Ella Kowalska Yellow, 2024 Photographic print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ella Kowalska is a photographer who practices street, documentary, and art photography. In her photography work she is particularly sensitive to the colours, materials, and sounds that give the world its texture, and she seeks to achieve the right balance between realism and fantasy. She is driven by the desire to give an account of our times and searches for a form of 'augmented reality' able to tell our modernity. Her Polish upbringing was marked by a culture that calls for absurdity and irrationality and sublimes the beauty and profoundness in the unreasonable and extravagant. It's in this distorted reality, which could sometimes seem more real than the reality itself, and in its astonishing connections that she feels at home. Education 2022 Training in Photography, Gobelins Imagery School, Paris, France 2010-2011 Master of Art history specialised in museology and cultural heritage, University Panthéon Sorbonne, Paris, France 2009-2010 Master of law specialised in cultural heritage, University Paris-Sud XI, Sceaux, France 2009-2010 Master of art history specialised in contemporary art, University Panthéon Sorbonne, Paris, France 2008-2009 Master of law specialised in public law, University Panthéon Sorbonne, Paris, France Exhibitions 2025 La Chapelle, Halle Pajol, Paris, France 2024 100 Years, 100 Women, MVAC du 7ème, Paris, France Elles par elles, Les Camélias, Nice, France Women in Art Exposition, The Roundhouse, London, United Kingdom Women street photographers: a global street photography exhibition, Objectifs, Singapore 2023 Culture(s): between fusion(s) and contrast(s), Espace Aleph, Montréal, Canada Awards 2023 1st price, Culture(s): between fusion(s) and contrast(s), Arab World Festival of Montreal Statement about AOAP Submitted Artwork Call Me is a reflection photography piece employing the technique of capturing layered visuals. A young woman, seen through the interplay of reflections, appears on the phone, her pregnant belly symbolizing renewal. The image bridges spaces and generations, representing the duality of migration in France and everywhere else-loss and separation, yet hope and continuity through new life. M is for Mother is a reflection photography piece employing the technique of capturing layered visuals. The M metro sign, positioned within the reflection of a Madonna poster, evokes a powerful metaphor-a motherly figure watching over the city with a nurturing gaze. A tender narrative unfolds within the urban landscape. Time Travelers is a reflection photography piece utilizing the panning technique. By blurring the background and foreground, enhanced through dynamic reflections, two figures appear as if journeying through space and time. The interplay of motion and light evokes a surreal narrative of movement beyond reality. Yellow is a photography piece utilizing the panning technique. Rainy days transform the cityscape, with reflections in water blurring reality. As natural light fades, artificial hues emerge, casting a dreamlike glow. The figure with the vibrant umbrella seems to step straight out of a fairytale, merging movement and magic in one fleeting moment. 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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Nina Baxter Tuscan Light (I), 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born in London (1992), Nina Baxter received a BA in Art History from the Courtauld Institute of Art in 2013 and is currently based in Anguilla. Nina's paintings capture fleeting moments of everyday life, focusing on moments of beauty, joy, love and intimacy. Often with an emphasis on nature, landscape and travel, she uses personal narrative to create romanticised scenes that are universal to human experience. They are evocations of a feeling, mood or sensation as well as an action, time or place. Recent exhibitions include 'Regards Croisés' at Cohle Gallery in Paris (2023), 'Only Until This Cigarette Is Ended' at Pictorum Gallery (2023) and 'Skin Deep' at Studio West (2023), both in London. Nina currently has works available with Cohle Gallery in Paris and Lynne Bernbaum Gallery in Anguilla. Education 2010-2013 BA in Art History, The Courtauld Institute of Art, London, UK Group Exhibitions 2024 Stop and Smell the Roses, Curated by Juliet Wilson, Morrell House, London, UK 2023 Regards Croisés, Cohle Gallery, Paris, France Only Until This Cigarette Is Ended, Pictorum Gallery, London, UK SKIN DEEP, Studio West Gallery, London, UK 2022 Society Of Women Artists 161st Annual Exhibition, Mall Galleries, London, UK Tendencies in Painting, London Paint Club, London, UK À La Carte, Tchotchke Gallery, New York, NY, USA 2021 Nostalgia, The Artistellar, London, UK The Society Of Women Artists 160th Annual Exhibition, SWA, London, UK Euphoric, Procrastinarting, London, UK 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.
Ellie MacGarry Group, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellie MacGarry makes paintings which consider connection, distance, gesture and touch. Using repeated motifs, most notably the hand, her work explores the way we communicate with our bodies as much as we communicate with words. While paint will always fix an image in a moment, Ellie is particularly drawn to transitory moments - a window letting the light in in the morning, a shirt half open, two hands on the cusp of meeting. Education 2016-2018 MFA Painting, Slade School of Fine Art, London UK 2010-2014 BA Fine Art, University of Leeds, Leeds, UK Solo Exhibitions 2024 Echo, Cedric Bardawil, London, UK 2021 Disappearing Act, Steve Turner, LA, USA Your Hand is a Warm Stone, Steve Turner, LA, USA, 2021 (online) 2019 Come Undone, Daniel Benjamin Gallery, London, UK, 2019 Group Exhibitions 2025 XXS, County Gallery, Palm Beach, Florida 2024 Drawing Biennial, Drawing Room, London, UK Borrowed Drawings, Cubitt invites, London, UK Artist Fundraiser for MSF, Wharf Road, London, UK 2023 Full House, Canopy Collections, London, UK, 2023 Cure3, Bonhams, London, 2023 2022 Stage Effects, Kate MacGarry, London, UK Paper and Clay, Canopy Collections at Cromwell Place, London, UK CUBITT 30, Victoria Miro, London, UK All The Lives We Ever Lived, Canopy Collections at Cromwell Place, London, UK Erotiques, Nullepart, Estarac, France 2021 Until the Walls Became the World All Around, Canopy Collections at Van Gogh House, London, UK Chrysalis, Hyde Park Art Club, Leeds, UK 2020 Untitled (But Loved), Bosse and Baum, London, UK 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.
