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Los 357
▲ David Hockney OM CH RA (b.1937) 'Pool Made With Paper and Blue Ink' for the book 'Paper Pools' (MCA Tokyo 234)lithograph in colours, 1980, signed and dated 'Hockney 80' in pencil l.r., and numbered '681/1000', published by Tyler Graphics Ltd., Mount Kisco, New York, with blind stamp sheet 27 x 24cmWhen thinking about David Hockney, the subject of the swimming pool is one that comes to mind. It has become one of the defining motifs of his artistic career and an iconic image of modern art. The theme recurs frequently in his paintings, drawings, photographs and prints.Hockney’s fascination with pools began in 1964 when he flew over Los Angeles and was captivated by the vivid expanse of blue pools dotting the Californian landscape - an image starkly different from the scenery of Britain he had left behind. To Hockney, the swimming pool was a representation of pleasure and leisure in the 1960s, and a joyous image to reproduce. Additionally, it provided a creative opportunity to explore the play of light and reflections on water, shaped by ripples, curves and shadows cast by gentle breezes or the movement of swimmers.This motif repeatedly surfaced in his work over the years, including the present lithograph titled 'Pool Made With Paper and Blue Ink for a Book'. This piece was created for the special edition book 'Paper Pools' by David Hockney, edited by Nikos Stangos and published in 1980 by Thames & Hudson. The book delves into Hockney’s 'Paper Pool' series, comprising twenty-nine paper pulp artworks that he created in 1978 while staying with his friend, the printmaker Ken Tyler. Inspired by this new medium, Hockney used Tyler’s swimming pool as the subject for this lithograph. He meticulously studied the pool at various times of the day and night, observing and recording the interplay of light and colour, through drawings and photographs.Though smaller in scale compared to Hockney’s large oil paintings, this lithograph is equally vibrant and demonstrates meticulous precision in its execution. The image was initially hand-drawn by the artist and then printed in six colours from three lithographic limestones and three aluminium plates. This lot is pencil signed and numbered '681' from a limited edition of 1,000 prints with an additional 122 proofs. Condition ReportFramed: 58 x 49.5cmPresents well overall. In our opinion the colours are bright. Slight time staining to the margins. There is some acid discolouration to the extreme edges. There is a little rubbing/ abrasion to the water in the lower centre and along the left edge, please see additional condition images. The print has been stuck down in the corners and it is not possible to see the reverse of the sheet. The print sits flat without any obvious cockling or creasing.
Los 356
▲ David Hockney OM CH RA (b.1937) 'Portrait of Felix Man', 1969lithograph on japon, signed 'David Hockney' in pencil l.r.sheet 76.5cm x 53.5cm, unframedProvenance: The Estate of Stanley Jones MBE RE.There is the opportunity for this lot to be embossed with 'Estate of Stanley Jones' blind stamp after purchase.Condition ReportThe print is not numbered. Scattered spots of foxing. Light creases visible to the reverse. A diagonal crease mark to the lower right corner. Please see additional condition images. Deckled edges. Unframed.
Los 121
David Hockney The Complete Early Etchings 1961-1964 published by Hazlitt Holland-Hibbert in association with Lyndsey Ingram. Charity book auction. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Los 410
Taschen Collector's Edition. David Hockney. A Bigger Book, limited edition, Cologne: Taschen, 2016, numerous colour illustrations, including 13 folding, original pictorial cloth, dust jacket, atlas folio, 71 x 51 cm, together with accompanying hardback book in shrinkwrap and white handling gloves, displayed on perspex and polychrome metal tripod book stand designed by Marc Newson, original shipping packaging retainedQTY: (1)NOTE:Limited edition 7667/10,000, signed by David Hockney. Heavy item, approximately 35 kilograms.
Los 353
Derain (André, illustrator). Rabelais (Francois). Les horribles et espovantables faictz et prouesses du très renommé Pantagruel, Roy de Dipsodes fils du grand géant Gargantua, Paris: Albert Skira, 1943, 180 colour woodcuts by Derain (including 21 full-page), fore and bottom edge untrimmed, loose as issued in original wrappers, paper label to upper cover, glassine wrapper, original Japanese vellum-backed chemise (vellum a little soiled), label to spine, slipcase (a little marked), folio (345 x 280 mm)QTY: (1)NOTE:Limited edition of 275 copies signed by the artist, this copy numbered 117.From Manet to Hockney 111; The Artist & the Book 1860-1960, 81.An excellent copy of the only work containing colour book illustrations by André Derain. 'Commissioned by the publisher Albert Skira in 1941, Derain worked for 3 years to produce the illustrations, co-operating with Lacourière and developing a novel printing process whereby the wooden blocks were inked in several colours simultaneously rather than the usual method of a separate block for each colour'. (From Manet to Hockney).
