Hannah Ludnow Seascape Series (1), 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The coastline of Cornwall is usually Hannah Ludnow's starting point, a place etched into the artist's memory having grown up near Falmouth Cornwall before moving to London to study art at University. Inspired by the amazing light, wide ever changing skies and beautiful dramatic coastlines, Hannah has always greatly admired the Cornish abstract expressionists Peter Lanyon, Patrick Heron and Ben Nicholson, whose work draws directly from experiences of nature's tempestuous or calm. Recently the artist has found herself looking at the work of Turner, influenced by his astute use of light. Hannah is inspired by the patterns nature creates: the force of the elements against the landscape, and the erosion against rock, sands, and man made objects as art form in itself. Hannah's work is very rarely an actual place, instead she starts with remembering a moment, and how that moment felt. Ludnow hopes to build an atmosphere in a painting, to draw you in, to imagine yourself there stood on a cliff, a beach or behind the dunes, exposed to the elements and the unpredictability of nature. the artist strives to capture a recollection of somewhere the viewer knows or remembers wherever in the world this may be. Her paintings are primarily about the light and the feelings a place can evoke in the viewer, the emotions that a memory of a place and time can stir within. A memory of thoughts and feelings within a landscape, often a special and private moment, where the vastness and beauty of the landscape around you brings a sense of perspective, clarity and calm . 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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Lisa Golightly Blue Sea and Man, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lisa Golightly's artistic career began with photography. Her father was a painter, and though she grew up exposed to his practice, she discovered her appreciation for photography at an early age. However, while working on her Fine Art Photography and Photojournalism BFA, she found her way back to painting, developing an artistic practice which marries a deep technical and theoretical understanding of photography with painting. "As straightforward as it may sound, I have fallen in love with the brush, the color, the intimate experience of painting and creating my own world." Today, Lisa's artistic practice still begins with photography. She first scours the internet and estate sales for bundles of anonymous old photography and film. Then, she reframes, rebuilds and reimagines existing subjects of these forgotten photos in the terms of her own memory. She exaggerates light and color in a way that recalls old film photography, painting in pastel, washed out palettes that mimic overexposed film. Working with acrylic, and painting in a distinct painterly style, she references impressionism, pointillism, as well as the oeuvre of Fairfield Porter and Lois Dodd to create paintings that are both anonymous and inherently personal in nature. Lisa's work straddles the line between the familiar and the anonymous, creating an uncanny gray area in which we can all find some part of ourselves, our history or our memory. Lisa further explores the relations between memory, physical distance and the passage of time in this body of work. These paintings are more an exploration of memory than a visual reproduction of film photography. They are a bricolage of truth, interpretation and memory that capture the act of suspending time and the innate flaws in doing so. These works also explore the sense of collective memory, and the universal nature of human experience. Lisa comments that when procuring old photographs, "Strangely, a lot of times it's like 'Oh that could have been my family.' It's fascinating how a lot of images are something we all have, certain things, times or places that we all document similarly." Born in Eugene, Oregon, Lisa Golightly studied at the University of Arizona where she received a Bachelor of Fine Arts in Fine Art Photography and Photojournalism in 1996. Solo exhibitions include Marking Time, George Billis Gallery, Los Angeles, CA (2020), Linda Hodges Gallery, Seattle, WA (2020), Recent paintings, Clove and Creek, Kingston, New York (2018), If Only For A Little While, Good Eye Gallery, Los Angeles CA (2016), and more. Her work has been reviewed in Paper Magazine, Luxe Interior and Designs, The Huffington Post, and The Wall Street Journal. She has participated in art fairs including the Venice Art Walk in Venice Beach, California. Her art was selected for a promotional campaign in London, England in celebration of International Women's Day. She was also chosen to produce an album cover and interior art for musician Alec Lytle. Lisa lives and works in Portland, Oregon, where she spends her days in the old carriage garage-turned-studio in the back yard of her 100-year-old home. Education 1998 BFA in Studio Art, University of Arizona, Tucson, AZ Select Exhibitions/Awards SOLO EXHIBITIONS 2023 Linda Hodges Gallery, Seattle, WA Tayloe Piggott Gallery, Jackson, WY 2022 George Billis Gallery, Los Angeles, CA 2021 Linda Hodges Gallery, Seattle, WA 2020 George Billis Gallery, Los Angeles, CA Linda Hodges Gallery, Seattle, WA 2019 George Billis Gallery, Los Angeles, CA 2018 Thoughts on Summer, Linda Hodges Gallery, Seattle, WA Selected Group Exhibitions 2022: "5", Linda Hodges Gallery, Seattle, WA Wilderness, Antler Gallery, Portland, OR The Cityscape Show, George Billis Gallery, Los Angeles, CA Two Person Exhibition, Julie Nester Gallery, Park City, UT Gallery Representation Linda Hodges Gallery, Seattle Billis Williams, Los Angeles George Billis Gallery, NYC/CT Tayloe Piggott Gallery, Jackson Hole WY Julie Nester Gallery, Park City UT Statement about AOAP Submitted Artwork I often do detail studies for larger paintings. These little postcards are small portions of larger paintings I am working on. 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.
Martyn Brewster Monoprint No 55, 2023 Silkscreen print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painter and Printmaker making abstract colour works. Education BA. Fine Art, Painting, 1Class Hons. 1994. Brighton University MA. Printmaking, Distinction 1995. Brighton University Select Exhibitions/Awards Elected Associate member of the Royal Society of Painter- Printmakers 2022 Recent Solo Exhibitions (Selected) 2012 'Coastal Light' Waterhouse & Dodd, London 2014 'Night Poetry' Waterhouse & Dodd, London 2016 'Martyn Brewster: Ocean Light Seascapes 1990- 2015,' Russell-Cotes Art Gallery & Museum, Bournemouth 'Recent paintings & drawings' Waterhouse & Dodd, London 2017 'Monoprints 1990-2010' Waterhouse & Dodd online 2018 'Shadows & Light' Waterhouse & Dodd, London 'Nocturnes' The Gallery, Arts University of Bournemouth Gallery Representation Portland Gallery. London and Waterhouse & Dodd, New York 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.
Alice Miller A Window To The World or The World Itself, 2023 Oil and Acrylic on watercolour paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Both secretive and sincere, Alice Miller's small figurative paintings sit somewhere between glowing coals and neon lights. Working directly from phone photographs, she draws parallels between the hedonism of the nighttime social scene and ideas of religion. We edge into the scenes, unsure if we are friend, guest, spectator or voyeur. Education BA Fine Art, Loughborough University, 2017-2020 Select Exhibitions/Awards 2023: Skin Deep, Studio West Gallery, London; Night Light, Cob Gallery, London; January resident at The Fores Project, London. 2022: A Kind of Human Clothing, Liliya Art Gallery, London; The Waverton Art Prize [finalist], Alice's Oyster Bar & Gallery, London; RBA Rising Stars [finalist], Royal Over-Seas League, London; Works on Paper 4, Blue Shop Cottage [online] Statement about AOAP Submitted Artwork 'Strangers' and 'A Window To The World Or The World Itself' offer a tightly cropped, devotional-scale glimpse into an unspecified nocturnal scene. Disembodied hands hint at an awareness of seeing and being seen in these environments. Both postcards are painted with oil over a neon pink acrylic ground, a technique recently introduced in Alice's work. 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.
