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UNIVERSAL EQUINOCTIAL RING DIAL, DOLLOND, LONDON LATE 18TH / EARLY 19TH CENTURY 9-inch, in lacquered brass, signed under the degree scale 'Dolland, London', the pivoted inner chapter ring with hours I-XII-I-XII divided to 5 minutes, the outer equinoctial ring with degree scale 90-0-90° and declination scale to reverse, the pivoted bridge with sliding pinhole gnomon on calendrical and zodiac scales, the rim with sliding suspension loopDimensions:27cm high

THE DYERS' COMPANY USHAK CARPET WEST ANATOLIA, EARLY 20TH CENTURY the camel field with allover palmette and foliate vine lattice pattern, within blue borderDimensions:1007cm x 697cmNote: Provenance: The Worshipful Company of Dyers, Dyers Hall, LondonNote: The Company’s Gift Book records that this carpet was commissioned and presented in 1930 by Court Assistant Dr. Gerald Moody. The carpet remained in the Court Room from that time until its recent removal as part of the hall’s renovations, which commenced in 2018; the most significant works since the building of the hall in the 19th century.Henry VI granted the Guild of Dyers their first charter in 1471, confirming that the guild had the authority to control the quality of workmanship and hence the reputation of London dyers. Once the guild became incorporated by charter, it was legally possible for it to own land and their first hall was then acquired in 1482. Over the centuries the Dyers have had several halls, both on the riverside and at the current site. The present Dyers’ Hall, occupying a corner position at the junction of Dowgate Hill and College Street in the City of London, was designed and built by the aptly named architect Charles Dyer in 1839-41. The hall is listed Grade II* and is a Scheduled Ancient Monument.The Court Room, occupying the same space as the previous hall, faces out on to College Street. It is used for the monthly meetings of the Court of Assistants and several dinners each year. Some of the furniture and furnishings were transferred from the old to the new hall, but whether or not the carpet in the Court Room was new at the time the building was finished in 1841, it was no longer at its best by the time Dr Moody offered to replace it with a bespoke commission.Dr Gerald Tattersall Moody DSc. FCS. (1864-1943) was initially a chemist although later read for the bar and was called in 1910. He also took a keen interest in finance and applied his analytical mind to investing. He became chairman or director of a number of companies and had a high reputation in the City. Dr Moody joined the Livery in 1918 and became Prime Warden of the Dyers in 1935.When Dr. Moody commissioned this impressive carpet for the Court Room, the city of Ushak in the new Republic of Turkey had established a significant reputation for the production of large scale good quality carpets designed for European tastes and room sizes.Ushak (or Uşak) in Western Anatolia, and its surrounding region, has a long and illustrious history of carpet weaving. In the fifteenth century it produced carpets for the Ottoman court in Istanbul and from the sixteenth century on it was one of the largest producers of commercial carpets for Europe. With revitalised demand from the late 19th century onwards, the carpet weaving trade in Ushak boomed once more. Mary Beach Langton notes in her book How to Know Oriental Rugs, published in 1904, that: “at Oushak [sic], alone, it is estimated that from five to six thousand weavers and dyers are employed. And here the best rugs are made…They are usually of good wool, often of permanent dyes” (p177).An Ushak production would thus have been an obvious choice for a good quality carpet on a grand scale for the principle room of the Dyers’ Hall. The Company notes that to produce a carpet of this size required a specially built loom to be constructed at the time.Almost a century on, a new bespoke carpet was commissioned to mark the 550th anniversary of the Company Charter and it is now time for the Dyers’ Hall Ushak to find a new home.

Post 1953 Royal Horse Guards Blue dress tunic with anodised buttons . Gilt cord shoulder straps and aiguillette . Plated breast plate with brass edge studs . Darkened rear plate with brass edge studs and shoulder scale straps . Together with a patent leather pouch with buff leather shoulder strap .Connecting fitting absent.Some service wear.

Two Various Powder Flasksconsisting 3/4 scale, 4 1/2 inch, copper body with fluted shell design to both sides.  Brass top with hidden spring.  Top stamped "Patent".  Adjustable nozzle.  Together with a leather covered, steel body powder flask.  White metal top marked "G & JW Hawksley".  Adjustable nozzle.  Top in need of repair.  2 items.

Toys - Corgi 1:50 scale CC10802 Foden S21 eight wheel platform and coldcast box, boxed with certificate, Limited Edition No.1705 of 4,000 distributed Worldwide; other Corgi models including Corgi Classics The Showmans Range model etc (4)

Toys & Juvenalia - a collection of unboxed Habro Takara small scale Transformers figures

Toys - Corgi Classics 1:50 scale models, including 97840 Scammell Highwayman tanker - Shell Mex/BP, boxed; others, each boxed (6)

Toys - Corgi 1:50 scale Building Britain models including 11701 ERF KV tipper - Blower Bros, boxed with certificate, Limited Edition No.1556 of 2,400; others, each boxed (3)

Toys - Corgi 1:50 scale Road Transport Heritage The Golden Years models, including CC13304 Morris Dropside lorry and barrels - Watneys, each boxed (5)

Toys - Corgi 1:50 scale Road Transport Heritage - The Golden Years models, including CC10803 Foden S21 tipper and gravel load - Sam Longson Ltd, boxed; others, each boxed (7)

Toys - models including a Protar 1:9 scale bike, window boxed; Corgi Classic Cars etc (quantity)

A Corgi Aviation Archive WW2 War in the Pacific P-51D Mustang - "Stinger VII", Major Robert W. Moore, 45th FS, 15th FG, Iwo Jima (South Field), June 1945 1:32 scale model aeroplane; together with a GMP Military Collection P-51D Mustang 44-14789/Missouri Armada 1:35 scale model aeroplane (limited edition of 1,000) (2) Condition Report:Available upon request

A GMP Ferrari 312PB 1:18 scale model, a Carousel McLaren M16B 1972 Indianapolis 500 Winner 1:18 scale model (limited edition of 3,600) and two 1:18 scale LED-illuminated display cases (4) Condition Report:Available upon request

A GMP #8 Leslie/Motschenbacher 1969 Daytona Air Lola Coupe 1:18 scale model (limited edition of 1,500) and a BoS (Best of Show) Jaguar XJ 5.3 C Team Leyland Motorsport Rally Racing RAC Tourist Trophy 1977 1:18 scale model (2) Condition Report:Available upon request

A GMP The Malco Gasser 1967 Malco Mustang Gasser with air plow 1:18 scale model (limited edition of 900), a Sun Star Platinum Collection 1958 Ford Fairlane "Around the World" 1:18 scale model (limited edition of 999) and a GMP Colossal Lift 1:18 scale model (3) Condition Report:Available upon request

A GMP Hemi Drag Engine 1:6 scale model, together with a CMC Exclusive Modelle Auto Union Type C 193-1937 Motor 1:18 scale model (2) Condition Report:Available upon request

A Road Signature Collection 1923 Ford T-Bucket 1:18 scale model, a Porkchop's Chop Shop Jailbreak! Porkchop 1933 Gasser hot-rod 1:18 scale model (limited edition of 960), TSM Model  Team Tyrell Pit Crew 1:18 scale figurines and a Fast & Furious Dom's Ice Charger die-cast scale model (4) Condition Report:Available upon request

Assorted boxed scale model vehicles and parts, to include GMP 1:18 scale wheels and tyres, two die-cast 1:18 scale American gas pumps, an Ayrton Senna 1994 1:8 scale racing helmet, a Gilles Villeneuve 1980 1:6 scale racing helmet, Corgi Thunderbirds Classics Thunderbird 1 and 3 set, Lady Penelope's FAB 1, Corgi re-issue James Bond Aston Martin D.B.5, etc.; together with a large remote control monster truck Condition Report:Available upon request

A collection of Vanguard 1:43 scale model cars and vans, including a Special Limited Edition Austin Sales and Service Vans of the 1950s set and a Special Limited Edition Whitbread Service Vans of the 50s & 60s set Condition Report:Available upon request

Hornby 00 Gauge model railway, largely apparently unused, comprising a quantity of track, four various signals, two boxed R.474 LMS Composite Coaches, a tunnel entrance; and a boxed Bachmann 00 Scale black British Railways locomotive and tender  Condition Report:Available upon request

A boxed Ixion Models Coffee Pot No 2 (preserved livery) loco/coach IOS-CP2. ON30 scale, 1:48. Complete with original instruction leaflet (with handwritten details in biro) and box interior packaging. Some sun fading to one end of box.

