155788 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

VINYL LP RECORDS a good box of rock and prog rock LP records with R.E.M, The Who, Led Zeppelin, Ian Dury, The Doors, Hawkwind, King Crimson, The Nice, The Velvet Underground, Black Sabbath, Emerson Lake and Palmer, Steely Dan, Spirit, SAHB The Sensational Alex Harvey Band, Lou Reed, Neil Young, The Beatles, Pink Floyd, Yes etc (50) Condition Report:Available upon request

A CHINESE BRONZE FIGURE OF A BODHISATTVA AND A GILT-BRONZE VAJRA QING DYNASTY The figure wears an elaborate headdress and sits on a high lotus throne in dhyanasana, the open base with a prayer scroll, 969g and 253g, 17cm and 13cm. (2) Provenance: from the collection of Dr E Lionel Pavlo (1906-89), and thence by descent. Dr Pavlo was an American civil engineer who designed and built many bridges and other structures around the world.

A CHINESE FAMILLE ROSE 'ROMANCE OF THE THREE KINGDOMS' BALUSTER VASE LATE QING DYNASTY Painted with Liu Bei, Guan Yu and Zhang Fei reunited with Zhao Yun who saved Liu Bei's infant son Liu Shan from the Battle of Changban, the base with a Qianlong mark, 46.7cm.

TOMÁS DÍAZ MAGRO (Madrid, 1941)."Veladura 010", 2018.Pvc encapsulated in wood.Signed and dated on the lower right.Measurements: 46 x 46 x 7 cm.Known for his successful career as an industrial designer, Tomás Díaz Magro began his professional career in 1959 with the Spanish Society of Design. His research into the curved wood system won him the Gold Medal at the Brussels Inventors' Exhibition in 1961. Three years later, he was a founding member of the ODM, for the development of materials. From 1968 he worked for Talleres de Arte Granda, and for other companies such as TAG, Otaola, Huarte muebles or LOEWE. Throughout his career he has received numerous awards, including the IFI International Prize. 1988, the Brúmel International Award (prefabricated and mobile platform for Renfe.1991, and the BEDA International Award. 1993, among others. In addition, in 1998, he took part in the exhibition "Industrial Design in Spain; a century of creation and innovation", which was held at the Reina Sofía Museum and Art Centre. From the 1980s onwards, Tomás Magro, who has always been linked to the world of design, began to devote himself entirely to artistic creation. His knowledge of materials and mastery of matter have given him a skill that he develops in his balanced works of art, in the words of the author himself; "This daily contact with matter, imagination and drawing, has created a world full of ambition, understood as how to make the different proposals that were being generated a reality. I observed the artists' works and I continue to see them out of the corner of my eye, I don't want to know more about them, I don't want to learn too much, their burden will weigh me down. However, I enjoy them inside me like a collector, some of them live with me".

TOMÁS DÍAZ MAGRO (Madrid, 1941)."Icono 333", 2016.Chromed plastic and pvc on tablex.Signed and dated on the base.Size: 26,5 x 20 x 19 cm.Known for his successful career as an industrial designer, Tomás Díaz Magro began his professional career in 1959 with the Spanish Society of Design. His research into the curved wood system won him the Gold Medal at the Brussels Inventors' Exhibition in 1961. Three years later, he was a founding member of the ODM, for the development of materials. From 1968 he worked for Talleres de Arte Granda, and for other companies such as TAG, Otaola, Huarte muebles or LOEWE. Throughout his career he has won numerous awards, including the IFI International Prize. 1988, the Brúmel International Award (prefabricated and mobile platform for Renfe.1991, and the BEDA International Award. 1993, among others. In addition, in 1998, he took part in the exhibition "Industrial Design in Spain; a century of creation and innovation", which was held at the Reina Sofía Museum and Art Centre. From the 1980s onwards, Tomás Magro, who has always been linked to the world of design, began to devote himself entirely to artistic creation. His knowledge of materials and mastery of matter have given him a skill that he develops in his balanced works of art, in the words of the author himself; "This daily contact with matter, imagination and drawing, has created a world full of ambition, understood as how to make the different proposals that were being generated a reality. I observed the artists' works and I continue to look at them out of the corner of my eye, I don't want to know more about them, I don't want to learn too much, their burden will weigh me down. However, I enjoy them inside me like a collector, some of them live with me".

JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007).Untitled.Oil on cardboard.Signed in the lower right corner.Size: 51 x 74,5 cm; 75 x 98 cm (frame).Josep Guinovart trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, clay, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). Guinovart's artistic output is very varied: mural paintings, theatre sets and scenographies, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He took part in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona in 1981, the National Plastic Arts Prize in 1990 and the Generalitat's Plastic Arts Prize in 1990. In 1994 the Espai Guinovart was opened in Agramunt, Lérida, a private foundation with a permanent exhibition of the artist's work. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

JOSÉ MARÍA MIJARES (Havana, Cuba, 1921 - Miami, USA, 2004).Untitled, circa 1959.Oil on wood.Attached certificate issued by María Cabrera Mijares, widow of the artist.Damage to the frame.Needs cleaning.Signed in the lower right corner.Measurements: 80 x 100 cm; 85 x 105 cm (frame).The year 1959 is the time when Mijares began his work as a teacher at the San Alejandro School of Fine Arts. Mijares's artistic production oscillated between a more figurative trend and an abstract one in which he developed concepts typical of kineticism and neoplasticism. However, these compositions acquired the idiosyncrasy of the artist, who endowed them with exceptional colour. The work reflects an aesthetic language that reflects various avant-garde movements and the translation of the history of art. From a new perspective in which the aesthetic transgression at the hands of José María Mijares means the creation of an image with its own language and personality. Through the use of colour, the work offers the spectator a new vitalist aesthetic that merges with a technique close to geometric abstraction that extends over the whole piece in an apparently random way. However, compositionally the artist has managed to create a completely harmonious image where the mastery of colour and technique achieve an expressive, vitalist and dynamic image that captures and creates a dialogue with the viewer.Mijares studied at the Escuela Nacional de Bellas Artes San Alejandro in Havana, where he taught. He was a member of the group Diez Pintores Concretos. Between 1968 and 1973 he was a member of the Grupo Gala in Miami, where he settled at the age of 47. He edited the magazine Alacrán Azul in Miami. He held his first exhibition at the Liceo in Havana (1947). In the 1980s he exhibited in Coral Gables, Florida, where he reiterated his presence. In 1994 the Cuban Museum of Art and Culture in Miami dedicated a retrospective to him. The Alfredo Martínez Gallery in Coral Gables also organised an ontological exhibition in 1996. As for group exhibitions, he participated in the Venice Biennale in 1952. He is represented at the Cintas Foundation in New York, the Lowe Art Museum, Florida, the Museum of Modern Art of Latin America in Washington, and the Museum of Modern Art in New York. Mijares' well-deserved recognition came above all for his ability to harmonise his universal vocation with the search for an autochthonous Cuban language. In this composition, he starts from a colourist post-Cubism through which he practically delves into abstraction, but without losing the referential thread. A preened female figure is still recognisable, as in his "habaneras", but she has been stripped of her personal features, her body being transformed into a set of gears that animate a beautiful and elegant automaton.

