Pencil Portrait by Antonio Bosano.

Adele Pencil Portrait
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The quality of the prints are at a much higher level compared to the image shown on the left.


A3 Pencil Print-Price £45.00-Purchase

A4 Pencil Print-Price £30.00-Purchase

*Limited edition run of 250 prints only*

All Pencil Prints are printed on the finest Bockingford Somerset Velvet 255 gsm paper.

P&P is not included in the above prices.


Adele is happy with the way she is. Whilst making no apologies for her fuller figure, she is equally disinterested in discussing those occasions when she can sport a more svelte outline. Speaking with Vogue magazine in 2011, she admitted that ‘I enjoy being me; I always have done.’

Being as talented as she is, it appears obvious to me that sitting at a piano composing songs remains a rather more attractive proposition than spending an hour each morning on a treadmill clocking her calorie reduction. She’s knows she’s attractive whatever her weight – it’s only certain idiotic men that can’t see it.

As for her music, well let me be frank enough to admit that I don’t ‘get it.’ Rather overwrought grandiose dirges that make me want to slash my wrists after ten minutes, yet in my defence – and before the inevitable onslaught of vitriolic messages from her devoted fans – let me say that I purchased her first two albums. The desire, you see, was there to understand what millions could already see. Unfortunately, it has never happened for me. Our very own Graham Norton may well champion “Skyfall” as the greatest Bond theme ever written, but to my own ears, it palls in comparison to “Goldfinger,” “You only live twice,” “Live & Let Die” and even Chris Cornell’s “You know my name,” lest anyone accuse me of singularly dismissing any 007 theme less than forty years old. Let us therefore entertain the idea that the hoopla surrounding the 50th anniversary of the Bond franchise in 2012 and Adele’s stratospheric ascendancy in pop music circles, provided sufficient combustible fusion to both covet and win the Oscar for best original movie song. But was it a deserved win? The plangant opening verse, and the da capo, complete with ringing guitar and orchestral wash, promise much yet at 1.58, we’re into familiar Adele territory, the song waylaid by turgid intensity. The middle eight offers little in the way of radical melodic twists, and the intensity of the string coda – however powerful -cannot alleviate the song’s portentiousness. “God, doesn’t she drone on dad,” my then eighteen year old daughter was quick to point out; “can’t she ever lighten up?”