Los 293
Original vintage sports poster advertising the 1972 Summer Olympics in Munich - Olympische Spiele Munchen - featuring an abstract design in red, blue and black by the modernist artist and painter Serge Poliakoff (1900-1969), the Olympic Rings and Munich Olympics logo with the title in German below - Olympische Spiele Munchen 1972. One of the series of posters by various popular artists of the period (Peter Phillips, Horst Antes, Otl Aicher, David Hockney among others) commissioned to design the 1972 Olympic Games posters in Germany for their advertising campaign, which aimed to "represent the intertwining of sports and art worldwide". The 1972 Summer Olympics, officially known as the Games of the XX Olympiad, was an international multi-sport event held in Munich, West Germany, from 26 August to 11 September 1972. Very good condition, minor creasing, small tears. Country of issue: Germany, designer: Serge Poliakoff, size (cm): 101x64, year of printing: 1972.
Los 162
Original vintage advertising poster From Manet to Hockney Modern Artists' Illustrated Books exhibition that took place 20 March - 19 May 1985 at the Victoria & Albert Museum featuring an illustration titled 'Serenade' from The Blue Guitar by David Hockney, depicting an artistic view of a bust, fruit shapes in still life, sketches, and a guitar. Good condition, folds, minor creasing, minor staining. Country of issue: UK, designer: David Hockney, size (cm): 76x51, year of printing: 1985.
Los 291
Original vintage sport event poster for the 1972 Summer Olympics in Munich / Olympische Spiele Munchen featuring artwork by Austrian artist Oskar Kokoschka (1886-1980) depicting a silhouette in yellow, pink, blue, green and red. This Munich Olympic diving poster with the artist's signature and date David Hockney 70 in the print is one of the series of posters by various popular artists of the period (Peter Phillips, Horst Antes, Otl Aicher, David Hockney among others) commissioned to design the 1972 Olympic Games posters in Germany for their advertising campaign, which aimed to "represent the intertwining of sports and art worldwide". Good condition, minor creasing, minor staining. Country of issue: Germany, designer: Oscar Kokoschka, size (cm): 101x64, year of printing: 1970.
Los 292
Original vintage sport poster for the 1972 Summer Olympic Games held from 26 August to 11 September 1972 in Munich Germany featuring an abstract design by the German artist Fritz Winter (1905-1976)of colourful shapes and lines in black, orange and purple on a blue background, the Olympic Rings and Munich Olympics logo with the title in German below - Olympische Spiele Munchen 1972. One of the series of posters by various popular artists of the period (Peter Phillips, Horst Antes, Otl Aicher, David Hockney among others) commissioned to design the 1972 Olympic Games posters in Germany for their advertising campaign, which aimed to "represent the intertwining of sports and art worldwide. The 1972 Summer Olympics, officially known as the Games of the XX Olympiad, was an international multi-sport event held in Munich, West Germany, from 26 August to 11 September 1972. Good condition, minor creasing, minor staining, small tears. Country of issue: Germany, designer: Fritz Winter, size (cm): 101x64, year of printing: 1972.
Los 92
This framed exhibition poster highlights the vibrant work of David Hockney, one of the most influential artists in art history. Renowned for his pivotal role in reviving the practice of figurative painting, Hockney continually reinvents himself by embracing modern technology. The poster was created for David Hockney: A Retrospective, a celebrated exhibition held at The Metropolitan Museum of Art from June 18 to August 14, 1988. The featured artwork shows his distinctive use of bold colors and expressive landscapes, reflecting his innovative exploration of light, perspective, and space.Artist: David Hockney (British, 1937)Issued: 1988Dimensions: 31"L x 42"W x 1.25"DCondition: Age related wear. Some marks and scratches on the frame, with peeling on the right front edge.