"LOLÓ SOLDEVILLA"; Dolores Soldevilla Nieto (Pinar del Río, Cuba 1901-Havana, 1971)."Vertical", nº2, 1957.Mixed media on cardboard.Attached certificate issued by Doña Martha Flora Carranza.It has a framing label on the back.There is a layer of dirt on the pictorial surface.Signed and dated on the back.Size: 69 x 38 cm; 78 x 49 cm (frame).This work shows several of the most singular characteristics of Loló Soldevilla's work, the use of black and white, the use of geometric shapes and a clear proximity to kinetic movement. In this particular case, the way in which the circles are arranged accentuates the sensation of movement even more than in other works which appear to be more rigid, such as those in which she introduces square or rectangular elements as the main motifs in the image. The work is accompanied by a certificate issued by Doña Martha Flora Carranza, the universal heiress of Loló Soldevilla's work.Loló Soldevilla is considered one of the most important figures of Geometric Abstraction and Kineticism, both for her achievements during her career and for her efforts to promote Cuban art inside and outside the borders of her country. He always showed political involvement through his art, both in his own country and abroad, taking an active part in the campaigns to help the Spanish Republic after the outbreak of the Civil War.His artistic career was always marked by experimentation, not only stylistically but also technically, and he produced works in different media such as sculpture, engraving and drawing. His artistic career began in 1948, influenced by his friendship with Wifredo Lam, who encouraged and supported him in his beginnings in the world of painting. In 1949 he settled in Paris, where he studied at the Académie Grande Chaumière, making frequent trips and exhibitions in Cuba to show his work. In 1951 she joined the workshop of Dewasne and Pillet, where she stayed for two years, and attended a course on printmaking techniques by Hayter and Cochet, maintaining and encouraging creative exchanges with the School of Paris. Linked to the 26th of July Movement, she was forced to live a clandestine life, since during the pre-revolutionary period she collaborated in Diario de la Marina, Carteles, Información, El País, Avance, Porvenir, Tiempo en Cuba and Survey, as well as in the Parisian publications Combat and Arts. After the revolutionary triumph of 1959 she joined the newspaper Revolución as an editor and during the academic year 1960-61 she established herself as a professor of plastic arts at the School of Architecture of the University of Havana. From then on, Dolores Soldevilla combined her artistic career with her teaching work at the University's School of Architecture and at the newspaper Granma. Thanks to her aesthetic approaches, the Grupo Espacio emerged and she was a member of the group Diez Pintores Concretos; she was a member of the UPEC and the UNEAC and collaborated with Bohemia. During his lifetime his work was exhibited in important artistic spaces such as the Palacio de Bellas Artes in Cuba, in Caracas (Venezuela), Paris, Valencia, Valladolid (Spain), Czechoslovakia, etc., achieving great recognition of his work at a global level. Today his work is kept in numerous private collections all over the world and in institutions such as the Museo Nacional de Bellas Artes de Cuba (where the main collection is kept).

SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989)."Crucifixion", 1964.Etching and drypoint on paper. Copy 4/150.Signed, dated and numbered in pencil.Measurements: 66 x 50 cm; 90 x 71 cm.During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that would become distinctive of all his work from then on. During this period Dalí held regular exhibitions in both Barcelona and Paris, and joined the Surrealist group based in the Parisian district of Montparnasse. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he exhibited his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.

KLAUS OHNSMANN (Mannheim, Germany 1962)"Interior with glassware", 2007.Acrylic, methacrylate and aluminium.Retains information label on the back of the IX Carriegos Painting Prize.Dated and titled on the back.Measurements: 180 x 110 cm.In this image the artist recreates in a realistic way an interior scene, where through a set of crystals a landscape can be appreciated in the last plane. The perspective is slightly rotated and the sharpness of the glass is distorted in such a way that the artist creates a piece with a naturalistic aesthetic, where light and reflections are the protagonists.Klaus Ohnsmann is a renowned German artist who began his career in his native country, although when he moved to Spain, his artistic production and career has been developed mainly in the country. He has an extensive curriculum with solo and group exhibitions, has won numerous prizes and has works in various international collections. He also has a museum that bears his name, located in the town of Sintra, which shows the evolution of his work, both technical and thematic, as well as his relationship with the Portuguese town.

A CHINESE YELLOW AND RUSSET JADE CARVING OF A BIRD 17TH/18TH CENTURY The bird resting with its two legs folded under the body, the wings tucked against its sides, with a curling plume rising above its neck, the stone of a yellowish green tone with dark brown and russet inclusions, with a reticulated wood stand, 9.5cm. (2) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

A CHINESE PALE CELADON JADE PEAR-SHAPED VESSEL 18TH/19TH CENTURY Raised on a splayed foot, decorated with bands of geometric patterns and archaistic scrolls, set with two loop handles to one side, one with a suspended loose ring, the stone of an even tone with minor white and russet inclusions, 15.8cm. Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

TWO CHINESE PALE CELADON JADE CARVINGS OF ANIMALS QING DYNASTY One a recumbent cat with its head turned to sinister, the other a toad with a sprig of millet in its mouth, with a wood stand, the stones of even pale tone, 4.5cm and 5cm. (3) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

A CHINESE PALE CELADON JADE LION DOG GROUP 19TH CENTURY Carved as a recumbent mother and pup, both with long bushy tails, the spines and manes well defined, the stone of an even pale tone with paler inclusions, with a wood stand, 9cm. (2) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