Emma Turpin Buildings, 2023 Mixed Media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About In recent years, Emma Turpin has been exploring the notion of shelter in landscape. There are structures hidden in forests, and there are others that have almost become part of the landscape with trees bursting from inside them. In other works we see nothing built or man-made but rather shelter suggested by an area of light emerging through a tangle of branches. Emma uses these familiar natural forms to try and find a harmonious resolution between colour and form. Education The Slade School of Art, 1985-1987 West Surrey College Of Art, 1982-1985 Hastings College of Art, 1980-1982 Select Exhibitions/Awards 2022 November 2022, Flowers Gallery, Cork Street, London - 'Small is Beautiful' October 2022, Fosse Gallery, Cheltenham October 2022, Rye Art Gallery, East Sussex - 'The Art of British Printmaking' 2021/22 Flowers Central, Cork Street, London 'Small is Beautiful' Rye Art Gallery, Rye, East Sussex 2020 Flowers Central, Cork Street, London 'Small is Beautiful' Rye Art Gallery, East Sussex 'Miniatures and Masterstrokes' 2019 Flowers Central, Cork Street, London. 'Small is Beautiful' JP Art Gallery, 'Spring Exhibition', Blackheath, London 2018 Flowers Central, Cork Street, London 'Small is Beautiful' JP Art Gallery, Black Heath, London. The Restless Gallery, 'In Arcadia' Penzance JP Art Gallery London SE22 2017 The Bohun Gallery, Henley on Thames The Stone Space Gallery, Leytonstone 2015 The Bohun Gallery, Henley on Thames, 'Small paintings Exhibition' 2013 The OpenSky Museum, Nantes, France 2012 Shop Mixed Show, London 2009 The Bohun Gallery, Henley on Thames. 'Small Paintings Exhibition.' 2008 New Brewery Arts. Cirencester. 'A Winter's Tale' Portal Gallery Summer Exhibition, London '35 Years of the Bohun Gallery', Henley-on-Thames The Easton Rooms Summer Exhibition, Rye 2002 to 2008 Bohun Gallery, Henley-on-Thames 2006 Gallery 12, London NW3 2001 The Portal Gallery, Dover Street, London W1 1998 The Bohun Gallery, Henley-on-Thames 1996 Portal Gallery, Bremen, Germany. 'Distaff Power' The Easton Rooms Gallery, East Sussex 'Musicians', Portal Gallery, London 'Artists in Spain' Stormount Gallery, East Sussex 'Alternative Arts' Baker Street, London 'Idiosyncratic British Art' Brewery Arts Gallery, Cirencester, Glos. 1995 'Childhood Remembered' The Easton Rooms Gallery, East Sussex 1994 Portal Gallery, London 'Portal Painters', Palais Royal, Paris, France 'Angels', Terifa Gallery, Spain Portal Gallery, Bremen, Germany The Royal Commission, Geneva The Sassoon Gallery, Folkstone, Kent 1993 Rye Society of Artists, Summer Exhibition The New Ashgate Gallery, Farnham, Surrey Easton Rooms Gallery, Rye 1992 Portal, Gallery, London 1990 Print to Print Touring Exhibition, Sunderland Victoria Gallery, Hastings The Wax Kiln Gallery, Farnham, Surrey The Corner House, Manchester Statement about AOAP Submitted Artwork 'Buildings in a Landscape' mixed media on card 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.
Lisa Golightly Hands on Waist, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lisa Golightly's artistic career began with photography. Her father was a painter, and though she grew up exposed to his practice, she discovered her appreciation for photography at an early age. However, while working on her Fine Art Photography and Photojournalism BFA, she found her way back to painting, developing an artistic practice which marries a deep technical and theoretical understanding of photography with painting. "As straightforward as it may sound, I have fallen in love with the brush, the color, the intimate experience of painting and creating my own world." Today, Lisa's artistic practice still begins with photography. She first scours the internet and estate sales for bundles of anonymous old photography and film. Then, she reframes, rebuilds and reimagines existing subjects of these forgotten photos in the terms of her own memory. She exaggerates light and color in a way that recalls old film photography, painting in pastel, washed out palettes that mimic overexposed film. Working with acrylic, and painting in a distinct painterly style, she references impressionism, pointillism, as well as the oeuvre of Fairfield Porter and Lois Dodd to create paintings that are both anonymous and inherently personal in nature. Lisa's work straddles the line between the familiar and the anonymous, creating an uncanny gray area in which we can all find some part of ourselves, our history or our memory. Lisa further explores the relations between memory, physical distance and the passage of time in this body of work. These paintings are more an exploration of memory than a visual reproduction of film photography. They are a bricolage of truth, interpretation and memory that capture the act of suspending time and the innate flaws in doing so. These works also explore the sense of collective memory, and the universal nature of human experience. Lisa comments that when procuring old photographs, "Strangely, a lot of times it's like 'Oh that could have been my family.' It's fascinating how a lot of images are something we all have, certain things, times or places that we all document similarly." Born in Eugene, Oregon, Lisa Golightly studied at the University of Arizona where she received a Bachelor of Fine Arts in Fine Art Photography and Photojournalism in 1996. Solo exhibitions include Marking Time, George Billis Gallery, Los Angeles, CA (2020), Linda Hodges Gallery, Seattle, WA (2020), Recent paintings, Clove and Creek, Kingston, New York (2018), If Only For A Little While, Good Eye Gallery, Los Angeles CA (2016), and more. Her work has been reviewed in Paper Magazine, Luxe Interior and Designs, The Huffington Post, and The Wall Street Journal. She has participated in art fairs including the Venice Art Walk in Venice Beach, California. Her art was selected for a promotional campaign in London, England in celebration of International Women's Day. She was also chosen to produce an album cover and interior art for musician Alec Lytle. Lisa lives and works in Portland, Oregon, where she spends her days in the old carriage garage-turned-studio in the back yard of her 100-year-old home. Education 1998 BFA in Studio Art, University of Arizona, Tucson, AZ Select Exhibitions/Awards SOLO EXHIBITIONS 2023 Linda Hodges Gallery, Seattle, WA Tayloe Piggott Gallery, Jackson, WY 2022 George Billis Gallery, Los Angeles, CA 2021 Linda Hodges Gallery, Seattle, WA 2020 George Billis Gallery, Los Angeles, CA Linda Hodges Gallery, Seattle, WA 2019 George Billis Gallery, Los Angeles, CA 2018 Thoughts on Summer, Linda Hodges Gallery, Seattle, WA Selected Group Exhibitions 2022: "5", Linda Hodges Gallery, Seattle, WA Wilderness, Antler Gallery, Portland, OR The Cityscape Show, George Billis Gallery, Los Angeles, CA Two Person Exhibition, Julie Nester Gallery, Park City, UT Gallery Representation Linda Hodges Gallery, Seattle Billis Williams, Los Angeles George Billis Gallery, NYC/CT Tayloe Piggott Gallery, Jackson Hole WY Julie Nester Gallery, Park City UT Statement about AOAP Submitted Artwork I often do detail studies for larger paintings. These little postcards are small portions of larger paintings I am working on. 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.