RICHARD SERRA (San Francisco, California, 1939)."Level I", 2008.Etching, copy 14/38.Gemini G.E.L. Los Angeles, California, Publisher. With stamp on verso.Signed, dated and justified on verso.Provenance: Carreras Múgica Gallery, Bilbao. Private collection, Barcelona.Measurements: 97 x 161 cm; 110 x 174 cm (frame).Since 1994, when he began his work "The Matter of Time", a set of monumental steel structures exhibited at the Guggenheim Museum in Bilbao, abstraction has always been the leitmotiv of Richard Serra's work. Earlier, in the 1960s, he had already worked with the simplification of forms and abstract reduction by throwing molten lead against the wall of a studio or exhibition space (a clear example of process art). This "performance" was followed by major works such as the "Titled Arc", a gently curving 3.5 metre high steel wall installed in Federal Plaza in New York, a work that once again reflected the intense and profound character of the San Francisco artist. Despite his fame as a sculptor, Serra has always successfully championed other artistic disciplines: video, drawing or, as on this occasion, installation, have taken the sculptor to the top of the international scene, and he is even considered one of the most important artists on the American scene today. The etching now on offer is distinguished by the bichrome used, as it combines a large black surface, which creates a sensation of depth, with a white stripe that alludes to emptiness and existentialism.Richard Serra is considered one of the most distinguished and well-known artists in the United States. Born in San Francisco to a Spanish father (Mallorcan) and a Ukrainian mother, Serra studied literature at the University of California at San Francisco. He studied literature at the University of California at Berkeley and Santa Barbara (1957-1961). During his early years, he worked in a steel mill, an activity that influenced his artistic language. He then studied art at Yale University (1961-1964). Specialising in large-scale sculpture, his fame and the size of his works grew over the years. Gallery owners such as Leo Castelli and collectors such as Emily and Joseph Pulitzer became interested in an art that, due to its volume, leapt from the galleries to the street, an aspect that introduced him to Land Art alongside great artists such as Oppenheim and Javacheff. Throughout his career he has received many awards and grants, including France's prestigious Légion d'honneur, which he was awarded in 2015, the Order of Arts and Letters of Barcelona and the 2010 Prince of Asturias Award for the Arts. His work is currently in the permanent collections of institutions such as the Guggenheim Museum in Bilbao, the Museo Reina Sofía in Madrid, the MACBA in Barcelona, and the Museum of Modern Art (MoMA) in New York.

JOAN FONTCUBERTA (Barcelona, 1955)."Pin Zhuang", 2004.Comprises: a thermoformed container, an artist's book together with an original text written by Jorge Luis Marzo, a DVD, eight photographic prints and a sculpture entitled Tiger Zhuang II made up of 21 pieces belonging to the 1:32 scale model of the F-5E Tiger II fighter plane, which the user can build following the author's proposals.Copy 63/100.Publisher's page, hand signed and numbered.Measurements: 44 x 32 x 42 cm (box).Joan Fontcuberta is inspired by a real event that took place in April 2001, when an American aircraft, which was violating the airspace of the People's Republic of China, collided with a Chinese army fighter. The Chinese authorities seized the sophisticated US aircraft, which only after arduous negotiations was returned, albeit piece by piece. Pin Zhuang in Chinese means 'disassembly' or 'jigsaw'. The idea of undoing and redoing an object from its fragments takes us back to the childhood experience of Meccanoes and dismountable models. With this symbolic gesture, on the one hand, those technological devices that are paradigms of power and violence become harmless objects, a kind of poetic sculptures that pay tribute to the aesthetics of science fiction while critically alluding to the threatening "defence" programmes of the great war powers. On the other hand, the game of disobeying instructions turns these flying ready-mades not only into the object of an aesthetic experience of play and the combination of forms, but also into a pretext for confrontation between authority and subversion, between order and dissidence, between rule and daring.Artist, teacher, essayist, critic and art promoter specialising in photography, Joan Fontcuberta has developed a successful career, which has earned him awards such as the David Octavius Hill by the Fotografisches Akademie GDL in Germany (1988), the Chevalier de l'Ordre des Arts et des Lettres by the French Ministry of Culture (1994), and the National Photography Prize, awarded by the Spanish Ministry of Culture (1998). A graduate in Information Sciences, Fontcuberta teaches Audiovisual Communication Studies at Pompeu Fabra University in Barcelona and Harvard University in Cambridge (Massachusetts, USA). He also contributes to various publications specialising in image. In 1980 he co-founded the magazine "PhotoVIsion", where he was editor-in-chief. As a promoter of events related to the art of photography, he has organised the Jornades Catalanes de Fotografía, collaborated in the constitution of the Primavera Fotogràfica de Barcelona, and has curated important exhibitions in Madrid, New York, Barcelona, Marseilles, etc. His extensive photographic work is characterised by the use of computer tools in its treatment, and by its interactive presentation with the spectator. His language represents a critical vision of reality, photographic, historical or fictitious truths through photography and its context. Between 1985 and 2001, Fontcuberta's work has been exhibited in more than thirty museums and art galleries in Europe, North America and Japan, notably the MoMA in New York, the Folkwang Museum in Essen, the IVAM in Valencia, the Parco Gallery in Tokyo, the MNAC in Barcelona, the Redpath in Montreal, the Musée de l'Élysée in Lausanne, the Fine Arts Museum in Bilbao and many others. He is currently represented in numerous private collections and also in many public collections, including the Centre Georges Pompidou in Paris, the Metropolitan and MoMA in New York, the Art Institute of Chicago, the Museum für Kunst und Gewerbe in Hamburg, the IVAM in Valencia and the Museo de Bellas Artes in Buenos Aires.

