Digital C-Type print. 69.9 x 90.8 cm
Head to Head, 2011
Digital C-Type print. 69.9 x 90.8 cm
William Hogarth, The National Gallery, London
Marriage A la Mode: The Tête à Tête No.2
William Hogarth, The National Gallery, London
Digital C-Type print. 51.7 x 45.2 cm
Standing at a Machine, 2011
Digital C-Type print. 51.7 x 45.2 cm
Jan Vermeer,
 National Gallery, London
A lady Standing at a Virginal c. 1670-1673
Jan Vermeer,
 National Gallery, London
Digital C-Type print. 51.7 x  45.2 cm
Sitting Room, 2011
Digital C-Type print. 51.7 x 45.2 cm
Digital C-Type print. 65 x 77 cm
Wine Tasting, 2011
Digital C-Type print. 65 x 77 cm
Jan Vermeer, Staatliche Museen Preußischer Kulturbesitz
The Glass of Wine c. 1658-1660

Jan Vermeer, Staatliche Museen Preußischer Kulturbesitz
Digital C-Type print. 65 x 77 cm
Light Interrupted, 2011
Digital C-Type print. 65 x 77 cm
Digital C-Type print. 128.5 x 99.5 cm
Prince Caspar, 2011
Digital C-Type print. 128.5 x 99.5 cm
Diego Velazquez
Prince Felipe Prospero
Diego Velazquez
Digital C-Type print. 115.6 x 81.3 cm
Jack with a Newspaper, 2011
Digital C-Type print. 115.6 x 81.3 cm
René Magritte Tate Gallery
Man with a Newspaper L'Homme au journal 1928
René Magritte Tate Gallery
Digital C-Type print. 51.5 x 45.5 cm
Sitting at a Machine, 2011
Digital C-Type print. 51.5 x 45.5 cm
Jan Vermeer National Gallery, London
A young Woman seated at a Virginal c.1673-75
Jan Vermeer National Gallery, London
Digital C-Type print. 51.5 x 45.5 cm
Chairperson, 2011
Digital C-Type print. 51.5 x 45.5 cm
Digital C-Type print. 69.9 x 90.8 cm
Death of a Project, 2011
Digital C-Type print. 69.9 x 90.8 cm
William Hogarth, The National Gallery, London
Marriage A la Mode: Death of a Woman No.6
William Hogarth, The National Gallery, London

Taking the Chair

A joint project between Mother and daughter. ‘Taking the Chair’ is Caroline and Maisie Broadhead’s first major artistic collaboration. The collection includes Seven paintings by masters such as Vermeer, Velasquez and Magritte, in which a chair (usually empty) has a powerful presence. The chair is the point at which Caroline and Maisie’s work meets, showing seven of Maisie’s photographs, which feature seven of Caroline’s chairs, with image and object displayed alongside each other.

‘A strikingly personal, subtly humorous exploration into the endurance and importance of the family’.

First exhibited at The Marsden Woo gallery, London, 2011.