Siobhan McLaughlin Run Off From the Mine, 2024 Earth pigment and oil paint on sewn remnant materials and thread Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Siobhan McLaughlin is an artist and freelance curator based between Glasgow and Penzance. Working with remnant textiles and gathered earth pigments, her practice connects experiences of the landscape, layered with memories and connections to people, the body, and time. Exploring themes of place, memory, and sustainability, she considers how past activities leave impressions on our ecologies. Education 2014-2019 MA Fine Art, Painting and History of Art at Edinburgh College of Art and the University of Edinburgh, Scotland. 2013-2014 Portfolio Preparation, Tramway Visual Art Studio, Glasgow, Scotland. Solo Exhibitions 2024 Pilgrimages, Hweg Gallery, Penzance, Cornwall Group Exhibitions Selected Group Exhibitions: 2024 British Art Fair, Wilhelmina Barns-Graham Trust, Saatchi Gallery, London, England Make Yourself at Home, Hweg Gallery, Penzance, England Residency Room, VAS Centenary, Royal Scottish Academy, Edinburgh, Scotland London Art Fair with Ruup & Form, Islington Business Centre, London, England 2023 Elemental, Royal Scottish Academy, Edinburgh, Scotland Scottish Landscapes: A New Generation, Dovecot Studios, Edinburgh, Scotland Coast to Coast, 108 Fine Art, Harrogate, England 2022 HERE: Between you and the World, POP Griffiths Gallery, Brisbane, Australia 50 X 50, The Auction Collective, London, England Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London, England On Paper, PAPER Gallery, Manchester, England 2021 Abstract Zeitgeist, Rafiki Gallery at the Biscuit Factory, Edinburgh, Scotland 2019 OPEN SSA+VAS, Royal Scottish Academy, Edinburgh, Scotland July Exhibition, Arusha Gallery, Edinburgh, Scotland All, Entire, Whole, New Glasgow Society, Glasgow, Scotland 2018 Guest Room in Sightseers, G39 Gallery, Cardiff, Wales THE SALON, EMBASSY Gallery, Edinburgh, Scotland Awards 2023 Stephen Palmer Bursary Award, Engage Scotland Art Trade Forum Bursary, Paul Mellon Centre for British Art, London Henderson Bursary Award, Pittenweem 2022 VAS From One to Another: Cornwall x Scotland Exchange Residency, Wilhelmina Barns-Graham Trust and Borlase Smart John Wells Trust RSA Residencies for Scotland- Cromarty Arts Trust, Royal Scottish Academy 2021 Hospitalfield Graduate Residency Programme, Arbroath Shortlisted for the Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London Selected Member of PLACE Collective, UK's Centre for National Parks, Cumbria 2020 Selected member of Emerging Curators Group, British Art Network, Tate, London 2019 SSA Wilhelmina Barns-Graham Award, Wilhelmina Barns-Graham Trust, RSA Huntley MacDonald Sinclair Prize for Best Dissertation, Edinburgh University Helen A Rose, Bequest for distinguished artwork, Edinburgh College of Art 2018 Research Grant, Conservation dept. at the Pompidou Centre, Paris, Edinburgh University Astaire Art Prize, 2nd Place, Edinburgh College of Art Statement about AOAP Submitted Artwork My practice starts by walking: slowing down to encounter the nuances of landscape, gathering spectrums of site-specific colours affected by light, weather and time. I prioritise care while gathering earth to grind into pigment, connecting to an ancient form of paint-making. Remnant materials - an old fisherman's smock, childhood bedroom curtains - are gathered and sewn to create a patchwork canvas for painting. The gathering of these materials is important, from the landscapes I walk in and communities I meet, sewing the stories and histories of these textiles into the landscape of the painting. 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.
Maureen Grayson Sandy Heath, Hampstead 1, 2024 Mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Maureen Grayson is a London-based artist specialising in mixed media abstraction. Her work delves into the captivating interplay between natural phenomena and the ever-evolving landscape. Inspired by the dynamic shifts in light, temperature, and season, she is continually mesmerised by the volatile effects these elements have on our surroundings. Utilising a variety of substrates including wood panels, canvas, and paper, she embraces the versatility of mixed media to bring her vision to life. A fascination for the ancient trees and ponds on Hampstead Heath has been the inspiration for a series of tactile works incorporating thread, collage, and fibres. Solo Exhibitions 2020 The Space Beyond, OmniDe Gallery, Hampstead, London, UK 2023 Open Studio/Artist Spotlight Month, OmniDe Gallery, Hampstead, London, UK Group Exhibitions 2023/2024 Rotating Group Show 2023/24, OmniDe, Hampstead, London, UK 2024 International Women's Day Group Show, CasildART, 32 Connaught Street, Connaught Village, London W2 2AF Natura Exhibition, Art from Heart, Daku Coffee House Gallery, Kensington, London, UK Hampstead Art Fair Open/Picture the Heath, Hampstead, London, UK SMart Network Charity 24th Anniversary Group Show, Cyphermunk House, City of London Women In Art Prize Finalist's Exhibition, The Roundhouse, Camden, London, UK Zebra One Gallery, Perrin's Court, Hampstead, London, UK The ING Discerning Eye, Mall Galleries, London, UK Awards 2024 Winner of Picture the Heath, Hampstead Art Fair, London, UK HSoA Abstract Painting Award, Women In Art Prize, Camden, London, UK Statement about AOAP Submitted Artwork Two mixed media abstract landscapes inspired by The Sandy Heath, Hampstead Woods. In each work, I have used layers of collage and strands of thread/fibres to suggest the textures of the ancient gnarled trees reflecting into the wetland areas. 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.
Lizzie Coles Kieran, 2025 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Always looking for the abstract underlying the nature of nature; sometimes the abstract emerges, and sometimes nature takes over. The balance between realism and abstract is dynamic. Fighting between raw and polished, spontaneous and controlled. Paintings are a combination of light and movement, colour and composition with underlying emotional investment by the artist. The surface often guides the treatment; canvas, linen, wooden panel or aluminium. Every canvas is a conversation or creative argument, and can change direction leading to unexpected and happy results! Exploring many styles and allowing paintings to develop their own identity through creativity and experimentation is fundamental. Mistakes that are made can become part of the artist's tools and be employed again. Honesty and strength of feeling is always present and demonstrative of the artist's engagement with the piece. Influences range from impressionism to abstract expressionism; particularly Willem de Kooning, Franz Klein, Lee Krasner, Joan Mitchell, Peter Lanyon and Serge Poliakoff. 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.
Rachel Tooth Red Velvet, 2025 Oil and gesso on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Always looking for the abstract underlying the nature of nature; sometimes the abstract emerges, and sometimes nature takes over. The balance between realism and abstract is dynamic. Fighting between raw and polished, spontaneous and controlled. Paintings are a combination of light and movement, colour and composition with underlying emotional investment by the artist. The surface often guides the treatment; canvas, linen, wooden panel or aluminium. Every canvas is a conversation or creative argument, and can change direction leading to unexpected and happy results! Exploring many styles and allowing paintings to develop their own identity through creativity and experimentation is fundamental. Mistakes that are made can become part of the artist's tools and be employed again. Honesty and strength of feeling is always present and demonstrative of the artist's engagement with the piece. Influences range from impressionism to abstract expressionism; particularly Willem de Kooning, Franz Klein, Lee Krasner, Joan Mitchell, Peter Lanyon and Serge Poliakoff. 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.
Millie Shafiee The Dark Wives, 2025 Ink on paper Signed on VersoInk on paper 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation. Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images. 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.
Tracey Falcon Still Life 102, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About A spinal injury in 2018 meant that multimedia artist Tracey Falcon was no longer able to make the heavier, more sculptural artwork she had been creating for the previous 20 or so years. As lockdown hit, she found her creativity returning and picked up a paintbrush and oils and was hooked. Each painting is a technical journey. Tracey is interested in colour, texture, and light almost more than the subject. Still-life studies work well for this kind of exploration - the tones and textures of fruit and the play of light we are all familiar with on these items we may take for granted every day in our homes and gardens. Education 1999-2004 BA(Hons) (First Class) Fine Art, Kent Institute of Art and Design, Canterbury, UK 2013-2014 MA (Distinction) Arts Criticism, University of Kent, Canterbury, UK Group Exhibitions 2024 October 21-27, Human/Nature, Whitstable Museum Gallery 2023 October, East Kent Artists Open Houses September 9-17, Assembly, Whitstable July 31-August 5, Unearthed, 54 The Gallery, Mayfair, London March 9-12, Print Show, The Horsebridge Arts Centre, Whitstable 2022 October, East Kent Artists Open Houses 2021 October-February 2022, Turner Contemporary Open, Margate October, East Kent Artists Open Houses 2020 October, East Kent Artists Open Houses 2019 March 14-24, Take Back Control, The Crypt Gallery, London 2018 November 29-30, Contributor VVM8, The Art Hostel, Leeds July 31-August 5, Contributor and Interviewee, Production Process Collaboration VVM7, Tate Exchange, Liverpool June 2-10, Assembly, Whitstable Biennale Satellite 2017 October 14-22, Contributor -The Artist Within - Branching Out, VVM5, 57th Venice Biennale June 4-10, Summer Small Fine Art Exhibition, Royal Opera Arcade Gallery, London January 20-23, Artrooms, Melia White House, London Statement about AOAP Submitted Artwork Two paintings, a lemon and a wren, play with texture and colour. Slightly undone, there's a hint of what lies beneath. What might be seen if photographed with too high or too low exposure. Vision is subjective. 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.