William Kentridge (born 1955)Walking Man, 2000 signed and numbered 8/25 in pencillinocut257.8 x 88.7cm (101 1/2 x 34 15/16in).unframedprinted by Artist Proof Studio, published by David Krut, JohannesburgFootnotes:ProvenanceDavid Krut Fine Art, Johannesburg;Acquired from the above by the current owner in 2002.LiteratureJudith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.25Milena Kalinovska and Eric Denker, William Kentridge, Oleg Kudryashov: Against the Grain (Washington, DC: The Kreeger Museum, Washington, 2009) p.15William Kentridge, William Kentridge: Prints, (Johannesburg: David Krut Publishing, 2006) p. 96Kate McCrickard, William Kentridge: WK, (London: Tate Publishing, 2012), p.38Lilian Tone, Kate McCrickard and William Kentridge, William Kentridge: Fortuna, (London: Thames and Hudson, 2013), p.270Walking Man is a fascinating work that explores the possibilities of scale, celebrates South Africa's long tradition of linocutting, and subtly combines the political and the poetical, calling to mind yet not explicitly, anti-apartheid marchers and uprooted communities. Working together with master printer Osiah Masekoameng at the Artist Proof Studio, Johannesburg, on the largest press in South Africa, William Kentridge challenged his technical expertise of the medium with this work, morphing not only a walking man into a tree, but the usually small-scale medium of linocut into a monumental presence of crisp lines, stark contrasts, and captivating patterns. If the latter recall the woodcut prints of Northern Renaissance and German Expressionism artists, the print's impact also lies in the poetical transformation of the man, reminiscent of a tale from Roman poet Ovid's Metamorphoses. The industrial landscape across which the figure strides could well be the outskirts of Johannesburg, where the artist was born and continues to live today. South Africa might even be the second character of this print, whose presence is suggested more than obvious, and certainly seems to inform the multiple readings of this important print, encapsulating 'themes of loss, transformation, personal and cultural memory, oppression and conflict'. Interestingly, William Kentridge says of the linocut medium:In South Africa, linocut is the primary form of printmaking, because linoleum is a very cheap material and the tools to make it are very easy ...And there's also a root to linocutting from the various missionaries who brought the technique to South Africa and a link to the German Expressionists whose style obviously comes back to African masks. And so there's a kind of circularity. It occurred to me that if etching and engraving have to do with the split in northern Europe between the Reformation and other ways of being, then linocutting corresponds to anti-colonialism, certainly in South Africa, to something that comes out of that struggle.Impressions of this print are in the collections of the Metropolitan Museum and the MoMA in New York; the Virginia Museum of Fine Arts, and the Art Gallery of New South Wales in Sydney. An impression of Walking Man was also included in the landmark exhibition Impressions from South Africa: 1965 to Now at MoMA in 2011.BibliographyImpressions from South Africa: 1965 to now (New York: Museum of Modern Art, 2011) https://www.moma.org/interactives/exhibitions/2011/impressions_from_south_africa/works/walking-man/ Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010)William Kentridge: Walking Man (Sydney: Art Gallery of New South Wales)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Peter Messer The Devil's Thoughts, 2022 Egg Tempera on Gesso Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Peter Messer's paintings are mostly on a domestic scale, resolutely figurative and, by implication, narrative. He paints in the historic medium of egg tempera which he prepares in the studio using egg yolk and raw pigment. The resulting paintings tend to be intense and meticulous, with a flat, arrested, deadpan quality. Often they contain wry or unsettling elements and, although the painter emphatically rejects the epithet 'quirky', it is still frequently applied. Many, though not all, draw on the fabric of Peter Messer's home town of Lewes, Sussex. Born in 1954, Peter Messer studied Fine Art at the University of Brighton and has paintings in collections in Belgium, France, Germany, Holland, Spain, Sweden and the US, as well as the UK. In 2007 he published "On the Way to Work. The Lewes Paintings of Peter Messer" and, in 2021 "A Thin Place In Lewes". Education   Studied Fine Art at the University of Brighton   Select Exhibitions/Awards   His work has been often exhibited at the Royal Academy Summer Exhibition and the New English Art Club and he has been a finalist in the Hunting, Garrick Milne, Lyn Painter-Stainers and Singer and Friedlander Prize exhibitions. In 1998 he won the Sotheby's -sponsored Chichester Art Prize and in 2000 was commissioned to provide twelve paintings for the Sussex Book of Revelations, an Arts Council Millennium Project which toured Sussex libraries. In 2004 he completed a commission for the House of Lords. Gallery Representation   The Star Brewery Gallery, Lewes   Statement about AOAP Submitted Artwork   A small tempera painting, the title derived from a poem by Samuel Taylor Coleridge Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Gethin Evans Rose Dawn Swimmers, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Born in Maesteg, South Wales. Figurative painter who lives and works in London. Studio is part of Space Studios complex in the East End. The paintings are often large scale compositions primarily dealing with light, colour, space and image and sourced from memories of figures and city spaces and travel experiences. Works are oil and acrylic on both paper and canvas.   Education   1978 - 1980 - Slade School of Fine Art, HDFA 1975 - 1978 - Camberwell School of Arts and Crafts BA (Homs) Painting 1974 - 1975 - Byam Shaw School of Art Foundation Course   Select Exhibitions/Awards   2022 - Royal Academy Summer Exhibition ASSEMBLE 20 - Tregony Gallery 2021 - ING Discerning Eye Exhibition Battersea Art Fair with Lucinda Dalton Gallery 2020 - Meeting Points - two person show with Sharon Beavan at the Royal Drawing School Shoreditch Gallery 2019 - Creekside Open Exhibition- APT Gallery 2018 - CASHE - group exhibition at Angus Hughes Gallery, London 2017 - Wall, Window, World - group exhibition at Tregony Gallery, Cornwall 2015 - ALIGNMENTS- group exhibition at espacio gallery, London 2013 - Zeitgeist Art Projects Open Exhibition- ASC Studios, London 2012 - COMPASS - group exhibition of five artists - Street Road Gallery, Pennsylvania, USA TERRITORIES - group exhibition at Galerie Windkracht , Den Helder, Holland 2007 - Celeste Art Prize Exhibition 2002 - Small is Beautiful- Flowers East Gallery 1994 - The Whitechapel Open 1989 - QUEST - group exhibition at New York Stufio School   Gallery Representation   Tregony Gallery, Cornwall Lucinda Dalton Gallery, London Oakham Contemporary (online)   Statement about AOAP Submitted Artwork   Two images of early morning swimmers. I wanted to capture a sense of light and colour specific to a particular space, time, and place. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Gethin Evans Golden Dawn Swimmer, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Born in Maesteg, South Wales. Figurative painter who lives and works in London. Studio is part of Space Studios complex in the East End. The paintings are often large scale compositions primarily dealing with light, colour, space and image and sourced from memories of figures and city spaces and travel experiences. Works are oil and acrylic on both paper and canvas.   Education   1978 - 1980 - Slade School of Fine Art, HDFA 1975 - 1978 - Camberwell School of Arts and Crafts BA (Homs) Painting 1974 - 1975 - Byam Shaw School of Art Foundation Course   Select Exhibitions/Awards   2022 - Royal Academy Summer Exhibition ASSEMBLE 20 - Tregony Gallery 2021 - ING Discerning Eye Exhibition Battersea Art Fair with Lucinda Dalton Gallery 2020 - Meeting Points - two person show with Sharon Beavan at the Royal Drawing School Shoreditch Gallery 2019 - Creekside Open Exhibition- APT Gallery 2018 - CASHE - group exhibition at Angus Hughes Gallery, London 2017 - Wall, Window, World - group exhibition at Tregony Gallery, Cornwall 2015 - ALIGNMENTS- group exhibition at espacio gallery, London 2013 - Zeitgeist Art Projects Open Exhibition- ASC Studios, London 2012 - COMPASS - group exhibition of five artists - Street Road Gallery, Pennsylvania, USA TERRITORIES - group exhibition at Galerie Windkracht , Den Helder, Holland 2007 - Celeste Art Prize Exhibition 2002 - Small is Beautiful- Flowers East Gallery 1994 - The Whitechapel Open 1989 - QUEST - group exhibition at New York Stufio School   Gallery Representation   Tregony Gallery, Cornwall Lucinda Dalton Gallery, London Oakham Contemporary (online)   Statement about AOAP Submitted Artwork   Two images of early morning swimmers. I wanted to capture a sense of light and colour specific to a particular space, time, and place. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Kirsty Harris Totem, 2022 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Harris explores nuclear explosions as cultural, historical and iconic symbols in her practice. Referencing the scale, beauty and abhorrent nature of the atom bomb she delves into the periphery of the subject, the myths, characters and surrounding evidence. She works across a wide range of media from vast oil paintings, tapestries & projections to delicate paintings on glass and ceramics you could hold in your hand. She is fascinated by the beauty and awe of the disrupted landscape, the dust, the glow. The violent & repellent force of the explosion.   Education   BA/Hons Fine Art - Cass School of Art, London, 2001   Select Exhibitions/Awards   SOLO EXHIBITIONS AND TWO MAN SHOWS 2023 THAT LETHAL CLOUD, Studio KIND, Devon, UK. 2019 A FOUL AND AWESOME DISPLAY, Vane Gallery, Newcastle Upon Tyne, UK. 2017 PARADICE LOST (sic), Plymouth Art Weekender, Plymouth School of Creative Arts. 2016 HOW I LEARNED TO STOP WORRYING (1945-2016), CFCCA, Manchester. SELECTED GROUP EXHIBITIONS 2023 TWO PLUS TWO MAKES FOUR, Auxiliary, Middlesbrough, UK. 2022 ROYAL ACADEMY SUMMER EXHIBITION 2022, London, UK. 2022 ONCE UPON AN INSTANT, University of Applied Sciences HTW, Berlin, Germany. 2022 HORIZON (LANDSCAPE AND BEYOND), Cello Factory, London, UK. 2021 ABSENT AUTHORS, APT Gallery, London, UK. 2020 CONTEMPORARY BRITISH PAINTING PRIZE, ASC Gallery, London, UK. 2019 LOVE& RAGE, Barbican Arts trust, London, UK. RESIDENCIES AND AWARDS 2022 Artist Residency at Karst Gallery & Studios, Plymouth, UK. 2019 Contemporary British Painting Prize - Shortlisted. Statement about AOAP Submitted Artwork   I wanted to experiment using oil paints on prepared paper, in thin washes, almost like watercolours. The painting depicts a British atmospheric nuclear test, called Totem, which took place at Emu Field in South Australia in October 1953. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Jan Lee Johnson Parrot Tulip, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Born in Yorkshire. Worked at BBC london as scene painter from 1976-84. Worked as a Court Artist, drawing in trials from memory (the Rolex Watch murder particularly fascinating) M.A. painting Bath Spa University. Lecturer in painting and interior design at Plymouth college of art and Richmond college of Art. Regular iPad drawing instruction and workshops at Kew Botanic Gardens, V & A. Chelsea Arts Club yearbook 2020   Education   BA HONS Fine Art Loughborough. MA painting Bath Spa University   Select Exhibitions/Awards   Discerning Eye 2020 /Orleans Gallery 'reimagine' 2020/ Royal Academy 2022/ Trinity Bouy Wharf Drawing Prize Longlisted.   Statement about AOAP Submitted Artwork   Given the small postcard size on which to paint I chose to paint tulips.The Parrot Tulips, have multi-coloured markings similar to the exotic bird and this phenomena inspired me to make two watercolours. I have often painted parrot tulips in other paintings, often on a larger scale. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Jan Lee Johnson Black Tulip Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Born in Yorkshire. Worked at BBC london as scene painter from 1976-84. Worked as a Court Artist, drawing in trials from memory (the Rolex Watch murder particularly fascinating) M.A. painting Bath Spa University. Lecturer in painting and interior design at Plymouth college of art and Richmond college of Art. Regular iPad drawing instruction and workshops at Kew Botanic Gardens, V & A. Chelsea Arts Club yearbook 2020   Education   BA HONS Fine Art Loughborough. MA painting Bath Spa University   Select Exhibitions/Awards   Discerning Eye 2020 /Orleans Gallery 'reimagine' 2020/ Royal Academy 2022/ Trinity Bouy Wharf Drawing Prize Longlisted.   Statement about AOAP Submitted Artwork   Given the small postcard size on which to paint I chose to paint tulips.The Parrot Tulips, have multi-coloured markings similar to the exotic bird and this phenomena inspired me to make two watercolours. I have often painted parrot tulips in other paintings, often on a larger scale. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Boo Saville Untitled Study (Series) (1), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Boo Saville Untitled Study (Series) (2), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Boo Saville Untitled Study (Series) (3), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Nan Collantine Untitled (1), 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Nan Collantine is an artist living and working in Greater Manchester. She works with assemblage and installation, although considers painting her primary medium. She is drawn to responding to place, using the language of painting to explore memory and hidden social and cultural politics that might shape perception, sentiment and feelings of belonging and exclusion.   Education   Nan Collantine completed a foundation in art in 1990 followed by 25 years working in the creative sector. Her self-taught art practice began as she and her family moved to Australia in 2016, on her return she joined the Islington Mill Art Academy, a year long peer-led art programme. From 2019-2020 Nan participated in the Turps Banana Painting correspondence course. Select Exhibitions/Awards   Beep Painting Prize shortlist 2022 Castlefield Gallery Award recipient 2022 Solo exhibition at World of Glass St Helens 2021 Gallery Representation   New Blood Art   Statement about AOAP Submitted Artwork   Painting onto pages of the Futon catalogue is a favourite past time of mine. It's a rest from my large scale paintings and using oil paint. These are made using pencil drawings and gouache paint, which I love for its powdery texture. I enjoy playing around with the shadows that the catalogue images cast under the paint, and I collage the pages too in order to create abstract interior landscapes, each postcard is like a flattened, cropped intersection of space. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Nan Collantine Untitled (2), 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Nan Collantine is an artist living and working in Greater Manchester. She works with assemblage and installation, although considers painting her primary medium. She is drawn to responding to place, using the language of painting to explore memory and hidden social and cultural politics that might shape perception, sentiment and feelings of belonging and exclusion.   Education   Nan Collantine completed a foundation in art in 1990 followed by 25 years working in the creative sector. Her self-taught art practice began as she and her family moved to Australia in 2016, on her return she joined the Islington Mill Art Academy, a year long peer-led art programme. From 2019-2020 Nan participated in the Turps Banana Painting correspondence course. Select Exhibitions/Awards   Beep Painting Prize shortlist 2022 Castlefield Gallery Award recipient 2022 Solo exhibition at World of Glass St Helens 2021 Gallery Representation   New Blood Art   Statement about AOAP Submitted Artwork   Painting onto pages of the Futon catalogue is a favourite past time of mine. It's a rest from my large scale paintings and using oil paint. These are made using pencil drawings and gouache paint, which I love for its powdery texture. I enjoy playing around with the shadows that the catalogue images cast under the paint, and I collage the pages too in order to create abstract interior landscapes, each postcard is like a flattened, cropped intersection of space.   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Nan Collantine Untitled (4), 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Nan Collantine is an artist living and working in Greater Manchester. She works with assemblage and installation, although considers painting her primary medium. She is drawn to responding to place, using the language of painting to explore memory and hidden social and cultural politics that might shape perception, sentiment and feelings of belonging and exclusion.   Education   Nan Collantine completed a foundation in art in 1990 followed by 25 years working in the creative sector. Her self-taught art practice began as she and her family moved to Australia in 2016, on her return she joined the Islington Mill Art Academy, a year long peer-led art programme. From 2019-2020 Nan participated in the Turps Banana Painting correspondence course. Select Exhibitions/Awards   Beep Painting Prize shortlist 2022 Castlefield Gallery Award recipient 2022 Solo exhibition at World of Glass St Helens 2021 Gallery Representation   New Blood Art   Statement about AOAP Submitted Artwork   Painting onto pages of the Futon catalogue is a favourite past time of mine. It's a rest from my large scale paintings and using oil paint. These are made using pencil drawings and gouache paint, which I love for its powdery texture. I enjoy playing around with the shadows that the catalogue images cast under the paint, and I collage the pages too in order to create abstract interior landscapes, each postcard is like a flattened, cropped intersection of space. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Olivia Rose Durley Quietly, Patiently, 2022 Oil Paint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Olivia's work handles the two realities of paint; it's illusionistic spatiality and it's material presence. Her practice appropriates a balance between the fixed nature of photography and the timelessness of painting; photographic details are blurred within painterly brushstrokes and structures. The aberration of the two components creates an enigmatic, placeless experience within nature that on one hand forms a sense of familiarity and on the other, an unidentifiable discomfort. Olivia scrutinises the evolving colours and tones amplified through cloud formations, using her painting technique to highlight the fleeting transience of time and a feeling of nostalgia. She views the landscape as a latent oil painting continuously emerging and coming into being, fascinated by that precious, short space of time in which the sky bursts into colour before it is then submerged into dusk - a distant memory.   Education   BA (Hons) Fine Art Painting, University of Brighton 2017   Select Exhibitions/Awards   House & Garden magazine - The Art Edit, June 2018 The Other Art Fair London - March 2022 and June/July 2022 Gallery Representation   Rise Art   Statement about AOAP Submitted Artwork   Although the scale of my work is usually a lot larger than the size of a postcard, the concept of painting onto a postcard corresponds significantly to the context of my paintings. I'm inspired by memories, snapshots in time or moments that were once there. By relaying these moments through paint I hope to evoke nostalgia or trigger thoughts in someone's mind using the basic principles of colour, light and form to create an abstracted landscape. Each postcard has painterly details of moments drawn from my subconscious from the past few months. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Philip Cole 4.16.a, 2022 Coloured Polyester Resins and Fibreglass Signed verso 10 x 15 x 1cm About   I first encountered polystyrene resin whilst working under the guidance of Tanya Dean at Brighton College of Art and I fell in love with it as a material to use in painting and sculpture. In the last 15 years I have been investigating its properties and experimenting with its possibilities. My work has often been characterised by process and is informed by my ongoing interest in elemental shapes and forms and by the architecture of print media and packaging. I have been concerned with how to combine a limited number of elements; colour, form, tint and shade whilst being bounded by a set of rules of engagement. I have tended to work methodically with one colour area addressed at a time. Having a procedure to which I usually adhere has then freed me up to investigate other relationships. Thus, the works are constructed and derived from a particular approach and a technique, they have more to do with painting and sculpture than they do anything else. Instagram: @colecorner Education   Sussex University BA Hons   Select Exhibitions/Awards   I am a painter, maker and teacher and have exhibited at: Phoenix Art Space, Brighton, Community Arts Centre, Brighton, ONCA Gallery, Brighton, RA Summer show London, Towner Gallery, Eastbourne, the Eyesees Gallery in Arles, France and at Project78 Gallery in St Leonards on Sea. I served for a number of years as a trustee for Project Art Works (PAW) Hastings. I have enjoyed working alongside other artists and have curated and co-curated a number of exhibitions including 'JDWC' at the Kino Teatr, St Leonards on Sea, 'Diastr', H_A_R_D_P_A_I_N_T_I_N_G and H_A_R_D_P_A_I_N_T_I_N_G_x2 at Phoenix Brighton.   Statement about AOAP Submitted Artwork   These works: 4.16.a - d are investigations into colour relationships. The colours chosen are intuitive and I have tended to work using one colour at a time, allowing subsequent decisions to be determined by previous. There is also a focus on the meeting point of each coloured rectangle and these edges range from hard to fuzzy. This is reflected in the titles. It was challenging but interesting to work at such a small scale and I will be able to take some of the lessons learned further into my ongoing practice. All 4 painting objects were completed in September 2022   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Philip Cole 4. 16.b, 2022 Coloured Polyester Resins and Fibreglass Signed verso 10 x 15 x 1cm About   I first encountered polystyrene resin whilst working under the guidance of Tanya Dean at Brighton College of Art and I fell in love with it as a material to use in painting and sculpture. In the last 15 years I have been investigating its properties and experimenting with its possibilities. My work has often been characterised by process and is informed by my ongoing interest in elemental shapes and forms and by the architecture of print media and packaging. I have been concerned with how to combine a limited number of elements; colour, form, tint and shade whilst being bounded by a set of rules of engagement. I have tended to work methodically with one colour area addressed at a time. Having a procedure to which I usually adhere has then freed me up to investigate other relationships. Thus, the works are constructed and derived from a particular approach and a technique, they have more to do with painting and sculpture than they do anything else. Instagram: @colecorner Education   Sussex University BA Hons   Select Exhibitions/Awards   I am a painter, maker and teacher and have exhibited at: Phoenix Art Space, Brighton, Community Arts Centre, Brighton, ONCA Gallery, Brighton, RA Summer show London, Towner Gallery, Eastbourne, the Eyesees Gallery in Arles, France and at Project78 Gallery in St Leonards on Sea. I served for a number of years as a trustee for Project Art Works (PAW) Hastings. I have enjoyed working alongside other artists and have curated and co-curated a number of exhibitions including 'JDWC' at the Kino Teatr, St Leonards on Sea, 'Diastr', H_A_R_D_P_A_I_N_T_I_N_G and H_A_R_D_P_A_I_N_T_I_N_G_x2 at Phoenix Brighton.   Statement about AOAP Submitted Artwork   These works: 4.16.a - d are investigations into colour relationships. The colours chosen are intuitive and I have tended to work using one colour at a time, allowing subsequent decisions to be determined by previous. There is also a focus on the meeting point of each coloured rectangle and these edges range from hard to fuzzy. This is reflected in the titles. It was challenging but interesting to work at such a small scale and I will be able to take some of the lessons learned further into my ongoing practice. All 4 painting objects were completed in September 2022   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Philip Cole 4.16.c, 2022 Coloured Polyester Resins and Fibreglass Signed verso 10 x 15 x 1cm About   I first encountered polystyrene resin whilst working under the guidance of Tanya Dean at Brighton College of Art and I fell in love with it as a material to use in painting and sculpture. In the last 15 years I have been investigating its properties and experimenting with its possibilities. My work has often been characterised by process and is informed by my ongoing interest in elemental shapes and forms and by the architecture of print media and packaging. I have been concerned with how to combine a limited number of elements; colour, form, tint and shade whilst being bounded by a set of rules of engagement. I have tended to work methodically with one colour area addressed at a time. Having a procedure to which I usually adhere has then freed me up to investigate other relationships. Thus, the works are constructed and derived from a particular approach and a technique, they have more to do with painting and sculpture than they do anything else. Instagram: @colecorner Education   Sussex University BA Hons   Select Exhibitions/Awards   I am a painter, maker and teacher and have exhibited at: Phoenix Art Space, Brighton, Community Arts Centre, Brighton, ONCA Gallery, Brighton, RA Summer show London, Towner Gallery, Eastbourne, the Eyesees Gallery in Arles, France and at Project78 Gallery in St Leonards on Sea. I served for a number of years as a trustee for Project Art Works (PAW) Hastings. I have enjoyed working alongside other artists and have curated and co-curated a number of exhibitions including 'JDWC' at the Kino Teatr, St Leonards on Sea, 'Diastr', H_A_R_D_P_A_I_N_T_I_N_G and H_A_R_D_P_A_I_N_T_I_N_G_x2 at Phoenix Brighton.   