Corinna Button Now It's My Turn IV, 2023 Oil and mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About After completing a BA honours degree in painting, I pursued a printmaking postgraduate degree in the UK, where I am from. It was during this time that I was impacted by the German Expressionists, whose works, particularly in printmaking, left an indelible impression on me. I dedicated many subsequent years to developing my work in etching and other forms of printmaking. Today, printmaking continues to be a medium that intrigues me and is hugely influential in the way I approach my painting and sculpture. People are the subjects of my work and I am intrigued by moments that, despite initially appearing quite commonplace, are (for me) charged with great significance and meaning. My inspiration is drawn from experiences or predicaments I encounter in daily life, such as social gatherings, images from social media and words from a song or a poem. All these generate ideas for themes that I can build upon, "dress-up" and weave into my work. I compose figures either in groupings or as a single figure or just a face. My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface. Everything about the way I work (both technique and subject) is motivated by the desire to reveal or "bring something to light." Thus, my process involves layering then scraping back, building then excavating; otherwise, peeling back layers to "carve out" and reveal something hidden beneath the surface. Select Exhibitions/Awards Selected Solo Shows 2020 Caught in a Fast Lane - Cupola Gallery, Sheffield UK 2017 Interfaces' - Hyde Park Arts Centre, Chicago (Featuring sculpture, printmaking and painting) Media made Great, Chicago 'Caught in an act II '(Featuring sculpture, printmaking and painting) 2016 Caught in the Act Cupola Gallery, Sheffield UK Watching you, watching me Sculpture and painting. Pistachio, Chicago 2014 Moments of Being, Gallery C, Dubuque, IA, USA University of Illinois, ULC Health in the Arts clinic, Chicago USA Specially Selected Exhibitions 2023 & 2020 Royal Academy Summer Show, London 2020 & 2019 ING Discerning Eye, Mall Galleries, London 2020 In Print; 20/20 Vision: Watts Contemporary, Watts Gallery Artists' Village, Surrey 2019 The Prince's Trust Auction, Highgrove House, Doughton, Gloucestershire. 2019 'Not Just Another Pretty Face', Hyde Park Art Center, Chicago. USA 2019 International Open Juried exhibition of Original Prints, 'NOPE' Bankside Gallery, London. 2017 Shakespeare: A celebration, Kwan Fong Gallery of Art and Culture, California, USA 2015 Chicago Invasion, Blue Rider Gallery, Taipei, - Taiwan 2015 Artress, Research House for Asian Art, Chicago, USA 2015 Elmhurst Museum; Artists Interpret Shakespeare, USA Collections The Victoria and Albert Museum, London Jiangsu Art Museum, China Ashmolean Museum Oxford BBC Sheffield Castle Lesley, Ireland University of Aberystwyth, Wales 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.
Christie Bird Fruit Bowl I, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Christie Bird was born in 1970 in the British Virgin Islands. This tropical childhood formed her earliest influences including watching her mother paint large, water colour still lives on the kitchen table. After Art Foundation at the School of Museum of Fine Arts in Boston, U.S.A., Christie moved to London to work as a muralist and set painter. She now paints full time from her home near the sea in Freshwater Bay, Isle of Wight. Christie's gesso-based still lives are easily influenced by the shingle beach and fields of wildflowers nearby, but perhaps the light and colours of her childhood on Tortola remain her most important influence. Education Art Foundation at the School of Museum of Fine Arts in Boston, U.S.A. Select Exhibitions/Awards Sunday Times Watercolour Exhibition 2016 RWS Contemporary Watercolour Exhibition 2014, 2016, 2017, 2018 Royal Academy Summer Exhibition 2014 Royal Academy Summer Exhibition 2008, 2009, 2011 Sunday Times Watercolour Exhibition 2010 Awards RWS Exhibitions Award 2018 Elected associate member of the Royal Watercolour Society 2018 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.
Alexandra Rubinstein Lollipop, 2023 Menses on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Rubinstein is a Brooklyn-based conceptual artist whose practice focuses on how culture and gender affect power and narrative. She came to the United States from Russia when she was 9, and spent the magical years of puberty enduring the misogyny of both cultures. Through education, therapy, and self-help, she learned to identify her feelings and channel her rage and resentment into her work. In said work, she challenges dated social systems and prejudices, and reconstructs the cis heterosexual female experience by transforming women from passive objects into active consumers. Taking back power and control, without taking centuries of oppression too seriously. When she's not working, she can be found running around park, reading in the park, drinking near the park, and generally not leaving her neighbourhood. Education 2010, Carnegie Mellon University, BFA. Select Exhibitions/Awards Solo Exhibitions 2022, The Moon Also Rises, Mother Gallery, New York, NY 2020, Dick Diaries, Established Gallery, Brooklyn, NY Group Exhibitions (Selected) 2023, Paroxysm, Westbeth Gallery, New York, NY Night, Light, Cob Gallery, London, UK. 2022, Mother Booth at Untitled Art Fair, Miami, FL Even A Cat Can Look At The Queen, Mrs. Gallery, Maspeth, NY 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.
Kate Mary Dream of Riviera, 2023 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Mary (b.1992) is a Glasgow based artist and designer working predominantly with Oil Pastels and Acrylic. She completed her honours degree in Interior Design at Glasgow School of Art, graduating in 2019. Kate's practice is largely 2D drawings and paintings. These are detailed, idealised representations of places; collaged together to form immersive and calming visions of escapism. They are influenced by memories of local and far-flung journeys she makes, and the architecture, light, and pattern within them. Kate's work explores and responds to our built environment, capturing moments of intrigue in order to create intimate and otherworldly scenes. Education Glasgow School of Art, Interior Design, 1st class hons Select Exhibitions/Awards Delphian Gallery - Open Call Exhibition - October 2022 Delphian Gallery - Kate Mary + Rie Kitagawa - September 2022 Kobi + Teal - 'Framed' - June - August 2021 Auction Collective - 'The Beat Goes On' - October 2021 London Design Festival - 'Lockdown Art' Heals - September 2020 Gallery Representation Murus London, Delphian Gallery Statement about AOAP Submitted Artwork It was so lovely to be asked to make some miniature works for this auction. I have created three works inspired by the Cote d'Azur in France, capturing happy memories in order to create uplifting artworks. Two works are completed in ink, and one oil pastel on paper. 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.
Joanna Whittle Barbican St Laurence Drogheda, 2023 Ink and manganese dioxide on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Joanna Whittle is a member of the Contemporary British Painting Society, winning the prize in 2019 and selecting for it in 2021. She has undertaken numerous solo projects and has shown extensively in group exhibitions. In 2020 she was awarded Arts Council funding for her project Between Islands at the Portland Collection on the Welbeck Estate, Nottinghamshire, exploring the construction of narratives through artefact creation and display and has been awarded an Arts Council England Project Grant for her current research project with the National Fairground and Circus Archive at Sheffield University which will culminate in a solo exhibition in 2023. In 2022 she exhibited a new collection of work at Millennium Gallery, Sheffield as part of Festival of the Mind, through collaboration with archaeologist Dr Elizabeth Craig-Atkins, exploring themes of mourning in the landscape and material culture. She has worked on numerous solo projects, showing most recently at the Whitaker Museum in 2022. She is a founding member of the Heavy Water Collective who engage with archives and collections in the production of new archival material, most recently working with Cardiff University Special Collections, Sheffield General Cemetery and the Special Collections at Leeds University. The collective is currently showing work in PostNatures at Graves Gallery, Sheffield. Recent group exhibitions include Entwined, Huddersfield Art Gallery & 20-21 Artspace, 2022/23; Heavy Water, Site Gallery, 2021, Arcadia For All? Stanley & Audrey Burton Gallery, Leeds University (currently) and will be showing in X, Contemporary British Painting at Newcastle Contemporary Art in 2023. Education BA (hons) Fine Art (Painting) at Central St Martins & MA Fine Art (Painting) at Royal College of Art Select Exhibitions/Awards AWARDS Winner of Contemporary British Painting Prize in 2019, Winner of New Light Valeria Sykes Award in 2021 RECENT SOLO EXHIBITIONS On Shifting Ground, solo exhibition at the Whitaker Museum, Lancashire, 2022 Material Mourning, Millennium Gallery, Sheffield part of Festival of the mind, Sheffield. A body of work produced following a period of research with archaeologist Lizzy Craig-Atkins (University of Sheffield) and Dr Jane Wildgoose (founder of the Jane Wildgoose Memorial Museum) SELECTED GROUP SHOWS (current and recent only) 2023 CURRENT Arcadia for All? Rethinking Landscape Painting Now, Stanley and Audrey Burton Gallery, University of Leeds Charlie Smith London at Gramercy Park studios PostNatures, Heavy water Collective, Graves Art Gallery, Sheffield Entwined, Plants in Contemporary Painting, 2021 Visual Arts Centre, Scunthorpe 2022 The Tyranny of Ambition , Highlanes Public Gallery, Drogheda, Ireland Entwined, Plants in Painting, Huddersfield Art Gallery Paint Edgy, Contemporary British Painting, Barton upon Humber The Fool, Air Space Gallery, Stoke-on-Trent Volta Basel, Charlie Smith Gallery, Basel New Light Retrospective, Saul Hay Gallery, Manchester Paradoxes Contemporary British Painting Society, Quay Arts, Newport, Isle of Wight Aggregate, Freelands Foundation, London 2021 New Light Prize Exhibition, Tullie House Museum, Carlisle Silent Disco, Curated by Graham Crowley, Greystone Industries, Suffolk Heavy Water, Site Gallery (Freelands Artist Programme Residency), Sheffield New Light Prize Exhibition, The Biscuit Factory Gallery, Newcastle The Lockdown Interviews Exhibition, ArtTopTen, Cello Factory, London Statement about AOAP Submitted Artwork The two drawings are part of an ongoing series of drawings started in 2020 when working on a project on the Welbeck estate in Nottinghamshire. They are made with Indian ink and Manganese oxide. They speak of mythologies and magic hidden in the landscape and the structures we build in it. 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.