Tracey Falcon Still Life 101, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About A spinal injury in 2018 meant that multimedia artist Tracey Falcon was no longer able to make the heavier, more sculptural artwork she had been creating for the previous 20 or so years. As lockdown hit, she found her creativity returning and picked up a paintbrush and oils and was hooked. Each painting is a technical journey. Tracey is interested in colour, texture, and light almost more than the subject. Still-life studies work well for this kind of exploration - the tones and textures of fruit and the play of light we are all familiar with on these items we may take for granted every day in our homes and gardens. Education 1999-2004 BA(Hons) (First Class) Fine Art, Kent Institute of Art and Design, Canterbury, UK 2013-2014 MA (Distinction) Arts Criticism, University of Kent, Canterbury, UK Group Exhibitions 2024 October 21-27, Human/Nature, Whitstable Museum Gallery 2023 October, East Kent Artists Open Houses September 9-17, Assembly, Whitstable July 31-August 5, Unearthed, 54 The Gallery, Mayfair, London March 9-12, Print Show, The Horsebridge Arts Centre, Whitstable 2022 October, East Kent Artists Open Houses 2021 October-February 2022, Turner Contemporary Open, Margate October, East Kent Artists Open Houses 2020 October, East Kent Artists Open Houses 2019 March 14-24, Take Back Control, The Crypt Gallery, London 2018 November 29-30, Contributor VVM8, The Art Hostel, Leeds July 31-August 5, Contributor and Interviewee, Production Process Collaboration VVM7, Tate Exchange, Liverpool June 2-10, Assembly, Whitstable Biennale Satellite 2017 October 14-22, Contributor -The Artist Within - Branching Out, VVM5, 57th Venice Biennale June 4-10, Summer Small Fine Art Exhibition, Royal Opera Arcade Gallery, London January 20-23, Artrooms, Melia White House, London Statement about AOAP Submitted Artwork Two paintings, a lemon and a wren, play with texture and colour. Slightly undone, there's a hint of what lies beneath. What might be seen if photographed with too high or too low exposure. Vision is subjective. 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.
Bellamy Jean Finding the Light, 2025 Textile Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bellamy Jean is a contemporary textile artist and designer specialising in original and bespoke embroidery. She started sewing in the back of her mother's lingerie shop and has spent years developing her skills and style. Focused mainly on textiles, Bellamy creates meaningful pieces using fabric and thread. Through her work, she studies the art of alchemy and the symbolism surrounding world religions past and present, as well as colour compositions through the work of Hilma af Klint, Joseph Albers, and Alexander Calder. Each of her pieces is hand-drawn and embroidered freehand using an Industrial freehand embroidery machine. Education Art Foundation, City and Guilds school of fine art 2006 Freehand machine embroidery course, London Embroidery Studio 2017 Digital embroidery course, London Embroidery Studio, 2018 Group Exhibitions Babes in Arms, The De La Warr Pavilion, Bexhill, UK, September 2022 Babes in Arms, Big Yin Gallery, St Leonards on Sea, UK, November 2021 Statement about AOAP Submitted Artwork The two pieces that I have created are symbolic portrayals of femininity, with a star being the focal point of both embroideries. I used a star as an independent symbol within the pieces to show a life-giving source, the most common perception of being female. My aim is to further the conversation on the way women are perceived and portrayed in today's society. 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.
Bianca Maria Raffaella Courcheval in Mist, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bianca Raffaella (b 1992, London) Working from memory and sensory cues rather than direct observation, Bianca Raffaella is a British artist and activist currently based in Margate. As a partially sighted artist, her ephemeral floral and figurative paintings draw viewers into her world by capturing fleeting moments suspended in persistent vision, where her sight is in constant motion, and images appear only briefly as faint shadows or flickers of light. Raffaella's ongoing series of textural flower paintings evoke the artist's experience of beauty in braille, which was how she first learned to read and write. Raffaella relies on touch in her painting process. Never losing contact with the canvas, she blends delicate hues of blue, beige, and dusty pink until they become an ethereal impression, cloudy details made with fingertips, brushstrokes or scrapes of a palette knife. Graduating with a First-Class Honours degree in 2016, Bianca Raffaella was the first registered blind student to graduate from Kingston University with a degree in the Visual Arts. Since completing her 2023/4 residency at the Tracey Emin Artist Residency (TEAR), Raffaella now works from TKE Studios, where she uses gestural fragments and impasto techniques to capture motion and visual shifts on the canvas. In 2021, Raffaella's work was selected for the Royal Academy of Arts' Summer Exhibition, coordinated by Yinka Shonibare, followed by her solo exhibition, Hushed Impressions, at Orleans House Gallery in 2023. She was also awarded the NatWest Entrepreneurship Funding Prize in 2019 for her bespoke sensory fashion label. An advocate for accessibility in the arts, Raffaella has shared her insights as a speaker at the Goethe Institut's Beyond Seeing project and as a panellist at Tate Modern's Please Touch the Art talk. Most recently, she was selected by Dame Tracey Emin for Flowers Gallery's 2024 Artist of the Day series, presenting a one-day solo exhibition as part of the programme's 25th edition. Education 2013-16 BA, Kingston University London [The first registered blind student to graduate from Kingston University with a First-class degree in the visual arts.] Solo Exhibitions 2025 Faint Memories, Flowers Gallery, Cork Street, London, UK 2024 Artist of the Day, Flowers Gallery, Cork Street, London, UK 2023 Hushed Impressions, Orleans House Gallery, London, UK Group Exhibitions 2024 TEARS: The Final Show, TKE Studios, Margate, UK Small is Beautiful: 42nd Edition, Flowers Gallery, Cork Street, London, UK Artist of the Day: Group Show, Flowers Gallery, Cork Street, London, UK 2023 TEARS, TKE Studios, Margate, UK 2022 Layers of Vision, Bush House, London, UK 2021 Summer Exhibition, Royal Academy of Arts, London, UK Breaking Ground, Orleans House Gallery, London, UK Awards 2024 Artist of the Day, Flowers Gallery, Cork Street, London, UK Three To Watch, Hotly tipped female talent of the British art scene, Harper's Bazaar Magazine UK 2023 Tracey Emin Artist Residency (TEAR) 2023-24, TKE Studios, Margate, UK 2022 Artist-in-residence 2022-23, Orleans House Gallery, London, UK Commissioned by King's College London in collaboration with Shape Arts and AccessArt Gallery Representation Flowers Gallery (London New York Hong Kong) Public Collections Tracey Emin Foundation (Margate, UK) Statement about AOAP Submitted Artwork Four impressions from recent memories of Courchevel, in the Tarentaise Valley, France. 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.