Los 88
JOHN BYRNE R.S.A. (SCOTTISH 1940-2023) HOMAGE A HOCKNEY - 1970 Signed ‘Patrick’ lower right, inscribed with title, bears inscription by Byrne verso (see footnote for transcription), oil on board 121cm x 121cm (47.5in x 47.5in) From The Collection of Father Tom Jamieson, Renfrew. Purchased directly from the artist and thence by descent to the present owners. The work is accompanied by the following inscription by Byrne on the reverse:“HOMAGE A HOCKNEY by John Byrne /Patrick. On the Occasion of David Hockney’s Major Retrospective Show at the Whitechapel Gallery, London covering the period 1961-70 with 46 paintings, 45 drawings and 47 prints. In this painting some Hockney paraphernalia is included (the T.V. set, the Palm Tree, the Spectacles and a paraphrase of Tired Indians, Rocky Mountains, 1965, and the graffiti) in a bid to chronicle the painting scene (Hockney’s) over the past ten years. The Ty-Phoo tea pack, the swimming pools, the latter realist (totally representative) paintings have all been referred to by implication in this simple turning out of Hockney’s cerebral drawers. John Byrne, April 1970.”This work is depicted in Byrne's famous early ‘faux-naive’ style. “My father doesn’t know I’m sending this to you as he paints for his own enjoyment and does not exhibit his work…”, began the letter Byrne sent to London’s Portal Gallery in 1967. So commenced the infamous ruse in which he got his foot in the door of the London art world by pretending to be a "primitive" self-taught artist named Patrick, a 71-year-old retired labourer from Govan. Though he confessed the truth to the directors before it could spin too far out of hand, the gallery continued to collude with Byrne to present him to their buying audience as a fashionable so-called “Primitive Painter”… until he was ultimately outed in The Observer as an alumni (of above average sophistication) by the Glasgow School of Art itself. He had several successful exhibitions with Portal between 1968 and 1971. In his artist's monograph ‘John Byrne: Art & Life’, published by Lund Humphries in 2011, author Robert Hewison further traces the roots of this aesthetic beyond the primitive, and places it within a Pop Art context: “His somewhat swollen, doll-like children, including boys in sailor suits, clowns and angels occupy a fantastical world that implies nostalgia for a Victorian childhood – although the cats and monkeys that inhabit this Rousseauvian landscape have a sharp-toothed menace. But the Victoriana is as contemporary as the Beatles’ Sgt. Pepper, part of the repertoire of British Pop Art established by Peter Blake’s fairground wrestlers or Joe Tilson’s wooden constructions.”
Los 871
DAVID HOCKNEYOssie and Mo 1968Radierung auf Crisbrook Papier. Signiert und datiert. Ex. 62/75. Hrsg. Petersburg Press 1969. Ca. 32,4 x 35 cm (49,8 x 50 cm). Scottish Arts Council 66.(Moderate Altersspuren, etwas gebräunt, wellig, stellenweise leichte Stockflecken und Stauchspuren, verso Bleistiftbeschriftung.)
Los 474
25 posters for the Olympic Games of Münich, 1972Ca. 102 x 64 cm each.Including artists: Tom Wesselmann, Marino Marini, Horst Antes, Pierre Soulages, Oskar Kokoschka, Richard Smith, Jacob Lawrence, Peter Phillips, Valerio Adami, Alan Davie, Fritz Hundertwasser, David Hockney, R.B. Kitaj, Fritz Winter, Eduardo Chillida, Shusaku Arakawa, Piero Dorazio, Otmar Alt, Allan Darcangelo, Victor Vasarely and Josef Albers.There are four examples of the Tom Wesselmann posters in this lot.
Los 147
Rodin (Auguste).- Mirbeau (Octave) Le Jardin des Supplices, one of 30 copies on chine with an additional suite of plain plates, from an edition limited to 200, 20 lithograph plates by Auguste Rodin signed by the artist on the stone, all but two colour, each bound with additional plain plate and captioned tissue guard, light foxing to a couple of plates, with 2 pencil preparatory drawings by the binder mounted on sheet and bound in at end (one marked with tool numbers), bound in dark purple goatskin, by Charles Lanoë, spine titled in gilt with five raised bands, red goatskin doublures with illustration from title-page tooled in blind to centre, signed at foot of front turn-in, dark red silk moiré linings, marbled flyleaves, original printed wrappers bound in, g.e., preserved in half dark purple goatskin chemise (spine a little rubbed and faded) and board slip-case (very slightly rubbed at edges), [Artist & the Book 261; Artist & the Book in France p.341; Manet to Hockney 19], 4to (binding c.330 x 250mm.), Paris, Ambroise Vollard, 1902.*** Fine copy of Mirbeau's erotic novel, the only work to contain original plates by Rodin.