Christie Bird Fruit Bowl I, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Christie Bird was born in 1970 in the British Virgin Islands. This tropical childhood formed her earliest influences including watching her mother paint large, water colour still lives on the kitchen table. After Art Foundation at the School of Museum of Fine Arts in Boston, U.S.A., Christie moved to London to work as a muralist and set painter. She now paints full time from her home near the sea in Freshwater Bay, Isle of Wight. Christie's gesso-based still lives are easily influenced by the shingle beach and fields of wildflowers nearby, but perhaps the light and colours of her childhood on Tortola remain her most important influence. Education Art Foundation at the School of Museum of Fine Arts in Boston, U.S.A. Select Exhibitions/Awards Sunday Times Watercolour Exhibition 2016 RWS Contemporary Watercolour Exhibition 2014, 2016, 2017, 2018 Royal Academy Summer Exhibition 2014 Royal Academy Summer Exhibition 2008, 2009, 2011 Sunday Times Watercolour Exhibition 2010 Awards RWS Exhibitions Award 2018 Elected associate member of the Royal Watercolour Society 2018 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.
Sue Arrowsmith Firefly 2, 2023 Acrylic and champagne gold leaf on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sue Arrowsmith (b. 1968, Manchester) has exhibited widely in the UK and Europe since graduating from Goldsmiths College, London in 1990 with a BA Hons Textiles degree. She was a prize-winner in both the John Moores Liverpool Exhibition 20 in 1997 and the Natwest Art Prize, London in 1998, and in 2010 was Artist in Residence at the Josef and Anni Albers Foundation, Connecticut, USA. She lives and works in London. Education Goldsmiths College, London Select Exhibitions/Awards Selected Solo Exhibitions Her solo exhibitions date back to 1994, beginning at the Entwistle Gallery, London, followed by Cold Spring, Entwistle Gallery (1997), Galerie Frahm, Copenhagen (1999), Galerie Fahnemann, Berlin (2001), Galerie allerArt, Blundenz, Austria (2009), The Courtyard Gallery, The National Botanic Garden of Wales, Carmarthen (2011), Whisper from The Shadows, Purdy Hicks Gallery, London (2015), Waiting for the Moon, Galerie Andres Thalmann, Zurich (2016), We could dream this night away, Purdy Hicks Gallery, London (2018), Let the wind blow through your heart, Galerie Andres Thalmann, Zurich, (2019), Natura Naturans, Luca Tommasi Arte Contemporanea, Milan, (2020), BVLGARI, Zurich (2021), Light Up My Sky, Purdy Hicks Gallery, London (2022) and Flickering Light, Mucciaccia Contemporary, Rome, (2023) Selected group exhibitions Galerie Fahnemann, Berlin (2001), At Sea, Tate Liverpool, Liverpool (& tour to Sainsbury Centre for Visual Art, Norwich (2002), Into The Light Of Things, Angel Row Gallery, Nottingham (2006), Sweethearts - Artist Couples, Pippy holdsworth Gallery, London, (2012), Nature Morte, Contemporary Artists Reinvigorate the Still Life, Ha gamle prestgard, Stavanger (2015), Transference, with Mathew Weir, MOCA London, London and Whispering Colour, Bo Lee Gallery, London, (2018), A Misura D'Uomo, Luca Tommasi Arte Contemporanea, Milan (2019) The Clearing, Celebrating 10 years, Bo- Lee Gallery, London (2019), Rebooting Nature, Purdy Hicks Gallery, London (2020) and Eye On Nature, Purdy Hicks Gallery, London (2022) 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.
Corinna Button From A Distance, 2023 Oil and mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About After completing a BA honours degree in painting, I pursued a printmaking postgraduate degree in the UK, where I am from. It was during this time that I was impacted by the German Expressionists, whose works, particularly in printmaking, left an indelible impression on me. I dedicated many subsequent years to developing my work in etching and other forms of printmaking. Today, printmaking continues to be a medium that intrigues me and is hugely influential in the way I approach my painting and sculpture. People are the subjects of my work and I am intrigued by moments that, despite initially appearing quite commonplace, are (for me) charged with great significance and meaning. My inspiration is drawn from experiences or predicaments I encounter in daily life, such as social gatherings, images from social media and words from a song or a poem. All these generate ideas for themes that I can build upon, "dress-up" and weave into my work. I compose figures either in groupings or as a single figure or just a face. My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface. Everything about the way I work (both technique and subject) is motivated by the desire to reveal or "bring something to light." Thus, my process involves layering then scraping back, building then excavating; otherwise, peeling back layers to "carve out" and reveal something hidden beneath the surface. Select Exhibitions/Awards Selected Solo Shows 2020 Caught in a Fast Lane - Cupola Gallery, Sheffield UK 2017 Interfaces' - Hyde Park Arts Centre, Chicago (Featuring sculpture, printmaking and painting) Media made Great, Chicago 'Caught in an act II '(Featuring sculpture, printmaking and painting) 2016 Caught in the Act Cupola Gallery, Sheffield UK Watching you, watching me Sculpture and painting. Pistachio, Chicago 2014 Moments of Being, Gallery C, Dubuque, IA, USA University of Illinois, ULC Health in the Arts clinic, Chicago USA Specially Selected Exhibitions 2023 & 2020 Royal Academy Summer Show, London 2020 & 2019 ING Discerning Eye, Mall Galleries, London 2020 In Print; 20/20 Vision: Watts Contemporary, Watts Gallery Artists' Village, Surrey 2019 The Prince's Trust Auction, Highgrove House, Doughton, Gloucestershire. 2019 'Not Just Another Pretty Face', Hyde Park Art Center, Chicago. USA 2019 International Open Juried exhibition of Original Prints, 'NOPE' Bankside Gallery, London. 2017 Shakespeare: A celebration, Kwan Fong Gallery of Art and Culture, California, USA 2015 Chicago Invasion, Blue Rider Gallery, Taipei, - Taiwan 2015 Artress, Research House for Asian Art, Chicago, USA 2015 Elmhurst Museum; Artists Interpret Shakespeare, USA Collections The Victoria and Albert Museum, London Jiangsu Art Museum, China Ashmolean Museum Oxford BBC Sheffield Castle Lesley, Ireland University of Aberystwyth, Wales 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.
