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Portfolio Seed Olive

An A4 Portfolio by Cambridge Imprint company, a small paper making business in Cambridge.


This portfolio is made of high quality rigid board, and is lined inside and out with patterned Seed paper in Olive. It has a coordinating book cloth spine and a pair of matching grosgrain ribbon ties.
Each portfolio is designed, printed and manufactured in England, perfect for keeping or presenting drawings, documents, photographs or letters.

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£24.00
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Dimensions 31 x 23cm
Fabric & material Paper
SKU 12090068

Delivery & returns information

Service Update (updated 19 March 2020)

We want to make sure your order reaches you as safely as possible. Therefore, due to the outbreak of COVID-19, all orders will be dispatched once the RA has reopened. We will be in touch once the RA has reopened and once your order has been dispatched. 

During this period our Returns Policy will be extended. For any order queries, please Contact Us

Free UK delivery on orders £50 and over

International delivery is based on weight and delivery country, and will be calculated at Checkout

Updated 19 May 2020

We are delivering! Enjoy free shipping on orders above £50. £5.95 P&P for orders below £50. International delivery will be calculated at Checkout. The Royal Academy is temporarily closed, Collection is not available at this time.

For any questions talk to us

Product story

In a world first, the Royal Academy of Arts unite Lucian Freud’s self-portraits in one extraordinary exhibition. See more than 50 paintings, prints and drawings in which this modern master of British art turns his unflinching eye firmly on himself.

One of the most celebrated portraitists of our time, Lucian Freud is also one of very few 20th century artists who portrayed themselves with such consistency.
Spanning nearly seven decades, his self-portraits give a fascinating insight into both his psyche and his development as a painter – from his earliest portrait, painted in 1939, to his final one executed 64 years later. They trace the fascinating evolution from the linear graphic works of his early career to the fleshier, painterly style he became synonymous with. When seen together, his portraits represent an engrossing study into the process of ageing. Confronting his self-image anew with each work, he depicted himself in youth as the Greek hero Acteon, in sombre reflection later in life and fittingly, for the great painter of 20th century nudes, naked aged 71 but for a pair of unlaced boots.

When asked if he was a good model for himself Freud replied, “No, I don’t accept the information that I get when I look at myself, that’s where the trouble starts”. It is precisely this “trouble” that makes Freud’s self-portraits so intensely compelling – and makes this an unmissable chance to see a life’s work in one show.

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