Los 281
John Hoyland RA, British 1934-2011 - Daruma 24.7.07, 2007; oil on canvas, signed, titled and dated on the reverse 'John Hoyland Daruma 24.7.07', 152.5 x 127 cm (unframed) (ARR) Exhibited: Royal West of England Academy, Bristol, '156 Autumn Exhibition', 26th October-14th December 2008 Note: the work will be included in the upcoming Catalogue Raisonne of the artist's paintings on canvas. John Hoyland was one of Britain's leading abstract artists, who pursued non-figurative painting for its potential to convey an advanced depth of emotion and feeling. The 1960s were a crucial decade for Hoyland, during which he found his voice as an artist. In 1964 he travelled to America, where he befriended Robert Motherwell, and visited the studios of Mark Rothco and Barnett Newman. In this same year he featured in Bryan Robertson’s ‘New Generation’ showcase, alongside the likes of David Hockney, Paul Caulfield and Briget Riley. Retrospectives of his work have been hosted at Serpentine Gallery (1979), Royal Academy (1999) and Tate St Ives (2006). He appears in public and private collections, including the Tate and Damien Hirst’s Muderme Collection.
Los 325
Patrick Procktor RA RWS, British 1936-2003 - Seated male figure, c.1960; oil on board, inscribed on the reverse 'Procktor', 152.2 x 101.5 cm (ARR) Note: with thanks to Dr. Ian Massey, author of 'Patrick Procktor: Art and Life' (Unicorn Press, 2010), for his assistance with the cataloguing of this work. A similar work from the same period is illustrated in this book, 'Mr Green, 1960', previously in the collection of Lord Snowden and was most likely made during his time at the Slade where he was taught by Keith Vaughan. Patrick Procktor was one of the most important British artists of the late 20th century, celebrated alongside his friends Keith Vaughan and David Hockney. Known for his natural and colourful figurative style, his watercolours encapsulate his talent and wit. An intrepid traveller, his works were often inspired by the colours and sounds remembered from his trips to Greece, India and Morocco.His work has been regularly exhibited at the Redfern Gallery, alongside a touring museum show in 1985 that began at Birmingham Museum and Art Gallery. He was more recently the subject of an acclaimed retrospective at Huddersfield Art Gallery in 2012. His work is in collections across the world including British Museum, London; Los Angeles County Museum, Museum of Modern Art, New York and Museo de Arte São Paulo, Brazil.
Los 445
Adam Birtwistle, British b.1959 - David Hockney, 2002; gouache and pencil on paper, signed with initials lower right 'AB', titled and dated lower left 'Hockney 2002', 76 x 56.5 cm (ARR) Note:The Glyndebourne in Lewes commissioned Birtwistle to paint a portrait of Hockney in the same year of this work, along with portraits of Sir Peter Hall, Anja Silja, Sir George and Lady Christie and Peter Sellars for the opera house’s permanent collection.
Los 283
John Hoyland RA, British 1934-2011 - Star 18.8.07, 2007; acrylic on canvas, signed, titled and dated on the reverse 'John Hoyland STAR 18-8-07', 50 x 50 cm (unframed) (ARR)Note: the work will be included in the upcoming Catalogue Raisonne of the artist's paintings on canvas. John Hoyland was one of Britain's leading abstract artists, who pursued non-figurative painting for its potential to convey an advanced depth of emotion and feeling. The 1960s were a crucial decade for Hoyland, during which he found his voice as an artist. In 1964 he travelled to America, where he befriended Robert Motherwell, and visited the studios of Mark Rothco and Barnett Newman. In this same year he featured in Bryan Robertson’s ‘New Generation’ showcase, alongside the likes of David Hockney, Paul Caulfield and Briget Riley. Retrospectives of his work have been hosted at Serpentine Gallery (1979), Royal Academy (1999) and Tate St Ives (2006). He appears in public and private collections, including the Tate and Damien Hirst’s Muderme Collection.