Coral Harding Ember, 2023 Oil on Wood Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Coral Harding (b. 2001, London) is an artist currently in her third year of undergraduate studies at the Slade School of Fine Art, UCL. She studied her Art Foundation at Central Saint Martins. Coral examines the impression of awe and the psychology of perception. She is interested in the exploration and creation of space, and the ability to change the way space is experienced. Working with the material properties of light, she creates work in the forms of sculpture, painting, print and drawing to investigate the way light is both ephemeral and solid and has the power to illuminate and reveal while simultaneously being obscure. Education 2019 - 2020 Foundation Diploma in Art and Design at Central Saint Martins (Currently studying) BA Fine Art at Slade School of Fine Art UCL 2020 - 2024 Select Exhibitions/Awards 2022 - Dwelling - Group Exhibition, Brent Cross Centre, London. 2022 - JUICEBOX - Group Exhibition, RuptureXIBIT, Kingston. 2022 - Colour/Pigment/Poetry - Online Exhibition, Slade School of Fine Art, UCL 2022 - FISHTANK - Group Exhibition, Penarth Centre, Bermondsey. 2021 - 'Obscured' at the Royal Academy Summer Exhibition. The Royal Academy of Arts. Selected by Yinka Shonibare. 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.
Martyn Brewster Heartsong Series No 1-23, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painter and Printmaker making abstract colour works. Education BA. Fine Art, Painting, 1Class Hons. 1994. Brighton University MA. Printmaking, Distinction 1995. Brighton University Select Exhibitions/Awards Elected Associate member of the Royal Society of Painter- Printmakers 2022 Recent Solo Exhibitions (Selected) 2012 'Coastal Light' Waterhouse & Dodd, London 2014 'Night Poetry' Waterhouse & Dodd, London 2016 'Martyn Brewster: Ocean Light Seascapes 1990- 2015,' Russell-Cotes Art Gallery & Museum, Bournemouth 'Recent paintings & drawings' Waterhouse & Dodd, London 2017 'Monoprints 1990-2010' Waterhouse & Dodd online 2018 'Shadows & Light' Waterhouse & Dodd, London 'Nocturnes' The Gallery, Arts University of Bournemouth Gallery Representation Portland Gallery. London and Waterhouse & Dodd, New York 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.
Chloe Lamb As The Light Goes, 2023 Oil stick on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I have painted all my life and work from Hampshire in the South of England and Northumberland in the north of England. Education I originally studied in open studio sessions at the Heatherley School of Art in London and for the last sixteen years at the Lydgate Art Research Centre with Robin Child. Select Exhibitions/Awards I have had twelve successful solo exhibitions in London and three in New York. I have also taken part in numerous mixed exhibitions over the last thirty years in England and America Gallery Representation I am represented by Portland Gallery in London, Hollis Taggart Gallery in New York and Cricket Fine Art in Hampshire, England. Statement about AOAP Submitted Artwork My postcard has the feeling of the light fading at the end of the day. 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.
Corinna Button 1N Transit II, 2023 Oil and mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About After completing a BA honours degree in painting, I pursued a printmaking postgraduate degree in the UK, where I am from. It was during this time that I was impacted by the German Expressionists, whose works, particularly in printmaking, left an indelible impression on me. I dedicated many subsequent years to developing my work in etching and other forms of printmaking. Today, printmaking continues to be a medium that intrigues me and is hugely influential in the way I approach my painting and sculpture. People are the subjects of my work and I am intrigued by moments that, despite initially appearing quite commonplace, are (for me) charged with great significance and meaning. My inspiration is drawn from experiences or predicaments I encounter in daily life, such as social gatherings, images from social media and words from a song or a poem. All these generate ideas for themes that I can build upon, "dress-up" and weave into my work. I compose figures either in groupings or as a single figure or just a face. My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface. Everything about the way I work (both technique and subject) is motivated by the desire to reveal or "bring something to light." Thus, my process involves layering then scraping back, building then excavating; otherwise, peeling back layers to "carve out" and reveal something hidden beneath the surface. Select Exhibitions/Awards Selected Solo Shows 2020 Caught in a Fast Lane - Cupola Gallery, Sheffield UK 2017 Interfaces' - Hyde Park Arts Centre, Chicago (Featuring sculpture, printmaking and painting) Media made Great, Chicago 'Caught in an act II '(Featuring sculpture, printmaking and painting) 2016 Caught in the Act Cupola Gallery, Sheffield UK Watching you, watching me Sculpture and painting. Pistachio, Chicago 2014 Moments of Being, Gallery C, Dubuque, IA, USA University of Illinois, ULC Health in the Arts clinic, Chicago USA Specially Selected Exhibitions 2023 & 2020 Royal Academy Summer Show, London 2020 & 2019 ING Discerning Eye, Mall Galleries, London 2020 In Print; 20/20 Vision: Watts Contemporary, Watts Gallery Artists' Village, Surrey 2019 The Prince's Trust Auction, Highgrove House, Doughton, Gloucestershire. 2019 'Not Just Another Pretty Face', Hyde Park Art Center, Chicago. USA 2019 International Open Juried exhibition of Original Prints, 'NOPE' Bankside Gallery, London. 2017 Shakespeare: A celebration, Kwan Fong Gallery of Art and Culture, California, USA 2015 Chicago Invasion, Blue Rider Gallery, Taipei, - Taiwan 2015 Artress, Research House for Asian Art, Chicago, USA 2015 Elmhurst Museum; Artists Interpret Shakespeare, USA Collections The Victoria and Albert Museum, London Jiangsu Art Museum, China Ashmolean Museum Oxford BBC Sheffield Castle Lesley, Ireland University of Aberystwyth, Wales 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.
Hannah Ludnow Seascape Series (2), 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The coastline of Cornwall is usually Hannah Ludnow's starting point, a place etched into the artist's memory having grown up near Falmouth Cornwall before moving to London to study art at University. Inspired by the amazing light, wide ever changing skies and beautiful dramatic coastlines, Hannah has always greatly admired the Cornish abstract expressionists Peter Lanyon, Patrick Heron and Ben Nicholson, whose work draws directly from experiences of nature's tempestuous or calm. Recently the artist has found herself looking at the work of Turner, influenced by his astute use of light. Hannah is inspired by the patterns nature creates: the force of the elements against the landscape, and the erosion against rock, sands, and man made objects as art form in itself. Hannah's work is very rarely an actual place, instead she starts with remembering a moment, and how that moment felt. Ludnow hopes to build an atmosphere in a painting, to draw you in, to imagine yourself there stood on a cliff, a beach or behind the dunes, exposed to the elements and the unpredictability of nature. the artist strives to capture a recollection of somewhere the viewer knows or remembers wherever in the world this may be. Her paintings are primarily about the light and the feelings a place can evoke in the viewer, the emotions that a memory of a place and time can stir within. A memory of thoughts and feelings within a landscape, often a special and private moment, where the vastness and beauty of the landscape around you brings a sense of perspective, clarity and calm . 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.
Corrie Wingate The Good Shepherd, 2023 Ink on watercolour paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About As an artist, my background in travel photography has significantly influenced my artistic vision as a painter. By drawing inspiration from different environments and cultures I continue to work with both the constraints and the freedoms of figuration whilst also exploring the necessary tension inherent in working with chance or the unknown. Observational drawings and photographic imagery often serve as a foundation for creating figurative works that are rich with ambiguity, layers, and expressive mark-making. I apply abstract techniques to develop these works further, seeking to create paintings that offer a deeper emotional and psychological resonance beyond mere literal representation. My painting style is heavily influenced by the German expressionists who demonstrated the emotional impact of color on a viewer. My works often start with a single colour that dictates the tone and mood of the painting, which I then build upon. I also draw inspiration from the creative expression of children's artwork and the colour and light of Kenya, where I founded an art centre and live part time. Recurring themes of place, diaspora, and migration are central to my work. I am fascinated by the complex relationships between people and their environments, and how these relationships are shaped by history, culture, and identity. Whether through the use of colour, texture, or symbolism, I aim to create artworks that not only capture the essence of a place or a culture but also convey the emotions and experiences of the people who inhabit them. Education 2022 Turps Banana art school - Off site 22/23 2021 The Essential school of Painting 2019 The Royal Drawing school summer term 1996 BA Hons Fine Art, Kent Institute of Art and Design Select Exhibitions/Awards SELECTED EXHIBITIONS 2023 'Station Open' Koppel X, London 'Tart Factory', Tart gallery London Turps off-site programme show, Thames-side studios gallery, London 'Visions of Healing' Brushes with greatness, Hallam centre, London 2022 'Arresting images' The Koppel Project Station, London 'Painting open' No Format gallery, London 'Accessible art' Black White gallery, London 'Delphian Open call winners show' Unit 1 gallery, London 'The Little Scarlet Door' curated by India Rose James Soho Revue gallery, London 'Art matters' Mile end pavilion, London AWARDS 2023 The Tagli finalist 01.23 Collection 2022 Delphian gallery Open call winner Statement about AOAP Submitted Artwork Lately, I've been exploring the stories of the Old Testament and their narrative style, which often involve larger-than-life characters and events that capture the imagination. To highlight the significant role of women in history and promote greater appreciation of their experiences, I painted a diorama that depicts the story of Ruth the gleaner. Through these artworks, I aimed to showcase women in central roles and emphasise their valuable contributions to 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.