Julie Caves Malibu, 2025 Acrylic and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Caves is a painter of still lifes. Sometimes she approaches her subject directly and paints roomscapes and objects from observation, but often she focuses just on the colour and light separated from the subject, letting the painting develop intuitively, and those works are usually read as abstract paintings. She likes having these two ways of working, that she switches back and forth between. She says: I often make a body of work because I have a hunch about an idea, I don't know if it will work, but I want to see what it will look like. The materials and process of painting are very important to me. I love a good painting composition, just on the edge of imbalance. I adore a thin stain of colour barely washed on, next to a juicy slab of thick, pasty paint. Education 2017-2019 Alternative MA, Turps Studio Painting Programme 2012 Independent Curating course (certificate) at Central St Martins 2004 MA in Bookarts, University of the Arts London, Camberwell College of Art 2001 BFA (Hons) in Studio Art, University of Texas at Austin 2001 Studio Art, Universidad Politecnica de Valencia, Spain Solo Exhibitions 2024 Scrumptious, Convivium Gallery, London, UK Yummy Yummy Yummy, Cliffs, Margate, UK 2022 Shimmy, Lido Stores, Margate, UK 2021 Lost in the Woods, Stone Space Gallery, London, UK 2016 Painting Without Beginning or End, Heathcote Arms, London, UK 2015 Colourful Language at Hoe Street Central, Walthamstow, London, UK 2013 Curiosity: an art practice as a way of looking, The Crypt Gallery, London, UK 2012 They Do Things Differently Here, Artworks Project Space, London, UK Cloud 8, Arts and Crusts, Chapel End, London, UK 2007 Colour Matters, Oxford House, London, UK Group Exhibitions 2024 Beep Longlist exhibition, Swansea Hypha x Dispensary Open, Wrexham Creative Bloc, Fill the Gap, London GOLD!, Artworks Project Space, London It Rose and It Fell, Terrace Gallery, London Fight Flight or Freeze, Pictorem Gallery, London A Room of One's Own, Irving Gallery, Oxford Multitasking, Lido Stores, Margate This Year's Model, Studio 1.1 Gallery, London Cat Flap Blink, Terrace Gallery, London 2023 Sugar Cube, Lido Stores, Margate Goddesses on Sea, Lido Stores, Margate Windows and Thresholds: Breaking Glass, Bell House, Dulwich, London Tart Factory, Tart Gallery London Goddesses, Terrace Gallery, Leyton, London Mermaids Always Have Graceful Arms, Lido Stores, Margate There Are No Things Only Relationships, Terrace Gallery at Karya, Highams Park, London This Year's Model part 1, Studio1.1 Gallery, London 2022 Seeing, Feeling, Forgetting, APT Gallery, London Still Looking, The Lido Stores, Margate Colour, The Stone Space, London Starting the Line, travelling drawing project This Year's Model part 3, Studio1.1 Gallery, London Seedbomb, Terrace Gallery, London Sonic Spring, Filly Brook, London Old Parcels Office Open, Scarborough 2021-22 A Generous Space, Hastings Contemporary 2021 Lido Open, The Lido Stores, Margate Mirror Mirror on the Wall, The House of Smalls, Swindon A Break in the Clouds, Winns Gallery, London (3 person) Studio Confetti, Terrace Gallery, London A Space to Hold the Gaze, Liliya Gallery, Putney, London 2020 Waving in the Distance, Terrace Gallery, London 2019 Exceptional Award exhibition, Collyer Bristow, London A Hand Stuffed Mattress, Terrace Gallery, London Time Flies Like the Wind, Fruit Flies Like Bananas, Art Academy, London Society of Women Artists Annual Exhibition, London 40 Years, Pictorem Gallery, London Traces, Artworks Project Space, London Prufrock, Centre Gallery, Margate Delphian Open Call 2019 Winners Exhibition, Printspace, London 2018 Artist of the Day (Turps Painters), Flowers Gallery, London Frankenstein, Espacio Gallery, London 2017 Afternoon Tea: Works on Paper, Chiara Williams, Margate 2016 Palimpsest, Bad Oeynhausen, Germany Made in Margate, Viking Gallery, Margate Looking Up, Studio1.1 Gallery, London Seeing is Believing, St John's Church, London Leytonstone Arts Trail Gateposts Project (two site-specific installations), London Gallery Representation Lido Stores (Margate, UK) Public Collections Bodleian Library (Oxford, UK) Oxford Brooks University (Oxford, UK) Manchester Metropolitan University Library (Manchester, UK) University College Northampton (Northampton, UK) BookROOM Archives, Witte de With (Rotterdam, Netherlands) Tate Britain Special Collection has acquired three books (London, UK) Camberwell College of Arts Special Collection has acquired two books (London, UK) Two serigraphs in the permanent collection of the University of Texas at Austin (Austin, Texas, USA) Universidad Politecnica de Valencia (Valencia, Spain) Statement about AOAP Submitted Artwork Two abstract paintings looking at shapes, colour, brushstrokes, and scale. 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.
Lesley Banks Monterosso Train Station, 2025 Acrylic and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lesley Banks is a contemporary artist. Her work is informed by a skill-based classical training in observational painting and drawing, which is evident in her figurative interiors and more recent canal and urban landscape paintings. She works predominantly with oil on canvas and more recently watercolour and acrylic on paper. Education 1980-1984 Glasgow School of Art BA (Hons) Fine Art Solo Exhibitions 2024 Studio 261, Glasgow 2020 Summerlee Museum of Scottish Industrial Life, Coatbridge 2019 Lillie Art Gallery and Museum, Glasgow 2018 Eden Court, Inverness 2017 The Park Gallery, Falkirk Group Exhibitions 2024 Annual Open, Bath Society of Artists 198th Annual Exhibition, Royal Scottish Academy London Art Fair 2023 Objects of Desire, Calendar House, Falkirk ING Discerning Eye Jackson's Art Prize, longlisted SWA Society of Women Artists, Mall Galleries, London Scottish Landscape Awards, longlisted 2022 Scottish Portrait Awards, Edinburgh Inspired, Fidra Fine Art, Gullane 2021 Art in Mind, Glasgow Print Studio 2020 21st Century Women, The Backdoor Gallery, Clydebank Awards 2024 The Knox Award, PAI Annual Exhibition 2017 Paisley Drawing Competition, Walker Laird Award 2015 Open Project Funding, Creative Scotland Gallery Representation Compass Gallery, Glasgow, Scotland Studio 261, Glasgow, Scotland Roger Bilcliffe Fine Art, Glasgow Public Collections Kelvingrove Art Gallery and Museum, Glasgow, Scotland Perth Art Gallery and Museum, Perth, Scotland Lillie Art Gallery and Museum, Glasgow, Scotland Stirling Smith Museum and Art Gallery, Stirling, Scotland Scottish Canals University of Strathclyde, Scotland Falkirk Council Collection, Scotland East Dunbartonshire Council, Scotland Leicester Schools Collection, England Statement about AOAP Submitted Artwork Two watercolour/acrylic paintings exploring "after dark" themes in the Cinque Terre in Italy. I am working on a series of nocturne paintings, which necessitates muted tones and hazy light effects. 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.
Julie Caves Paradise Point, 2025 Acrylic and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Caves is a painter of still lifes. Sometimes she approaches her subject directly and paints roomscapes and objects from observation, but often she focuses just on the colour and light separated from the subject, letting the painting develop intuitively, and those works are usually read as abstract paintings. She likes having these two ways of working, that she switches back and forth between. She says: I often make a body of work because I have a hunch about an idea, I don't know if it will work, but I want to see what it will look like. The materials and process of painting are very important to me. I love a good painting composition, just on the edge of imbalance. I adore a thin stain of colour barely washed on, next to a juicy slab of thick, pasty paint. Education 2017-2019 Alternative MA, Turps Studio Painting Programme 2012 Independent Curating course (certificate) at Central St Martins 2004 MA in Bookarts, University of the Arts London, Camberwell College of Art 2001 BFA (Hons) in Studio Art, University of Texas at Austin 2001 Studio Art, Universidad Politecnica de Valencia, Spain Solo Exhibitions 2024 Scrumptious, Convivium Gallery, London, UK Yummy Yummy Yummy, Cliffs, Margate, UK 2022 Shimmy, Lido Stores, Margate, UK 2021 Lost in the Woods, Stone Space Gallery, London, UK 2016 Painting Without Beginning or End, Heathcote Arms, London, UK 2015 Colourful Language at Hoe Street Central, Walthamstow, London, UK 2013 Curiosity: an art practice as a way of looking, The Crypt Gallery, London, UK 2012 They Do Things Differently Here, Artworks Project Space, London, UK Cloud 8, Arts and Crusts, Chapel End, London, UK 2007 Colour Matters, Oxford House, London, UK Group Exhibitions 2024 Beep Longlist exhibition, Swansea Hypha x Dispensary Open, Wrexham Creative Bloc, Fill the Gap, London GOLD!, Artworks Project Space, London It Rose and It Fell, Terrace Gallery, London Fight Flight or Freeze, Pictorem Gallery, London A Room of One's Own, Irving Gallery, Oxford Multitasking, Lido Stores, Margate This Year's Model, Studio 1.1 Gallery, London Cat Flap Blink, Terrace Gallery, London 2023 Sugar Cube, Lido Stores, Margate Goddesses on Sea, Lido Stores, Margate Windows and Thresholds: Breaking Glass, Bell House, Dulwich, London Tart Factory, Tart Gallery London Goddesses, Terrace Gallery, Leyton, London Mermaids Always Have Graceful Arms, Lido Stores, Margate There Are No Things Only Relationships, Terrace Gallery at Karya, Highams Park, London This Year's Model part 1, Studio1.1 Gallery, London 2022 Seeing, Feeling, Forgetting, APT Gallery, London Still Looking, The Lido Stores, Margate Colour, The Stone Space, London Starting the Line, travelling drawing project This Year's Model part 3, Studio1.1 Gallery, London Seedbomb, Terrace Gallery, London Sonic Spring, Filly Brook, London Old Parcels Office Open, Scarborough 2021-22 A Generous Space, Hastings Contemporary 2021 Lido Open, The Lido Stores, Margate Mirror Mirror on the Wall, The House of Smalls, Swindon A Break in the Clouds, Winns Gallery, London (3 person) Studio Confetti, Terrace Gallery, London A Space to Hold the Gaze, Liliya Gallery, Putney, London 2020 Waving in the Distance, Terrace Gallery, London 2019 Exceptional Award exhibition, Collyer Bristow, London A Hand Stuffed Mattress, Terrace Gallery, London Time Flies Like the Wind, Fruit Flies Like Bananas, Art Academy, London Society of Women Artists Annual Exhibition, London 40 Years, Pictorem Gallery, London Traces, Artworks Project Space, London Prufrock, Centre Gallery, Margate Delphian Open Call 2019 Winners Exhibition, Printspace, London 2018 Artist of the Day (Turps Painters), Flowers Gallery, London Frankenstein, Espacio Gallery, London 2017 Afternoon Tea: Works on Paper, Chiara Williams, Margate 2016 Palimpsest, Bad Oeynhausen, Germany Made in Margate, Viking Gallery, Margate Looking Up, Studio1.1 Gallery, London Seeing is Believing, St John's Church, London Leytonstone Arts Trail Gateposts Project (two site-specific installations), London Gallery Representation Lido Stores (Margate, UK) Public Collections Bodleian Library (Oxford, UK) Oxford Brooks University (Oxford, UK) Manchester Metropolitan University Library (Manchester, UK) University College Northampton (Northampton, UK) BookROOM Archives, Witte de With (Rotterdam, Netherlands) Tate Britain Special Collection has acquired three books (London, UK) Camberwell College of Arts Special Collection has acquired two books (London, UK) Two serigraphs in the permanent collection of the University of Texas at Austin (Austin, Texas, USA) Universidad Politecnica de Valencia (Valencia, Spain) Statement about AOAP Submitted Artwork Two abstract paintings looking at shapes, colour, brushstrokes, and scale. 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.
Millie Shafiee Castles in the Air, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation. Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images. 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.
Cas Campbell Hidden Rivers (Contd. 2), 2025 Recycled paper and pigments on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Cas Campbell's works explore the places where nature, ancient history, mythology and queer culture meet. Using intricate, transformative material processes, she creates paintings and wall hangings from paper pulp, alongside installations and ceramic pieces. Works are formed through cyclical, ritualistic techniques: colour is applied from mineral pigments, oak gall ink, and gathered material, and old pieces are reworked and recycled into new ones. Campbell (b. 1995) grew up in New Zealand and works between London and Brighton, UK. She holds an MA in Painting from the Royal College of Art (2022), and a BA from the University of Brighton (2018). Campbell is a recipient of an Arts Council England Developing Your Creative Practice grant and an A-N Artist Bursary, and has been shortlisted for the Chaiya Art Awards and the Visual Open Art Awards. Recent residencies include Studio Verde's 'Art and Ecology' in Italy and Sachaqa Centro de Arte in the Peruvian Amazon. Campbell's work is included in several public and private collections, including the Soho House Brighton collection of queer art. She has exhibited in the UK and internationally. Education 2020 - 2022 MA in Painting, Royal College of Art, London, UK 2015 - 2018 BA in Painting, University of Brighton, Brighton, UK Solo Exhibitions 2024 Hidden Rivers, Redkite Floating Gallery, London, UK Group Exhibitions 2024 Fair Ground, Glyndebourne, Lewes, UK Walk While You Have The Light, Safehouse 1, London, UK Can you Afford to Pay Attention? Greatorex Street, London, UK Traveling Memories, The Modern Showroom, London, UK A Daughter and Feral Mothers, AMP Gallery, London, UK 2023 What's Your Superpower? Safehouse 1, London, UK Futility of Camouflage, Sachaqa Centro de Arte, San Roque, PE Liminal Cracks, ASA Briggs Hall, London, UK Terra, SET Kensington, London, UK 2022 Home, Regency Townhouse, Brighton, UK Graduate Show, Royal College of Art, Battersea, London, UK Awards 2024 Artist's Bursary, A-N 2022 Developing Your Creative Practice, Arts Council England 2021 Shortlist, ColArt Awards 2019 Longlist, Visual Open Art Awards 2018 Shortlisted, Chaiya Art Awards Public Collections Soho House Brighton Beacon, Brighton, UK Statement about AOAP Submitted Artwork 'Panthalassa' and 'Hidden Rivers' were both large-scale installations exhibited in 2024: A five-metre wall hanging created from recycled paper pulp, seaweed and mineral pigments and a twenty-metre installation using the same. The installations reflected a life's journey mostly taken on the ocean and the detritus and ephemera of the everyday. 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.