Statement about AOAP Submitted Artwork   These works: 4.16.a - d are investigations into colour relationships. The colours chosen are intuitive and I have tended to work using one colour at a time, allowing subsequent decisions to be determined by previous. There is also a focus on the meeting point of each coloured rectangle and these edges range from hard to fuzzy. This is reflected in the titles. It was challenging but interesting to work at such a small scale and I will be able to take some of the lessons learned further into my ongoing practice. All 4 painting objects were completed in September 2022   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Philip Cole 4.16.d, 2022 Coloured Polyester Resins and Fibreglass Signed verso 10 x 15 x 1cm About   I first encountered polystyrene resin whilst working under the guidance of Tanya Dean at Brighton College of Art and I fell in love with it as a material to use in painting and sculpture. In the last 15 years I have been investigating its properties and experimenting with its possibilities. My work has often been characterised by process and is informed by my ongoing interest in elemental shapes and forms and by the architecture of print media and packaging. I have been concerned with how to combine a limited number of elements; colour, form, tint and shade whilst being bounded by a set of rules of engagement. I have tended to work methodically with one colour area addressed at a time. Having a procedure to which I usually adhere has then freed me up to investigate other relationships. Thus, the works are constructed and derived from a particular approach and a technique, they have more to do with painting and sculpture than they do anything else. Instagram: @colecorner Education   Sussex University BA Hons   Select Exhibitions/Awards   I am a painter, maker and teacher and have exhibited at: Phoenix Art Space, Brighton, Community Arts Centre, Brighton, ONCA Gallery, Brighton, RA Summer show London, Towner Gallery, Eastbourne, the Eyesees Gallery in Arles, France and at Project78 Gallery in St Leonards on Sea. I served for a number of years as a trustee for Project Art Works (PAW) Hastings. I have enjoyed working alongside other artists and have curated and co-curated a number of exhibitions including 'JDWC' at the Kino Teatr, St Leonards on Sea, 'Diastr', H_A_R_D_P_A_I_N_T_I_N_G and H_A_R_D_P_A_I_N_T_I_N_G_x2 at Phoenix Brighton.   Statement about AOAP Submitted Artwork   These works: 4.16.a - d are investigations into colour relationships. The colours chosen are intuitive and I have tended to work using one colour at a time, allowing subsequent decisions to be determined by previous. There is also a focus on the meeting point of each coloured rectangle and these edges range from hard to fuzzy. This is reflected in the titles. It was challenging but interesting to work at such a small scale and I will be able to take some of the lessons learned further into my ongoing practice. All 4 painting objects were completed in September 2022   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Bidisha Mamata Lacquer I, 2022 Acrylic and Collage on Board Signed verso 15 x 10cm (5¾ x 3¾ in.) About   By day: Journalist, presenter and broadcaster for TV, radio, film, newspapers, events... By night, I make films, stills and paintings.   Education   Oxford University, London School of Economics   Select Exhibitions/Awards   First showed at zero zero zero, Whitechapel Gallery, 1999; most recently shown as part of 100 NHS Rooms by Vital Arts, 2022   Statement about AOAP Submitted Artwork   This was such a snappy design challenge - a completely absorbing jigsaw of carnivalesque colour and composition questions. I wanted to create a desirable object, a tile which sits in the hand with some weight and heft to it, loaded with painted shapes layered on top of each other to give the sense of something crafted and worked, that vibrates with energy. It couldn't just be a small version of what I'd usually make; it had to work completely within the given scale. I was also acutely aware that this is a special, indeed unique project: we are raising money, raising awareness, raising motivation, asking people to invest their attention not only to support creative artists but to fund research and treatment for Hepatitis C. There are so many reasons to worry - one glance at the headlines will tell you that - I wanted to bring pure joy and movement and energy. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Bidisha Mamata Lacquer II, 2022 Acrylic and Collage on Board Signed verso 15 x 10cm (5¾ x 3¾ in.) About   By day: Journalist, presenter and broadcaster for TV, radio, film, newspapers, events... By night, I make films, stills and paintings.   Education   Oxford University, London School of Economics   Select Exhibitions/Awards   First showed at zero zero zero, Whitechapel Gallery, 1999; most recently shown as part of 100 NHS Rooms by Vital Arts, 2022   Statement about AOAP Submitted Artwork   This was such a snappy design challenge - a completely absorbing jigsaw of carnivalesque colour and composition questions. I wanted to create a desirable object, a tile which sits in the hand with some weight and heft to it, loaded with painted shapes layered on top of each other to give the sense of something crafted and worked, that vibrates with energy. It couldn't just be a small version of what I'd usually make; it had to work completely within the given scale. I was also acutely aware that this is a special, indeed unique project: we are raising money, raising awareness, raising motivation, asking people to invest their attention not only to support creative artists but to fund research and treatment for Hepatitis C. There are so many reasons to worry - one glance at the headlines will tell you that - I wanted to bring pure joy and movement and energy. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Bidisha Mamata Lacquer III, 2022 Acrylic and Collage on Board Signed verso 15 x 10cm (5¾ x 3¾ in.) About   By day: Journalist, presenter and broadcaster for TV, radio, film, newspapers, events... By night, I make films, stills and paintings.   Education   Oxford University, London School of Economics   Select Exhibitions/Awards   First showed at zero zero zero, Whitechapel Gallery, 1999; most recently shown as part of 100 NHS Rooms by Vital Arts, 2022   Statement about AOAP Submitted Artwork   This was such a snappy design challenge - a completely absorbing jigsaw of carnivalesque colour and composition questions. I wanted to create a desirable object, a tile which sits in the hand with some weight and heft to it, loaded with painted shapes layered on top of each other to give the sense of something crafted and worked, that vibrates with energy. It couldn't just be a small version of what I'd usually make; it had to work completely within the given scale. I was also acutely aware that this is a special, indeed unique project: we are raising money, raising awareness, raising motivation, asking people to invest their attention not only to support creative artists but to fund research and treatment for Hepatitis C. There are so many reasons to worry - one glance at the headlines will tell you that - I wanted to bring pure joy and movement and energy. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Bidisha Mamata Lacquer IV, 2022 Acrylic and Collage on Board Signed verso 15 x 10cm (5¾ x 3¾ in.) About   By day: Journalist, presenter and broadcaster for TV, radio, film, newspapers, events... By night, I make films, stills and paintings.   Education   Oxford University, London School of Economics   Select Exhibitions/Awards   First showed at zero zero zero, Whitechapel Gallery, 1999; most recently shown as part of 100 NHS Rooms by Vital Arts, 2022   Statement about AOAP Submitted Artwork   This was such a snappy design challenge - a completely absorbing jigsaw of carnivalesque colour and composition questions. I wanted to create a desirable object, a tile which sits in the hand with some weight and heft to it, loaded with painted shapes layered on top of each other to give the sense of something crafted and worked, that vibrates with energy. It couldn't just be a small version of what I'd usually make; it had to work completely within the given scale. I was also acutely aware that this is a special, indeed unique project: we are raising money, raising awareness, raising motivation, asking people to invest their attention not only to support creative artists but to fund research and treatment for Hepatitis C. There are so many reasons to worry - one glance at the headlines will tell you that - I wanted to bring pure joy and movement and energy. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Andrew Torr Dungeness I Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Contemporary painter working in London. Particularly landscape/cityscape.   