Lisa Golightly Lake Swim (Study), 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lisa Golightly's artistic career began with photography. Her father was a painter, and though she grew up exposed to his practice, she discovered her appreciation for photography at an early age. However, while working on her Fine Art Photography and Photojournalism BFA, she found her way back to painting, developing an artistic practice which marries a deep technical and theoretical understanding of photography with painting. "As straightforward as it may sound, I have fallen in love with the brush, the color, the intimate experience of painting and creating my own world." Today, Lisa's artistic practice still begins with photography. She first scours the internet and estate sales for bundles of anonymous old photography and film. Then, she reframes, rebuilds and reimagines existing subjects of these forgotten photos in the terms of her own memory. She exaggerates light and color in a way that recalls old film photography, painting in pastel, washed out palettes that mimic overexposed film. Working with acrylic, and painting in a distinct painterly style, she references impressionism, pointillism, as well as the oeuvre of Fairfield Porter and Lois Dodd to create paintings that are both anonymous and inherently personal in nature. Lisa's work straddles the line between the familiar and the anonymous, creating an uncanny gray area in which we can all find some part of ourselves, our history or our memory. Lisa further explores the relations between memory, physical distance and the passage of time in this body of work. These paintings are more an exploration of memory than a visual reproduction of film photography. They are a bricolage of truth, interpretation and memory that capture the act of suspending time and the innate flaws in doing so. These works also explore the sense of collective memory, and the universal nature of human experience. Lisa comments that when procuring old photographs, "Strangely, a lot of times it's like 'Oh that could have been my family.' It's fascinating how a lot of images are something we all have, certain things, times or places that we all document similarly." Born in Eugene, Oregon, Lisa Golightly studied at the University of Arizona where she received a Bachelor of Fine Arts in Fine Art Photography and Photojournalism in 1996. Solo exhibitions include Marking Time, George Billis Gallery, Los Angeles, CA (2020), Linda Hodges Gallery, Seattle, WA (2020), Recent paintings, Clove and Creek, Kingston, New York (2018), If Only For A Little While, Good Eye Gallery, Los Angeles CA (2016), and more. Her work has been reviewed in Paper Magazine, Luxe Interior and Designs, The Huffington Post, and The Wall Street Journal. She has participated in art fairs including the Venice Art Walk in Venice Beach, California. Her art was selected for a promotional campaign in London, England in celebration of International Women's Day. She was also chosen to produce an album cover and interior art for musician Alec Lytle. Lisa lives and works in Portland, Oregon, where she spends her days in the old carriage garage-turned-studio in the back yard of her 100-year-old home. Education 1998 BFA in Studio Art, University of Arizona, Tucson, AZ Select Exhibitions/Awards SOLO EXHIBITIONS 2023 Linda Hodges Gallery, Seattle, WA Tayloe Piggott Gallery, Jackson, WY 2022 George Billis Gallery, Los Angeles, CA 2021 Linda Hodges Gallery, Seattle, WA 2020 George Billis Gallery, Los Angeles, CA Linda Hodges Gallery, Seattle, WA 2019 George Billis Gallery, Los Angeles, CA 2018 Thoughts on Summer, Linda Hodges Gallery, Seattle, WA Selected Group Exhibitions 2022: "5", Linda Hodges Gallery, Seattle, WA Wilderness, Antler Gallery, Portland, OR The Cityscape Show, George Billis Gallery, Los Angeles, CA Two Person Exhibition, Julie Nester Gallery, Park City, UT Gallery Representation Linda Hodges Gallery, Seattle Billis Williams, Los Angeles George Billis Gallery, NYC/CT Tayloe Piggott Gallery, Jackson Hole WY Julie Nester Gallery, Park City UT Statement about AOAP Submitted Artwork I often do detail studies for larger paintings. These little postcards are small portions of larger paintings I am working on. 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.
Martyn Brewster Heartsong Series No 2-23, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painter and Printmaker making abstract colour works. Education BA. Fine Art, Painting, 1Class Hons. 1994. Brighton University MA. Printmaking, Distinction 1995. Brighton University Select Exhibitions/Awards Elected Associate member of the Royal Society of Painter- Printmakers 2022 Recent Solo Exhibitions (Selected) 2012 'Coastal Light' Waterhouse & Dodd, London 2014 'Night Poetry' Waterhouse & Dodd, London 2016 'Martyn Brewster: Ocean Light Seascapes 1990- 2015,' Russell-Cotes Art Gallery & Museum, Bournemouth 'Recent paintings & drawings' Waterhouse & Dodd, London 2017 'Monoprints 1990-2010' Waterhouse & Dodd online 2018 'Shadows & Light' Waterhouse & Dodd, London 'Nocturnes' The Gallery, Arts University of Bournemouth Gallery Representation Portland Gallery. London and Waterhouse & Dodd, New York 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.
Alice Miller Strangers, 2023 Oil and Acrylic on watercolour paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Both secretive and sincere, Alice Miller's small figurative paintings sit somewhere between glowing coals and neon lights. Working directly from phone photographs, she draws parallels between the hedonism of the nighttime social scene and ideas of religion. We edge into the scenes, unsure if we are friend, guest, spectator or voyeur. Education BA Fine Art, Loughborough University, 2017-2020 Select Exhibitions/Awards 2023: Skin Deep, Studio West Gallery, London; Night Light, Cob Gallery, London; January resident at The Fores Project, London. 2022: A Kind of Human Clothing, Liliya Art Gallery, London; The Waverton Art Prize [finalist], Alice's Oyster Bar & Gallery, London; RBA Rising Stars [finalist], Royal Over-Seas League, London; Works on Paper 4, Blue Shop Cottage [online] Statement about AOAP Submitted Artwork 'Strangers' and 'A Window To The World Or The World Itself' offer a tightly cropped, devotional-scale glimpse into an unspecified nocturnal scene. Disembodied hands hint at an awareness of seeing and being seen in these environments. Both postcards are painted with oil over a neon pink acrylic ground, a technique recently introduced in Alice's work. 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.