ROMAN MOSAIC FRAGMENT DEPICTING LEANDER AND HERO LOWER EGYPT, C. 2ND CENTURY A.D. stone/marble tesserae, depicting the hero Leander swimming across the Hellespont to meet with his lover Hero, who is shown standing in a tower holding a burning torch 58 x 96cm Private collection, France, acquired on the Spanish art market in 1972, thence by descentFrench art market, 2018Bonhams, London, 23 July 2020, lot 65 (part)Peter Petrou, LondonSotheby's, London, Worlds within Worlds | Works from the Collection of Peter Petrou, 21st September 2021, lot 168Private collection, London, United Kingdom, acquired at the above The myth of Leander and Hero tells the tragic story of a young man, Leander, who swam across the Hellespont each night to be with Hero, a priestess of Aphrodite in Sestos. Hero would light a torch from her tower to guide him across the dangerous waters. Eventually, Leander drowns during a storm, and in her despair, Hero takes her own life by throwing herself into the sea. The myth explores themes of love, sacrifice, and the fatal consequences of passion.
ANCIENT SIDONIAN GLASS BOTTLE LEVANT, C. 1ST CENTURY A.D. mould-blown glass, of opaque blue colour, light blue body formed from a three-part mould, the cylindrical neck with everted rim and inward-folded lip, each section of the hexagonal body bearing a high relief repeated vegetal and floral motif 7.5cm tall Private collection, United KingdomShlomo Moussaieff, London, United Kingdom, collection formed 1948 - 2000 Ancient Sidonian glass, produced in the region of Sidon (modern-day Lebanon), is renowned for its high quality and intricate craftsmanship. Sidonian glassmakers were particularly skilled in producing both transparent and opaque glass, often employing advanced techniques such as casting, blowing, and cutting. The glassware typically featured vibrant colours, with rich hues of blue, green, and purple, achieved through the careful addition of minerals. The influence of Sidonian glass extended throughout the ancient Mediterranean world, making it a highly sought-after luxury item in both domestic and trade contexts.
NEOLITIHIC FLINT DAGGER TYPE I. SOUTHERN SCANDINAVIA, C. 2350 B.C. knapped light grey flint, of lanceolate form, tapering to a point, raised on a bepsoke mount 22.8cm long Private collection, DenmarkSubsequently part of a Belgian collection Type I flint daggers, characterised by their lanceolate shape, mark the transition from the Stone Age to the Bronze Age in Denmark around 2350 BC. These daggers were influenced by metal dagger designs from cultures such as the Unetice and Bell Beaker groups of Central Europe.
Africa.- Stigand (Capt. C.H.) To Abyssinia Through an Unknown Land, first edition, frontispiece, plates, 2 maps (one folding), one plate and one map with short tears and old tape repairs verso, ex-library with usual ink-stamps, occasional spotting, original pictorial cloth, a little rubbed, bumping to spine extremities, [Czech p.156], 1910 § Peters (Dr. Carl) New Light on Dark Africa, first English edition, portrait frontispiece, title in red and black, plates and illustrations, folding colour map in pocket at end, scattered faint spotting, previous owner's ink signature, bookplate, original pictorial cloth, gilt, slight bumping to corners and spine extremities, a little rubbed, [Czech p.128; Hosken p,157], 1891; and 2 others on Africa, 8vo (4)
New Zealand.- Admirality Hydrographic Office (The) Pacific Ocean. New Zealand, large scale map of New Zealand from surveys by Captain J.L. Stokes, Commander B. Drury and G.H. Richards between 1848-55, engraving, 985 x 665 mm (38 3/4 x 26 1/4 in), pen and ink inscriptions with ship track lines, some locations heightened with ink, dissected and mounted on linen, surface dirt and browning, some sections starting to lift off, without slipcase, inscribed 'RW Llewellyn/ 1871' to upper panel, 8vo, 1868; together with 'Stanford's Atlas of New Zealand, the Provinces of Nelson and Marlbrough with the adjacent parts of Wellington and Canterbury', lithographed map with hand-colouring, 640 x 935 mm (25 1/8 x 36 3/4 in), dissected and mounted on linen, some surface dirt and light browning, some sections starting to lift off, folding without slipcase, 8vo, 1864 (2)*** Scarce sea chart of New Zealand, which incorporates the first major survey of New Zealand and updated details regarding the topography of the interior of the islands, one of the first since Captain James Cook's exploratory voyages.
Africa.- Lugard (Frederick D.) The Rise of our East Africa Empire, 2 vol., first edition, half-titles, frontispieces, plates, 4 folding maps, of which 2 in pockets, advertisements at end vol. 1, occasional very faint spotting, previous owner's ink inscriptions, original pictorial cloth, a little rubbed, slight bumping to corners and extremities, 1893 § Mathers (E. P.) Zambesia: England's El Dorado in Africa, 2 folding maps, illustrations, advertisements at beginning and end, occasional light spotting, original decorative cloth, slight bumping to corners and extremities, London & South Africa, [c.1891] § Baker (Sir Samuel W.) The Albert N'Yanza Great Basin of the Nile, half-title, 2 maps (one folding), plates and illustrations, previous owner's ink inscription to title, original cloth, slight bumping to corners and extremities, 1870; and others, Africa, 8vo & 4to (13)
Levant.- Pouqueville (F. C. H. L.) Voyage de la Grèce, 6 vol., second edition, half-titles, 33 lithographs only (of 38, as often), some folding, scattered spotting, occasional light water staining, contemporary calf-backed boards, a little rubbed, slight bumping to corners and extremities, [Atabey 991], Paris, 1826; Histoire de la Régénération de la Grèce, 4 vol., first edition, half-titles, 5 engraved plates, 5 engraved folding maps, occasional marginal pencil notes, scattered spotting, one or two short marginal tears, final free endpaper of vol. 2 torn with loss, contemporary calf-backed boards, rubbed and worn, bumping to corners and extremities, [Atabey 992], Paris, 1824; and others on Greece, 8vo (17).