Education   BA Fine Art Wimbledon School of Art   Select Exhibitions/Awards   One person shows at Bedford Gallery & Boundary Gallery Selected for the NEAC Mall Galleries Annual   Gallery Representation   Oliver Contemporary www.olivercontemporary.co.uk   Statement about AOAP Submitted Artwork   I love making work for Art On A Postcard because the format forces you to address scale and how scale affects decisions, practice and results. The size of work is normally determined by intention, materials, subject matter etc. When you're tied to work within 6" x 4" you have to modify every subsequent decision and process that you would normally rely on to make work and this challenge takes you out of your comfort zone. Recently, I've been working on a large scale series of paintings from Dungeness beach in Kent. Normally, these vast spaces require a large format. When this is not an option, how do you modify process and method to make it work? Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Andrew Torr Dungeness II, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Contemporary painter working in London. Particularly landscape/cityscape.   Education   BA Fine Art Wimbledon School of Art   Select Exhibitions/Awards   One person shows at Bedford Gallery & Boundary Gallery Selected for the NEAC Mall Galleries Annual   Gallery Representation   Oliver Contemporary www.olivercontemporary.co.uk   Statement about AOAP Submitted Artwork   I love making work for Art On A Postcard because the format forces you to address scale and how scale affects decisions, practice and results. The size of work is normally determined by intention, materials, subject matter etc. When you're tied to work within 6" x 4" you have to modify every subsequent decision and process that you would normally rely on to make work and this challenge takes you out of your comfort zone. Recently, I've been working on a large scale series of paintings from Dungeness beach in Kent. Normally, these vast spaces require a large format. When this is not an option, how do you modify process and method to make it work? Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Andrew Torr Dungeness III, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Contemporary painter working in London. Particularly landscape/cityscape.   Education   BA Fine Art Wimbledon School of Art   Select Exhibitions/Awards   One person shows at Bedford Gallery & Boundary Gallery Selected for the NEAC Mall Galleries Annual   Gallery Representation   Oliver Contemporary www.olivercontemporary.co.uk   Statement about AOAP Submitted Artwork   I love making work for Art On A Postcard because the format forces you to address scale and how scale affects decisions, practice and results. The size of work is normally determined by intention, materials, subject matter etc. When you're tied to work within 6" x 4" you have to modify every subsequent decision and process that you would normally rely on to make work and this challenge takes you out of your comfort zone. Recently, I've been working on a large scale series of paintings from Dungeness beach in Kent. Normally, these vast spaces require a large format. When this is not an option, how do you modify process and method to make it work? Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Laila Tara H Thief! Thief! Thief In My Closet!, 2022 Natural Pigment, Watercolour, Velvet and Handmade Hemp Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Laila Tara H (b.1995, London) is an Iranian-British artist whose practice stems from the visual language of Indo-Persian miniature painting. Laila's Iranian heritage, and years spent moving through continents have inspired the language through which she articulates her own history + life. Utilising historical techniques, her works explore and experiment in scale and negative space. Symbolic forms and multiple, concurrent narratives punctuate the space. Detailed figures suspended amidst contemporary urban scenes, disjointed limbs amidst delicate foliage, are all arranged in stark, startling compositions that defy stylistic cannons and stretch boundaries. She often cuts and folds paper, puncturing and destabilising space to introduce new three-dimensional depth and shadow play. Her works, most often painted on hand-made natural hemp paper sourced from Sanganer, India, explore a range of emotions, and create a charged surface where the tension between form and formlessness; the object and its surrounding emptiness, plays out. The figures explore our sense of perspective and time, and are interlaced with deeply personal narratives. Laila mostly uses pigments that are either naturally derived, or prepared using traditional methods from found materials-these range from crushed red London bricks; walnut ink; madder red pigment; deep blue lapis lazuli from Badakhshan province of Afghanistan and India, sourced from Florence; ochres from Iran, collected from the island of Hormoz.   Education   2017-2019 MA (distinction), The Prince's School of Traditional Arts, Miniature Painting   Select Exhibitions/Awards   Solo / Two-person: 2022 In Studio, Drake's London, New York, United States 2022 Twisted toes, tangled ears (with Anousha Payne), Public Gallery, London, United Kingdom 2022 duck duck goose, Purdy Hicks Gallery, London, United Kingdom 2021 Vexilloid, O Gallery, Tehran, Iran 2021 Am I?, V.O Curations, London, United Kingdom 2021 Sky-Circles (with Anusheh Zia Siddiqui), Indigo+Madder, London, United Kingdom Recent Selected Group: 2022 The body we are in, Confer-Karnac, London 2022 Future Fair, Cob Gallery, New York, United States 2022 Drawing Now Fair, Purdy Hicks Gallery, Paris France 2022 London Art Fair, Purdy Hicks Gallery, London 2022 ASSEMBLE, V.O Curations, London 2021 Slow Burn, Indigo+Madder, London 2021 Cruel Intentions, Arusha Gallery, London 2020 Casa Balandra Open Studios, Casa Balandra, Mallorca, Spain 2020 Nourishment Projects, V.O Curations, London 2020 So Good So Close, Numeroventi, Florence, Italy   Statement about AOAP Submitted Artwork   There's a moth in the cupboard. It's eaten through all the wool and all the silk. There's a moth in the cupboard and I can't get it out. Now that the moth turned velvet red, I sit by the fire and burn all that's left. ____ My painting practice for the last few years has stemmed primarily from Persian and Indian Miniature painting. My adoption of the tradition started as a means to leash myself to my lineal heritage, both by use of technique and medium but also by the active rejection of the western art power structure that has largely shunned non-western production as craft and inspiration. This is symptomatic of the larger geo-political power structure that physically dislocated and dismembered the majority (and most important) of the manuscripts. I say this while noting that tradition is an unstable term, especially when it's being used to cover half a continent and many centuries and is an evolving, thing. With the understanding that tradition is both unstable and unhinged now that it's existing entirely out of its original physical context - not entirely unlike my own biographical existence, I'm interested in the deconstruction of its aesthetic framework. To expand on the former, I am practicing the tradition outside of its original nation/state, outside of it's book-binding, outside of the generations of schools of men dedicated to it, outside of the occident/orient binary, and entirely outside of it's original purpose as a story-teller for political and religious means. Instead, I'm taking it on as a language with which to build a sort of Laila- dialect and weave my lived experiences. My compositions are maximal minimal - they require negative space to push movement and then the paint acts as an interjection. I enjoy taking this dense form of painting that began in manuscripts and reducing it down to its core - to take whole narratives and turn them to single sentences (with titles that are often poems.) Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Mie Olise Untitled (1), 2022 Gouache on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.)   About   Painter based in Copenhagen, working in large scale figurative painting, with a female approach.   Education   MFA Central St Martins, 2008   Select Exhibitions/Awards   Jens Sondergaards Painting Prize, Denmark 2021; The Journal Gallery, NYC January 2022   Gallery Representation   Hans Alf Gallery, Copenhagen   Statement about AOAP Submitted Artwork   Sisters doing it for themselves Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Mie Olise Untitled (2), 2022 Gouache on Paper Signed recto, further signed verso 10 x 15cm (3¾ x 5¾ in.)   About   Painter based in Copenhagen, working in large scale figurative painting, with a female approach.   Education   MFA Central St Martins, 2008   Select Exhibitions/Awards   Jens Sondergaards Painting Prize, Denmark 2021; The Journal Gallery, NYC January 2022   Gallery Representation   Hans Alf Gallery, Copenhagen   Statement about AOAP Submitted Artwork   Sisters doing it for themselves Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Mie Olise Untitled (3), 2022 Gouache on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.)   