Mulongoy Pili Pili (République Démocratique du Congo, 1914-2007)Oiseaux protégeant le nid signé 'Pili Pili' en bas à droitehuile sur toilesigned 'Pili Pili' lower rightoil on canvas83 x 100cm. (32 11/16 x 39 3/8in.)Footnotes:ProvenanceCollection privée, USALe design a toujours été au premier plan de la pratique de Pili Pili. Initié dans sa carrière en tant que décorateur d'intérieur, l'artiste a développé sa technique vers des approches plus intrinsèquement réflexives et personnelles, comme en témoigne la présente œuvre. Représentant des scènes de nature avec des images picturales plates d'animaux et de plantes, Pili Pili réalise des peintures exquises, telles que la présente œuvre. Animé par le désir de susciter une réponse esthétique immédiate à ses souvenirs, cette œuvre peut être considérée comme une réaction réflexe reflétant son passé intimement lié à une compréhension philosophique de son histoire.Bon nombre de ses œuvres examinent et observent le règne animal et ses réalités difficiles. En effet, on pourrait dire que son travail reflète les réalités de l'environnement dans lequel Pili Pili a grandi au Congo, alors sous le contrôle de la colonisation belge. Rejoignant l'atelier de Romain-Desfossés en 1947, Mulongoy bénéficia d'une certaine liberté esthétique sous l'enseignement de Pierre Romain-Desfossés et de sa philosophie moderniste. Pierre Romain-Desfossés croyait en la préservation et la promotion des pratiques esthétiques traditionnelles du peuple congolais, refusant de les éradiquer sous l'influence du colonialisme occidental.Dans l'œuvre ici présentée, des oiseaux surgissent, leurs plumes d'une beauté éclatante, créant une symphonie de formes et de couleurs. Chaque détail, chaque coup de pinceau, est méticuleusement exécuté pour saisir l'essence de la nature ailée. Les jeux de lumière subtils et les touches abstraites ajoutent une dimension poétique, invitant le spectateur à s'évader dans un monde enchanteur.À travers son art, Pili Pili nous transporte dans un royaume où la nature est magnifiée et où les oiseaux deviennent des messagers de grâce et de tranquillité. Ses tableaux, véritables hymnes à la beauté, nous invitent à contempler la fragilité de ces créatures célestes et à renouer avec notre propre nature émerveillée.L'œuvre de Pili Pili est un véritable témoignage de son talent artistique exceptionnel, capable de susciter des émotions profondes et d'éveiller en nous une connexion intime avec le monde naturel. À travers ses tableaux d'oiseaux, il nous invite à explorer les mystères de l'existence et à nous émerveiller devant la splendeur de la création.Design had always been at the forefront of Pili Pili's practice. Initiating his career as a house decorator, the artist would evolve his technique to more intrinsically reflective and personal approaches in content such as the present lot. Rendering nature scenes with flat pictorial depictions of animals and plants, Pili Pili executes exquisite paintings such as the present lot. Motivated in his works to access an immediate aesthetic response to his memories, the present lot can be viewed as a reflex reaction portraying his past intertwined with a philosophical understanding of his history. Many of his works examine and observe the animal kingdom and its harsh realities. Indeed, it could be said that his work may reflect the realities of the environment that Pili Pili grew up surrounded by in Congo which, at the time, was controlled by Belgian colonial rule. Joining the Romain-Desfossés workshop in 1947, Mulongoy was enabled a level of aesthetic freedom under his teacher's, Pierre Romain-Desfossés, modernist philosophy. It was Pierre Romain-Desfossés' belief to maintain and promote traditional aesthetic practices of the Congolese people and not to eradicate it under Western colonialism. In the presented artwork, birds emerge with their brilliantly coloured feathers, creating a symphony of shapes and hues. Every detail, every brushstroke, is meticulously executed to capture the essence of winged nature. Subtle plays of light and abstract touches add a poetic dimension, inviting the viewer to escape into an enchanting realm.Through his art, Pili Pili transports us to a realm where nature is exalted, and birds become messengers of grace and serenity. His paintings, true hymns to beauty, beckon us to contemplate the fragility of these celestial creatures and reconnect with our own sense of wonder.Pili Pili's work is a testament to his exceptional artistic talent, capable of eliciting profound emotions and awakening an intimate connection with the natural world. Through his bird paintings, he invites us to explore the mysteries of existence and marvel at the splendour of creation.Bibliographie Perrin Lathrop, African Artists, From 1882 to Now, ed. Joseph L. Underwood & Chika Okeke-Agulu, (Phiadon Press, 2021) p. 234.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
James Bond Goldfinger - Harold Sakata (1920-1982) Japanese-American Wrestler and Actor, famous for his portrayal of Oddjob in the James Bond film Goldfinger (1964). Rare, vintage signed and inscribed 3.5 x 7 photograph depicting Sakata standing in a full length bodybuilding pose on a beach. The image promotes Sakata as The Great Tosh Togo (his ring name). Signed in blue ink across a light area of the image, `To Barbara, My best wishes, Togo`, also adding some Japanese characters in his hand. Signed to Barbara (Her husband worked on BEA airlines in the early 1970's and had this signed in person).
A Roman light amber glass ribbed bowl with thread decoration Circa mid 1st Century A.D.6.3cm high Footnotes:Provenance:Private collection, Germany.with Galerie Günter Puhze, Freiburg, (catalogue 25, 2011, no.155).Anonymous Sale; Gorny & Mosch, Munich, 14 December 2016, lot 351. The Nico F. Bijnsdorp Collection (NFB 349), acquired from the above sale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Egyptian light blue faience statuette of a crouching girl Third Intermediate Period, 22nd-23rd Dynasty, circa 945-715 B.C.7.8cm highFootnotes:Provenance:with Charles Ede Ltd, London.Private collection, London, acquired from the above in April 1994.For further information on this lot please visit Bonhams.com
* CHRIS BUSHE RSW (SCOTTISH b. 1958), PALE SEPTEMBER acrylic on board, titled label versomounted, framed and under glass image size 58cm x 58cm, overall size 89cm x 87cm Label verso: The Open Eye Gallery, Edinburgh.Note: Born in Perthshire, Chris Bushe is one of Scotland’s greatest living landscape painters. Initially, he studied Archaeology and Ancient History at Edinburgh but from his earliest years, he has responded to his fascination with the landscape around rural Aberdeenshire. He was accepted at Gray’s School of Art in the 1980s and forged a career painting landscapes very much in his own style and at odds with the fashionable conceptualism of the day. His paintings have won him a plethora of awards at national exhibitions. His work can be found in the corporate collections of Murray International Metals, Premier Property Group, Aberdeen Hospitals Trust, Grampian Regional Council, Edinburgh Hospitals Trust, Scottish Life, the Royal Bank of Scotland, Scottish & Newcastle, Dundee City Council, Bulthaup, University of Stirling, Turnberry Hotel and Centrica. His many awards include the Morton Fraser Milligan, Russell Flint Trust, Glasgow Arts Club Fellowship, Scottish Arts Club Awards, the RSW Council Award, the RSW McManus Galleries Purchase Prize, the RSW Fotheringham Gallery Award and the RSW The Walter Scott Award. Most recently, Chris has had considerable success at The Discerning Eye winning both the Founder’s £2500 Purchase Prize in 2015 and ING £5,000 Purchase Prize in 2016. In Scotland, his principal gallery is the prestigious Open Eye Gallery (Edinburgh) where his most recent (widely praised) solo show was "Chasing Light" (4th - 25th June 2022). In The Scottish Contemporary Art Auction of 13th April 2023 lot 38, "Summer Winds" (by Chris Bushe) sold for £1800 (hammer).
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SCUDDING WAVE mixed media on paper, signed, titled label versomounted, framed and under glassimage size 50cm x 62cm, overall size 71cm x 82cm Label verso: The Glasgow Art ClubNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
* ETHEL WALKER (SCOTTISH b. 1941), BLACK TULIPS AND SILVER oil on board, signed, further signed, titled and dated 2008 labels versoframedimage size 42cm x 42cm, overall size 60cm x 60cm Handwritten artist's label versoLabel verso: The Gatehouse Gallery, Glasgow Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a large mixed media by Ethel Walker sold for £2600 (hammer)
* CLAIRE HARKESS RSW (SCOTTISH b. 1970), BANANAQUITS II mixed media on paper, signed, titled versomounted, framed and under glassimage size 32.5cm x 38cm, overall size 57cm x 61cm Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.
* BET LOW RSW ARSA RGI DLitt (SCOTTISH 1924 - 2007), STILL EVENING mixed media on board, signed, titled labels verso mounted, framed and under glassimage size 36cm x 49cm, overall size 56cm x 68cm Handwritten artist's label versoExhibition label verso: Royal Scottish Academy Exhibition 1980Condition generally good - frame would benefit from light clean.
* PADRAIG MACMIADHACHAIN (IRISH 1929 - 2017), YELLOW LIGHT, DEEP COVE, VANCOUVER CANADA oil on panel, signed and dated '83mounted, framed and under glass image size 15cm x 20cm, overall size 34cm x 39cm Note: Padraig MacMiadhachain was born in Ireland and lived for much of his life on the Isle of Purbeck. He painted widely in Ireland, Cuba, Mexico, South America, Morocco, USA, Western and Eastern Europe, North Africa and the Middle East and Central Asia. One-man exhibitions of his work have been held in London , Madrid (sponsored by the Spanish Government), Dublin, Belfast (sponsored by the Arts Council), Las Palmas de Gran Canaria, Krakow, Los Angeles, Seattle and Vancouver. He was awarded a travelling scholarship to both Moscow (1957) and Poland (1960), one by the British Council and the other by the Russian Government.
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), HAMLET, BALEPHUIL oil on canvas, signed, titled label verso framed and under glassimage size 46cm x 102cm, overall size 62cm x 118cmLabel verso: Walker Galleries Contemporary Art, Harrogate.Note 1: It was with great sadness that we learnt of the passing of Pam Carter in May last year after an illness which she wrote about to her database of buyers on 24th June 2021: "I feel at last I am retiring somewhat due to ill health. I am not painting very much these days as I am struggling with the daily regime of chemo tablets; it’s hard getting the balance of effective medication and quality of life".Note 2: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work was widely exhibited but rarely appears at auction. Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
NATALIE SOUTER (SCOTTISH b. 1989), DAWN LIGHT, ISLE OF MULL oil on canvas, signed, titled versoframed image size 50.5cm x 50.5cm, overall size 66cm x 66cmNote: Natalie Souter is a Scottish landscape artist who was born in 1989. She is a self-taught artist who has gained recognition for her beautiful depictions of Scotland's rugged landscapes. Natalie's paintings capture the beauty of the Scottish countryside with its rolling hills, wild moors, and dramatic coastlines. Her work is characterised by her use of bold colours and loose brushstrokes, which create a sense of movement and energy. Despite having no formal training in art, Natalie's talent has earned her a loyal following and her work is highly sought after by collectors.
NATALIE SOUTER (SCOTTISH b. 1989), EVENING LIGHT AT ISLAY oil on canvas, signed, titled versoframed image size 30.5cm x 30.5cm, overall size 39cm x 39cm Note: Natalie Souter is a Scottish landscape artist who was born in 1989. She is a self-taught artist who has gained recognition for her beautiful depictions of Scotland's rugged landscapes. Natalie's paintings capture the beauty of the Scottish countryside with its rolling hills, wild moors, and dramatic coastlines. Her work is characterised by her use of bold colours and loose brushstrokes, which create a sense of movement and energy. Despite having no formal training in art, Natalie's talent has earned her a loyal following and her work is highly sought after by collectors.
* ERNI UPTON FRSA (SCOTTISH b. 1936), WITH THE TIDE, OFF ARRAN, FIRTH OF CLYDE oil on canvas, signed, titled verso framedimage size 61cm x 92cm, overall size 80cm x 110cmNote: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer). Another painting by Erni Upton "TRAIGH NA CRICHE" was sold in our March 2023 auction (lot 119) for £2400 (hammer).
* NAEL HANNA (IRAQI/SCOTTISH b. 1959), GLENCOE oil on board, signedframed and under glassimage size 51cm x 81cm, overall size 68cm x 100cmNote: Based in Angus, Scotland, Nael Hanna has long been regarded as one of the UK's most visionary landscape painters. His love of the Scottish north east coastline has provided the inspiration for much of his long career as a modern contemporary artist. He returns to the colours, textures and natural light that he encounters whilst out walking near his home in rural Angus, each time capturing something new, and detail previously unseen in his art. The wonders of the natural world and nature, are captured and form the essence of his painting. Nael first arrived in Dundee in 1983, the year in which he began his studies in drawing and painting at Duncan of Jordanson. In 1987, he won a scholarship to further his study at the acclaimed Hospitalfield Summer School, Arbroath, and it was during that time that he began to depict the dramatic coastline and imposing mountain ranges and spectacular waterfalls that he encountered in his travels throughout Scotland. Nael’s work has attained numerous awards and widespread acclaim in the UK and in many other countries including Malaysia, Egypt and the USA. As well as exhibitions at the RGI, RSA, SSA and the SSAC, Nael has exhibited in countless prominent galleries throughout the UK and his work is included within major public, corporate and private collections worldwide.
* ROBERT MACBRYDE (SCOTTISH 1913 - 1966), THREE MALE STUDIES pencil on paper, signed, titled and dated c. 1938 label versoframed and under glass image size 52cm x 36cm, overall size 55cm x 39cm Label versoCondition good to fair. Upon closer inspection, some slight bumping to the paper. Slight discolour around 2.5cm from left edge, 5cm from right edge and 4cm in from bottom - this is seen in the picture online. Small cluster of black marks (almost as if from pencil) 2/3 way up left hand side, and a single mark toward bottom right - again, visible in picture online. Frame would benefit from light clean.
* ROBERT MACBRYDE (SCOTTISH 1913 - 1966), TWO MALE STUDIES pencil on paper, signed, dated c. 1938 label versoframed and under glass image size 33cm x 37cm, overall size 36cm x 40cm Label versoCondition good to fair. Upon closer inspection, some slight bumping to the paper. Slight discolour around 3cm in from edges, and 2cm in from bottom - this is seen in the picture online. Also some very light pencil marks around half way up on right edge - again, evident upon closer inspection. Frame would benefit from light clean.
* ALISON MCGILL (SCOTTISH b. 1974), FADING LIGHT pastel on paper, initialled, titled and dated 2015 labels versomounted, framed and under glassimage size 17cm x 22cm, overall size 34cm x 39cm Artist's label verso. Label verso: The Scottish Gallery, Edinburgh.Note: Alison McGill lives and works in Edinburgh and has been a practicing artist since graduating from Edinburgh College of Art in 1998. Her central subject is the Scottish landscape and shores, which she creates in her distinctive abstract style. As a student, under the tutelage of Victoria Crowe, Alison first experimented in mixing wax and paint to create heavily impastoed textures and painterly surfaces. The mastery of technique in allowing the wax to flow and evolve has been honed and developed over years of practice; excavating and melting the layers of the painting to reveal multiple layers of melded colours, to capture earth contours, rock strata and impressions of the land in its elemental state. In the hands of Alison McGill the landscape moves from real, observed locations to lyrical abstraction. Alison is represented by The Scottish Gallery (Edinburgh).
Vintage Probably Early Merrythought Teddy Bear, a very attractive golden plush teddy bear with disc joints to neck, arms and legs, clear to light brown glass eyes, and black stitched nose and mouth; the plush in generally very good condition with a small patch of wear to the upper body and some wear to the face; the narrow pads to the front paws, often seen on Merrythought bears, and the ovoid pads to the back paws with some holes showing the wood shaving filling; an attractive bear with a characterful face, 12.5 inches (31.25cms) high; no label
Labradorite Solitaire Ring, the 8.5ct, marquise cut labradorite cabochon showing a wonderful display of inner metallic green light, similar to the 'adularescence', usually blue, seen in moonstones; the labradorite is set in a silver mount with a hand etched bark finish surrounding the marquise shape and the shoulders; an elegant and hand flattering ring; size R
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