World.- Mylonas (Cyriacus Dion) De Smyrnaeorum rebus gestis: pars prima, early portrait photograph to front pastedown, folding facsimile at end, light soiling, original cloth, rubbed, bumping to corners and extremities, Gottingen, 1866 § White (Joseph) A Specimen of the Civil and Military Institutes of Timour, or Tamerlane, soiled and stained title, lacking F4 (final leaf), tender and creased edges, disbound, Oxford, 1780; and others including odd and/or defective volumes, v.s. (c.90)
Sri Lanka & India.- De Ram (Johannes) Insula Ceilon et Madura Exactsissime delineata..., scarce first issue before Reiner & Joshua Ottens later re-issue, engraved map, an excellent richly inked impression with bright early hand-colouring, sheet 530 x 598 mm (20 7/8 x 23 1/2 in), central vertical fold with light parallel creasing, left and right edges trimmed to or just within the platemark, very minor spotting and handling creases, unframed, [circa 1685]
![India.- Call (John) The Countries of Coromandel from the Coleroon to Cape Comorin [with] The Carnatic from the Pennar to the](https://cdn.globalauctionplatform.com/8c3b0654-f508-46cc-a759-b29101151ad5/ff2a21de-5885-40d7-b17e-b2910117ecaf/468x382.jpg)
India.- Call (John) The Countries of Coromandel from the Coleroon to Cape Comorin [with] The Carnatic from the Pennar to the Coleroon, two sheet map, not joined, showing the south eastern coast of India, from the Penna River, past Nellore నెల్లూరు, Chennai சென்னை, and Puducherry பாண்டிச்ச, down to the southern tip, engravings, on J. Taylor watermarked laid paper, each sheet approx. 505 x 470 mm (19 3/4 x 18 1/2 in), if joined approx. 1010 x 470 mm (39 3/4 x 18 1/2 in), old handling creases and folds, minor offsetting and light browning, unframed, East India Company, 1778
Middle East.- Arabian Peninsula.- War Office (Geographical Section) [Map of South Western coast of Saudi Arabia and part of Yemen], three detailed map sections printed in colours, showing from Dana Bay to Hakem, conjoined, 1830 x 1150 mm (72 x 45 1/4 in), dissected and mounted on linen, some minor surface dirt and light browning, folding without slipcase, 4to, 1915-1916
World.- Lafreri School (Italian, 16th century) Three maps of Islands, including 'Peloponnesus N. Morea' [Peloponnese, sometimes called Morea], 'Estland' [Shetlands], and 'S. Lorenzo' [Madagascar], engravings, on various 16th century laid papers, platemarks various sizes, each sheet approx. 360 x 505 mm (14 1/4 x 19 3/4 in), some minor splitting, occasional light spotting and surface dirt, unframed, [late 16th century] (3)
India.- Malet (H. P.) Circle of Light, or Dhawalegeri, presentation copy from publisher to the Athenaeum, frontispiece, faint abrasion mark to title where ink-stamp erased, advertisements at end, spotting and staining, cracked hinges, contemporary cloth, rubbed and worn, bumping and splitting to corners and extremities, 1869 § Robertson (William) An Historical Disquisition concerning the Knowledge which the Ancients had of India, engraved portrait frontispiece, lacking both maps, scattered spotting, cracked hinges, contemporary calf, rubbed, bumping to corners and extremities, 1799; and others relating to India, including odd and defective volumes, v.s. (c.50)
South East Asia.- Indonesia.- Salèh Sarief Bustaman (Raden, 1811–1880) The Attack of the Lion (Die Anfall des Lowen), lithograph with original hand-colouring, 380 x 450 mm (14 7/8 x 17 3/4 in), under glass, minor surface dirt and light browning, very minor handling creases, framed, [circa 1860s-1870s] *** Vibrant and scarce print after Salèh, the pioneering Indonesian painter and Javanese Prince, one of the first South East Asian artists to study in Europe, where he fell under the influence of the French artist Horace Vernet.
![Levant.- [Alexander (William)] Picturesque Representations of the Dress and Manners of the Turks, 60 hand-coloured plate](https://cdn.globalauctionplatform.com/8c3b0654-f508-46cc-a759-b29101151ad5/05213c0e-b009-4c36-a0fb-b29101180ae5/468x382.jpg)
Voyages.- Cook (Captain James) The Three Voyages of Captain James Cook, 2 vol., additional engraved title, occasional foxing, ink inscription to vol. 1 front free endpaper, bookplate to front pastedowns, contemporary boards, rebacked and recornered, a little rubbed to extremities, 1842 § Prescott (William H.) History of the Conquests of Peru, 2 vol., titles in black and red, light spotting, fading ink inscription to vol. 1 half-title, modern half calf, spines browned, a little wear to joints, lightly rubbed, 1875 § Stanley (Henry M.) Through the Dark Continent, 2 vol. plates and illustrations, a few surface marks, modern half calf, spines a little faded, 1899, frontispiece portrait, light browning, gilt spines; and 39 others, travel and voyages, most leather bound, v.s. (45)
Levant.- Chesney (Lieut.-Colonel) A Map of Arabia and Syria Laid down chiefly from Original Surveys... [with 13 others related], detailed map centred on the Arabian Peninsula, engraved map by J .& C. Walker with full hand-colouring, 680 x 645 mm (26 3/4 x 25 3/8 in), laid onto linen, some minor offsetting and light surface dirt, minor handling creases, 1849; folding into original splicase with 13 other folding maps relating to Chesney's publication, including 'Map of the Countries Situated between the Rivers Nile and Indus serving as an Index to the work on the Expedition for the Survey of the Euphrates and Tigris Drawn from Materials furnished by Lieut. Col. Chesney', and 12 others focussed on the rivers Euphrates, Tigris, and Karun, engraved maps, various sizes, but each approx. 490 x 640 mm (19 1/4 x 25 1/4 in), laid onto linen, some surface dirt and damp-stains, the lateter mainly visible verso, some light offsetting, folding into original cloth slipcase, spine gilt, bootom of case missing, very worn, 4to, 1850 *** Important collection of 14 maps from Chesney's "The Expedition for the Survey of the Rivers Euphrates and Tigris, carried on by order of the British Government, in the Years 1835, 1836, and 1837; preceded by geographical and historical notices of the regions situated between the rivers Nile and Indus", published by Longman, Brown, Green and Longmans, 1850.
Levant.- Rycaut (Paul) The Turkish History from the Original of the Nation, to the Growth of the Ottoman Empire, 2 vol. only (of 3), sixth edition, titles in red and black, 21 engraved plates, all but one portraits, scattered faint spotting, occasional light marginal soiling, 2 tiny rust-holes affecting odd letter, odd small marginal tear or loss (not affecting text), bookplate, contemporary calf, upper covers detached, rubbed and one, neat old repairs to corners, rubbed, [Blackmer 1466], folio, for Tho. Basset, 1687. *** "Rycaut's history constitutes a fitting adjunct to Knolles' great work in an edition which brings together the two men most associated in the English literary world with Turkey." (Blackmer)
Levant.- Andrews (Lieutenant-Colonel Mottram) A Series of Views in Turkey and the Crimea, from Embarcation at Gallipoli to the Fall of Sebastopol, first edition, tinted lithograph title, list of subscribers, 17 tinted lithographs, 10 plates and several ff. with marginal tears or loss and expert repairs, not affecting images, occasional light marginal soiling, twentieth century half-calf, a little rubbed, [Abbey Travel 238], folio, 1856.
Africa.- Davis (Rev. Nathan) Evenings in my Tent; or, Wanderings in Balad Ejjareed...Various Arab Tribes of the African Sahara, 2 vol., first edition, colour lithographed frontispieces, 12 plates, of which 2 colour, engraved bookplate and small ink-stamp "RC", frontispieces very slightly offset, the odd spot, light foxing to endpapers, bound in calf by Riviere, spines gilt and with morocco labels, some scattered very light spotting to covers, a few light scratches or marks, some rubbing to spines and extremities, 8vo, Arthur Hall, Virtue & Co., 1854.