About   Painter based in Copenhagen, working in large scale figurative painting, with a female approach.   Education   MFA Central St Martins, 2008   Select Exhibitions/Awards   Jens Sondergaards Painting Prize, Denmark 2021; The Journal Gallery, NYC January 2022   Gallery Representation   Hans Alf Gallery, Copenhagen   Statement about AOAP Submitted Artwork   Sisters doing it for themselves Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Mie Olise Untitled (4), 2022 Gouache on Paper Signed recto, further signed verso 10 x 15cm (3¾ x 5¾ in.)   About   Painter based in Copenhagen, working in large scale figurative painting, with a female approach.   Education   MFA Central St Martins, 2008   Select Exhibitions/Awards   Jens Sondergaards Painting Prize, Denmark 2021; The Journal Gallery, NYC January 2022   Gallery Representation   Hans Alf Gallery, Copenhagen   Statement about AOAP Submitted Artwork   Sisters doing it for themselves Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Kate Mieczkowska Bird Cage, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Kate is a British artist working between the UK and Middle East. Like most normal artist's she juggles family life, a small business retraining racehorses and her art with varying degrees of success but never gives up in her aim to create poignant strong works of art very much in the zeitgeist. On her travels she finds 'nuggets' of contemporary life which she weaves into paintings. In recent times, her megalomania has driven her to paint on a massive scale in oils. Possibly a midlife crisis! However the challenge of making this wonderfully small work was well received. Visit www.katemieczkoeska.com for more examples of her work both large and small. Education Winchester School of Art BA (first class Sculpture) and Chelsea College of Art (MA Fine Art) Select Exhibitions/Awards Royal Academy Summer Exhibition 2022 (Included in Timeout Magazine's top ten must see pieces in the show) Venice Biennale (Group project) 2019 Winner of The Ward Thomas prize for Fine Art in NOA 2016 Statement about AOAP Submitted Artwork I was hugely honoured to be invited to submit work for the auction. In keeping with my desire to create paintings that hold both historical and contemporary imagery whilst making an observation on contemporary culture, I chose to make a watercolour based on a visit I made to a museum of Polish Folk Culture. I saw the women and the fighting taxidermy animals occupying different enclosed spaces, trapped in their different worlds. The 'spectacle' of the fighting creatures beautifully displayed, unable to ever cease their fight, juxtaposed with the women casually watching in from their safe but slightly darker enclosure enjoying the display. In our current times with focus on borders and disputes in Eastern Europe, I felt 'Birdcage' offers an interesting dialogue in relation the media coverage of war and climate change, and our passive participation and ghoulish appreciation of the 'spectacles' offered to us. I intended it to follow on from the work 'Chicken and Chips on a Friday Night' that was shown in Alison Wilding's 'Climate' themed exhibition at the Royal Academy this summer in terms of its dark humour and narration of contemporary culture. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Joy Hillyer Edge I, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Joy Hillyer's paintings aim to convey a sense of place, of placement and exploration within the landscape. She is concerned with the ambiguity of the liminal: the juxtaposition of the real and the imagined; the interplay between essence and symbol, between light and darkness; the ephemeral and the enduring. Her work often uses her photographs as a starting point or as the 'outer shell' for her painting. These may be of the natural world or the urban landscape. Particular events or echoes of memory convey layers of meaning within a deceptively pared down landscape. Some paintings refer more overtly to the tradition of landscape painting with an echo of Romanticism and the Sublime; others are on a smaller scale and focus on a detail. Some images reference a political or ecological issue. They reveal a sharpness, a tension and energy that is unsentimental. Colour is as important as form. Hillyer's work inhabits the shifting boundary between landscape and abstraction. It rarely includes figures: instead the individual is invited into a solitary experience of what Peter Doig describes as 'between the actuality of the scene and something that is in your head'.   Education   2012 - 2014 Advanced Painting Practice at Morley College, London   Select Exhibitions/Awards   2022 Royal Academy Summer Exhibition 2022 'The (very) local landscape, Waterstones, Salisbury 2020 'Fresh Water'. Group show, Sarum College, Salisbury. cancelled (Pandemic) 2020 Wiltshire Creative Summer Show, Salisbury 2020 'Mountain Refuge'. Solo show, Sarum College, Salisbury, 2019 'Experiencing Landscape'. Solo show, Sarum College, The Close, Salisbury 2018 Espacio Gallery, London. Group Show 2018 'Moving on'. Solo show, Little Cloisters, Westminster Abbey 2018 'Borders'. Solo show, Winchester Cathedral 2018 'Liminal'. Solo show, Cheyneygates, Westminster Abbey 2017 Discerning Eye Exhibition, The Mall Galleries, London 2016 'Counterpoint'. Solo show, Cheyneygates, Westminster Abbey 2015 'When our eyes see further than our hands can reach'. Solo show, Cheyneygates, Westminster Abbey 2014 'Into the Deep'. Group Exhibition, Morley College 2013 Solo show, Hall Farm, Lincolnshire 2013 Rootstein Hopkins Drawing Exhibition, Morley Gallery   Statement about AOAP Submitted Artwork   Images of liminality originating high up in the Swiss Alps Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Joy Hillyer Edge II, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Joy Hillyer's paintings aim to convey a sense of place, of placement and exploration within the landscape. She is concerned with the ambiguity of the liminal: the juxtaposition of the real and the imagined; the interplay between essence and symbol, between light and darkness; the ephemeral and the enduring. Her work often uses her photographs as a starting point or as the 'outer shell' for her painting. These may be of the natural world or the urban landscape. Particular events or echoes of memory convey layers of meaning within a deceptively pared down landscape. Some paintings refer more overtly to the tradition of landscape painting with an echo of Romanticism and the Sublime; others are on a smaller scale and focus on a detail. Some images reference a political or ecological issue. They reveal a sharpness, a tension and energy that is unsentimental. Colour is as important as form. Hillyer's work inhabits the shifting boundary between landscape and abstraction. It rarely includes figures: instead the individual is invited into a solitary experience of what Peter Doig describes as 'between the actuality of the scene and something that is in your head'.   Education   2012 - 2014 Advanced Painting Practice at Morley College, London   Select Exhibitions/Awards   2022 Royal Academy Summer Exhibition 2022 'The (very) local landscape, Waterstones, Salisbury 2020 'Fresh Water'. Group show, Sarum College, Salisbury. cancelled (Pandemic) 2020 Wiltshire Creative Summer Show, Salisbury 2020 'Mountain Refuge'. Solo show, Sarum College, Salisbury, 2019 'Experiencing Landscape'. Solo show, Sarum College, The Close, Salisbury 2018 Espacio Gallery, London. Group Show 2018 'Moving on'. Solo show, Little Cloisters, Westminster Abbey 2018 'Borders'. Solo show, Winchester Cathedral 2018 'Liminal'. Solo show, Cheyneygates, Westminster Abbey 2017 Discerning Eye Exhibition, The Mall Galleries, London 2016 'Counterpoint'. Solo show, Cheyneygates, Westminster Abbey 2015 'When our eyes see further than our hands can reach'. Solo show, Cheyneygates, Westminster Abbey 2014 'Into the Deep'. Group Exhibition, Morley College 2013 Solo show, Hall Farm, Lincolnshire 2013 Rootstein Hopkins Drawing Exhibition, Morley Gallery   Statement about AOAP Submitted Artwork   Images of liminality originating high up in the Swiss Alps Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ryan Mosley Big Cat, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release.   Select Exhibitions/Awards   2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ryan Mosley Smoke Rings, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release.   Select Exhibitions/Awards   2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ryan Mosley Deep Water, 2022 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release.   Select Exhibitions/Awards   2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ryan Mosley Open Water, 2022 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release.   Select Exhibitions/Awards   2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising