transport.

Certain works can also be shipped unframed if you prefer to use your own framer, or are shipping overseas and would like a more economical option. Unframed works are carefully packaged to archival standards and include professional framing guidance.

Unless stated otherwise, artworks are available unframed and can be purchased as such if you prefer to work with your own framer.

I also offer a bespoke framing service through Ro Frames, who take exceptional care in the handling and presentation of artworks. Using sustainable wood, museum-grade materials, UV-protective glazing, and conservation-standard, acid-free mounting techniques, each frame is crafted to preserve and enhance the work.

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About the Work

I have been working weekly through my Journal de Bord series for several years—an ongoing practice rooted in real-time observation, much like a captain's log. This approach is inspired by the Japanese shichijni ko calendar, where each micro-season lasts only a few days. Nature is constantly changing, and I strive to capture those fleeting moments before they vanish.

This piece is part of my Journal de Bord series, shared with my catalogue subscribers each week. In this entry, I reflect on what I observed in nature, how the piece unfolded, and the specific moment that inspired the work. Below is the journal entry to go alongside this artwork.

Entrée No. 80

My work shifted from botanicals to tree canopies after I bought a studio building and placed it in a field I rented from a local farmer.

By that point, I had painted around a thousand botanicals, and the change of space and outlook naturally brought about a new chapter. At the top of the field stood an enormous birch tree, and I would sit beneath it painting the silhouette of its leaves in the sunlight.

I wanted to maintain a connection to my earlier botanical work by continuing to use A4 paper—a format I’ve always loved—and assembling the individual sheets into one larger artwork.

For my 500 Flowers exhibition in 2015, every piece was painted on vintage paper gifted to me by my godmother. The paper had belonged to her father, an artist who had even painted King George. After years of research, I discovered the paper came from a mill just outside Paris—now long closed—where many great artists once sourced their materials.

The two-tone paper I use today is the closest match I could find to that original stock. Drawn to its warm, natural tone, I now have it produced by the oldest paper mill in Italy.

The birch I painted this week is fuller than most I’ve created. It is July, and the canopy is thick with leaves. I feel braver in my painting now—confident I can still capture the movement I love in birch trees, even within a denser composition.

It has been ten years since my first exhibition and three years since I sold the studio on the farm. Recently I have felt the pull to revisit the birch tree that marked such a pivotal point in my practice.

That single tree sparked an entire chapter of my work—leading to countless birch paintings and commissions. Returning to it now feels both like reflection and reconnection with where so much began.

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