Los 752
DAVID HOCKNEY (BRITISH 1937) 'THE GLASS MOUNTAIN SHATTERED' an unsigned etching from the Brothers Grimm 'Six Fairy Tales' series, approximate size 23cm x 27cm, together with 'A Room Full Of Straw' an unsigned etching from the same series, approximate size 26cm x 23cm, both from editions of 400 with Goldmark Gallery labels verso, Condition Report: both have foxing and discolouration to the paper, scratches to the frames (artist resale rights apply)
Los 751
DAVID HOCKNEY (BRITISH 1937) 'STRAW ON THE LEFT, GOLD ON THE RIGHT', a limited edition etching from the unsigned edition of 400, approximate size 15cm x 25cm, published by The Petersberg Press 1970, together with 'Digging Up Glass' an etching from the unsigned edition, approximate size 13cm x 12cm, both with Goldmark Gallery labels verso, Condition Report: Straw has a spot of foxing upper right, paper is discoloured, Digging has foxing / discolouration to the paper, scratches to the frames (artist resale rights apply) (2)
Los 56
David Hockney (British 1937-) 'Olympische Spiele München 1972', 1970, lithographic poster printed in colours on paper, published by Edition Olympia, 1972; sheet: 101 x 64cmARR sheet: 101 x 64cm In overall good condition No knocks or tears to the sheet Creasing can be seen along the left edge and the two top corners of the sheet Markings verso, not visible recto. Potentially from time of production No yellowing or fading to the sheet. This work has been stored flat and has not been framed.
Los 69
David Hockney (b.1937)Neal Street Restaurant Seating PlanA unique offset lithograph with a pen and ink drawing of a tin of caviar and other ink additions to the work, circa 1970, signed by David Hockney, Howard Hodgkin, John and Jane Kasmin, Terrence Conran, Wayne Sleep, George Dawson, and others, on wove paper, with full margins, sheet 420 x 295mm (16 ½ x 11 5/8in) This rare work is the seating plan for a dinner, featuring some of the most prominent names in the professional and social circles of David Hockney in the 1960s. Each person at the meal has signed their name, and Hockney in addition to signing has humorously drawn for himself a large tin of caviar, as well as making other pen additions to items on the table, including a crack in the vase upper right.
Los 509
Three prints including: one advertising a David Hockney exhibition, another advertising railway in Liverpool and the other advertising a contemporary art exhibition at the Lautrec Museum in Toulouse, all framed and glazed, 80 cm H x 53 cm WLocation:If there is no condition report, please request.
Los 627
Y DAVID HOCKNEY (b.1937)Salts Mill Saltaire Yorkshire, signed lower right, poster published 1997, 39" x 17 1/2", together with a poster after David Hockney titled 'My Parents' published in 1996 by the Tate Gallery, 31" x 23 1/2", both unframed (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Condition Report: Good conditionSigned poster was originally purchased by the vendor from Dominic Winter Auctioneers
Los 54
Elizabeth Power Blue Study 1 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Los 55
Elizabeth Power Blue Study 2, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Los 56
Elizabeth Power Pink Study, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
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Yulia Iosilzon Pond with Amanita, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
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Yulia Iosilzon Pond, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
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Yulia Iosilzon Pond Vol III, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
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Yulia Iosilzon Pond II, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
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* PATRICK CAULFIELD CBE RA (BRITISH 1936 - 2005), WE WANTED TO BLEED THE SILENCE screenprint on paper, from the 1973 edition of 200, published by Petersberg Press and Waddington mounted, framed and under glass image size 40cm x 35cm, overall size 58cm x 52cm Label verso: Open Eye Gallery, Edinburgh. Note: British painter and printmaker, born in London, where he studied at Chelsea School of Art, 1956–9, and the *Royal College of Art, 1959–63. In 1963 he began teaching at Chelsea School of Art and in 1965 he had his first one-man exhibition at the Robert Fraser Gallery, London. His work has been linked with *Pop art, although when introducing his work in 1964 he invoked, not the currently fashionable mass media theorists, but the Catholic poet and mystic Gerard Manley Hopkins. However, his work shared with artists such as Peter *Blake and David *Hockney a sense that the imagery was ‘in quotation marks’, so undermining the division between abstract and figurative art. The flat colour and black outlines of his painting (in his early work the impersonal surface was achieved by the use of gloss paint on board) were sometimes compared to Roy *Lichtenstein, although the American painter's work was unknown to him when Caulfield first established his style.The principal sources of his work lay in *Cubism. He looked to *Léger and especially *Gris, to whom he paid tribute in an early imaginary portrait and more subtly in Santa Margherita Ligure (1964). In this work he draws on the way in which Gris combined interior and exterior within the same plane. Discussing his painting in the 1964 *New Generation catalogue, David Thompson argued that Caulfield was interested in ‘devalued’ motifs, the way in which a painting by Delacroix or a device from Cubism or early abstraction could become ‘vulgarized’. When these early pictures are seen in the light of Caulfield's painting over the subsequent 40 years this seems to be putting things in reverse. What Caulfield was actually doing was using a highly accessible and apparently simple pictorial language, not out of irony, but to achieve effects of the utmost refinement. Although on the surface his style changed comparatively little, the uses to which he put it were extraordinarily varied. Some commentators have detected in his later work a strong sense of melancholy and mortality communicated through the pristine surfaces. He took up *screenprinting in 1964 and the following year won a prize for graphics at the Paris *Biennale. Subsequently print was an important part of his output. He also made designs for the Royal Ballet. An exhibition was devoted to his work at the Tate Gallery, London, in 1981 and another at the Hayward Gallery in 1999, but he never achieved the international reputation many of his admirers believed that he deserved.
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MICHAEL UPTON (BRITISH 1938-2002) ⊕ MICHAEL UPTON (BRITISH 1938-2002)INTERIOR WITH CHAIRS (I); INTERIOR WITH LADDERS (II)each oil on card16 x 24cm; 6 1/4 x 9 1/2in (i) 13 x 16.5cm; 5 x 6 1/2in (ii) both unframed (2)MICHAEL UPTON (lots 108-123)IntroductionTiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard John Russell TaylorIntroductionUpton grew up in Birmingham where he attended the College of Art before joining the Royal Academy Schools in 1958. In London he became close friends with David Hockney and Patrick Proctor, shared a flat with nascent pop artist Peter Phillips, and was awarded an RA Leverhulme Scholarship. His work was featured in the influential annual ‘Young Contemporaries’ exhibitions that Phillips masterminded over four years (1959-63). The reviewer of the 1962 show in The Times commented: 'The exhibition fairly bubbles with bright ideas and visual excitement... its weird mixture of impudence, whimsicality and beautifully tender painting is well exemplified by Derek Boshier [and] Michael Upton...' A year later, however, after completing six identical canvases, Upton abandoned painting entirely, turning instead to conceptual art. He spent 1967-68 in New York, the recipient of a grant from the Cassandra Foundation. Others who received grants from the Foundation included John Cage, Bruce Nauman, Christo, Eduardo Paolozzi and Richard Hamilton. Increasingly Upton's interests lay in performance, and in the 1970s he founded London Calling with Peter Lloyd Jones which became an influential part of London's performance art scene. One of his works included burying a number of his paintings on a Dorset hillside. But at the end of the 1970s Upton returned again to painting, taking up a teaching role at the RA Schools. In this later period Upton's preference was for small scale works. He often used photocopy or newspaper print as the support and he regularly produced series of images, similar to stills from a reel of film. Upton considered them 'conceptual paintings', and gained a new fan for his work in John Russell Taylor the influential art critic of The Times. In a review of 1979 Russell Taylor enthusiastically described Upton's paintings as 'tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard', and in his review of the British Council touring exhibition Picturing People, British Figurative Art since 1945, he singled out Upton as one of a handful of 'highly sophisticated stylists'. Also won over to Upton was the critic Mel Gooding who commented on Upton's 'subtle allusiveness (hints of Piero, Vermeer, Sickert)...another way of deepening the game, of adumbrating the mystery. An art of intimations'. As his work evolved so Upton also gave it more loaded political messaging, inspired in part by both his earlier pop art years and current events. But following retirement and his retreat to Mousehole, Cornwall in 1996 his artistic focus shifted to the innate beauty of the local landscape and coastal views became his primary focus.
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HOCKNEY DAVID: (1937- ) English painter, an important contributor to the pop art movement in the 1960s. Signed colour 4 x 6 postcard, the image being a reproduction of Hockney´s oil on canvas painting Doll Boy (1960-61). Signed by the painter in blue crayon with his name alone to the verso. EX
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