![India.- Siege of Delhi.- Anonymous (active 1850s) Map of Delhi and the Neighbourhood, inscribed 'For General B. V. [?]Darving](https://cdn.globalauctionplatform.com/8c3b0654-f508-46cc-a759-b29101151ad5/9aa64503-bc6e-4278-83e7-b29101180085/468x382.jpg)
India.- Siege of Delhi.- Anonymous (active 1850s) Map of Delhi and the Neighbourhood, inscribed 'For General B. V. [?]Darvingy/ With Mrs Hughes Kind regards' in the upper left, and further inscribed along the lower edge '...This map will enable you to follow the movements of our troops & understand the Newspaper accounts. 14th July 1857. The remainder of the [?] 86th Regt. marched past my house at 7 am to proceed, by rail, to [?] 10,000 insurgents on the road to B[om]bay!!', lithograph, on thin wove paper without watermarks, 330 x 480 mm (13 x 18 7/8 in), old folds and handling creases, light surface abrasion and finger-soiling, unframed, [1850s]
Levant.- Allom (Thomas) & Rev. Robert Walsh. Constantinople and the Scenery of The Seven Churches of Asia Minor, 2 vol., additional engraved titles and 94 plates, one engraved map, occasional very light spotting, original cloth, lightly sunned spines, slight bumping to corners and extremities, [c.1830] § Beattie (William) & W. H. Bartlett. The Danube: its history, scenery, and topography, engraved portrait frontispiece, additional engraved title, plates and illustrations, engraved map, occasional spotitng, contemporary morocco, rubbed, bumping to corners and extremities, n.d.; and others similar, 4to (6)
Middle East.- Speed (John) The Kingdome of Persia with the cheef Citties and Habites described, engraved map on laid paper, uncoloured, sheet 417 x 525 mm (16 3/8 x 20 3/4 in), central vertical fold with some restoration to small losses, minor nicks, uneven toning, would benefit from a light clean, unframed, Bassett & Chiswell, [1676]
India.- Read & Co. (Publishers) Read's Illustrated Map of India, Shewing all the Principal Cities, Military Stations, Railways, Telegraphs &c. from Cape Comorin to the Himalaya Mountains, lithographic pictorial map printed in colours, 505 x 375 mm (19 3/4 x 14 3/4 in), mounted onto linen and edged with green silk, some surface dirt and browning with minor spotting, light rubbing in places and handling creases, unframed, 1857
Peter (René) La Création du Monde, one of 150 copies, colour plates, tissue-guards, light soiling, original paper wrappers, rubbed, bumping to corners and extremities, Paris, [1912] § The Adventure of Hunch-Back, and the Stories Connected With It, illustrations engraved by William Daniell,17 engraved plates, scattered spotting and staining, contemporary morocco edged boards, rubbed and worn, 1814; and others, most illustrated, including some odd or defective volumes, v.s. (c.35)
World.- Lafreri School (Italian, 16th century) Four battle plans and views of sieges, including 'Bologna in Francia', Siege of Guines, 1558, Plan of the Battle of Djerba, Tunisia ' Disigno dell'Isola de Gerbi', and the Siege of Vicovaro 'Il Vero Disegno di Vicovaro Occupato da Imperiali', engravings, on various 16th century laid papers, platemarks various sizes, each sheet approx. 360 x 505 mm (14 1/4 x 19 3/4 in), some minor splitting, occasional light spotting and surface dirt, unframed, [late 16th century] (4)
China.- Chinese Export School Album of 6 pith paper watercolours, including 3 studies of birds, and 3 studies of ships, each approx. 75 x 130 mm, tipped onto scrap album leaves, 2 leaves detached, minor nicks and tears throughout, light foxing and surface dirt, ink stamps to front free endpaper, contemporary cloth, joints splits, rubbed to extremities, oblong 8vo, c.1830-50.
Levant.- Nicolay (Nicolas de) Les Navigations Peregrenations et Voyages, faicts en la Turquie, second French edition, title within woodcut border, woodcut initials and headpiece, 60 full-page illustrations, one or two neat marginal ink notes, worming affecting text or gutter from Y1 to end, evenly browned, occasional light marginal soiling, later endpapers, later boards, rebacked, rubbed, [Koç 18a], small 4to, Antwerp, Guillaume Silvius, 1576. *** A good early edition of one of the most important works on Turkish costume.
1977 Suzuki GT750Registration number NCR 158RFrame number GT750 78929Engine number 85833From a deceased estatePurchased in 2008Maintained and serviced by the ownerGood usable conditionWill require light re-commissioningAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5C, old MOT's and purchase invoiceThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1947 Ariel 350 Red HunterRegistration number HXT 216Frame number XP 1503Engine number AJ 9762,344 recorded milesLong time family ownership, more than 20 yearsPurchased partly restoredRestoration completed by the ownerStarts and runs wellEngine started July 2024Will need light re-commissioningAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5CThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
c.1971 Jawa Speedway bikeNot registeredFrame numberEngine number500cc two valve enginePurchased in 2020 and checked over by speedway enthusiast ownerGood conditionWill need light re-commissioningLast started in 2024All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsNo history detailsThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1967 Honda CB160Not registeredFrame numberEngine numberFrom a deceased estateTotally restored to original specificationLovely conditionEngine turns overWill need light re-commissioningPart of a collection of 27 Honda's from a deceased estate in WalesAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsNo V5CThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
2002 Suzuki GSX 1400Registration number MM02 YYDFrame number JS1BN111200101293Engine number Y701-108424From a deceased estatePurchased 2021Last used 2024Very nice conditionWill need light re-commissioningAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5C, MOT's, service book, owner’s manual and various documentsThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1997 Kawasaki GPZ 900RRegistration number P265 NDMFrame number ZX900A-061548Engine number ZX900AE-069501Purchased 2017Fitted with a touring screen and Normac handlebarsThe seat has been lowered and a loud indicator buzzer fittedNew battery and rear tyreRunning wellWill need light re-commissioningFor sale due to advancing yearsAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5CThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1968 Ducati 250 De LuxeRegistration number XPX 756FFrame number MD 89501Engine number MD 89463 MDMade by Moto Trans in Spain under license from Ducati ItalyTotally restored by the previous ownerPurchased in 2021The present owner has fitted new parts to the kick start mechanism, fitted a new batteryThe petrol tank has been cleaned outLast started in mid 2024Will need light re-commissioningAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith a V5C, Ducati club dating certificate and history fileThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1954 AJS 350 16MSRegistration number EAS 410Frame number A15233Engine number 227812,418 recorded milesFrom a deceased estatePurchased 10 years agoRecent restorationLast started July 2024Starts and runs wellWill need light re-commissioningAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5C, spares list photocopy, AJS book by FW NeillThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
Aster Hobby for Fulgurex - Gauge 1 model live steam locomotive - ' L.N.E.R. Silver Link ', no. 2509, the model finished in LNER light grey with dark grey valances, highly detailed with lamps, stickers, and railings, with two sections of track, 44cm (loco), 25cm (tender), with original kit boxes, main box, Assembly & Operating Instructions, Assembly Illustrations, and Fulgurex 1990 catalogue - Sold as seen, not test or checked for completenessFrom a private collector, Weston-super-Mare, North Somerset
George V silver club lighter modelled as an 'Aladin Lamp' oil lamp the handle modelled as a snake's head, with engraved presentation inscription 'Presented to officers 5th Ban. The Somerset Light Infantry, by Major. F.S. Dodsoon, 14th March 1938', Birmingham 1938, sponsor's mark of Robert Chandler, 9.5cm high, 235g approx
Aster Hobby - Gauge 1 model live steam locomotive - ' LNER A3 Class Pacific ', no.4472, the model finished in light green livery with steps and railing detail, with single-section of track, 40cm (loco), 25cm (tender), with original kit boxes, main box, Assembly & Operating Instructions, and Assembly Illustrations - Sold as seen, not test or checked for completenessThis model isn't fully assembled. This lot also includes two sheets of stickers for application From a private collector, Weston-super-Mare, North Somerset
Vincenti & Cie, Paris - 19th century French brass and champleve enamel clock garniture, the 3.5-inch cream Arabic chapter ring with enamel centre, the two-train movement outside countwheel-striking on a bell, with Vincenti & Cie, 1855, Medaille d'Argent stamp of the Exposition Universelle, additionally stamped 'Comptoir General H. Riondet 9 Boul'd Poissonniere Paris', the waisted case with enamelled flambeau urn and swag finial over female terms, axe-form enamel panel over scroll apron, 44.5cm high, sold with pendulum, together with a matching pair of four branch (five light) candelabra, 46cm high (3)
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