TWO CHINESE PALE CELADON AND RUSSET JADE CARVINGS 17TH/18TH CENTURY One formed as a lotus seed pod growing from a stem, with a bird perched on the side, the other as a fan-tailed fish, each with small areas of pale russet inclusions, 6.3cm and 6.5cm. (2) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

TWO CHINESE JADE CARVINGS OF RECUMBENT ANIMALS QING DYNASTY AND LATER One jadeite, carved as a Buddhist lion, the stone of celadon with minor russet inclusions, the other black and grey nephrite jade of a dog, each resting with its legs tucked under the body, with two wood stands, 8.5cm and 7.3cm. (4) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

FIVE CHINESE JADE CARVINGS OF ANIMALS MING/QING DYNASTY Three carved as felines, two as birds crouching with their heads turned over their backs, the stones ranging from grey to russet brown and black, with three wood stands, 9.7cm. (8) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

A CHINESE YELLOW JADE BI, A JADE MANDARIN DUCK AND TWO JADEITE ITEMS QING DYNASTY The bi carved with the zodiac animals and the eight trigrams, the mandarin duck on a lotus leaf, a pendant carved with lotus, and an uncut seal with a lion dog finial, one with a wood stand, 7cm. (5) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

FOUR CHINESE CELADON AND RUSSET JADE ITEMS MING/QING DYNASTY Comprising: a disc-shaped pendant carved with four chilong, a rectangular pendant, a recumbent deer and a bird, the stones with darker inclusions, with a wood stand, 5.3cm. (5) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

TWO CHINESE CELADON JADE CARVINGS OF RECUMBENT ANIMALS 18TH/19TH CENTURY One carved as a mythical beast with its mane and spine well defined, the other as a ram with its head turning to sinister, the stones with some darker inclusions, with a wood stand, 7cm and 6.5cm. (3) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

TWO CHINESE JADE CARVINGS OF AN ANIMAL GROUP AND A BAT 18TH CENTURY One carved as a recumbent beast with a bird picked out in celadon, the other depicting a peach in white stone, with a bat in russet to the reverse, with a wood stand, 5cm and 4.9cm. (3) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

THREE CHINESE CELADON AND BLACK JADE ANIMAL CARVINGS MING/QING DYNASTY Comprising: a recumbent deer holding a lingzhi sprig in its mouth, a single horned mythical beast crouching with its head raised, the third depicting two reclining badgers with a green glass bead, with a wood stand, 9cm. (4) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

THREE CHINESE JADE CARVINGS OF BOYS QING DYNASTY Each depicting a smiling child holding a sprig of lingzhi or lotus, the stones ranging from grey and russet to black, with white mottling and darker markings, 8cm max. (3) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.

AFTER ZHAO BOJU (17TH CENTURY) CELEBRATING THE BIRTHDAY OF THE QUEEN MOTHER OF THE WEST A Chinese painting, ink and colour on silk, signed Boju with three artist's seals and five collectors' seals, together with a colophon attributed to Qiu Yuan which has been separately mounted, framed, 314cm x 35cm . (2) Provenance: the collection of Air Commodore Anthony Walkinshaw Fraser (1934-2021), which he inherited from his brother Erik Francis Watts (1904-84) who was a main board Director of Jardine Matheson,acquired in China in the 1920s, and thence by descent.

William Kentridge (born 1955)Three animated films :1. Johannesburg: Second Greatest City in the World after Paris 19892. Monument 19903. Sobriety, Obesity and Growing Old 1991VHS cassette, signed 'Kentridge' on label.with case bearing inscription 'Kentridge Animation'.Footnotes:ProvenanceAcquired directly from the artist, circa 1994;By direct descent to the current owner;A private collection.The above lot was acquired from the artist by the current owner's mother who worked with artist on a project for The Handspring Puppet Company in Johannesburg.'I have never tried to make illustrations of apartheid, but the drawings and the films are certainly spawned by, and feed off, the brutalized society left in its wake. I am interested in a political art . . . an art of ambiguity, contradiction, uncompleted gestures and uncertain endings . . . in which optimism is kept in check and nihilism kept at bay'. —William Kentridge(Walking Man (Primary Title) – (2000.105) – Virginia Museum of Fine Arts | (vmfa.museum)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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

William Kentridge (born 1955)A Sonnet That I Never Wrote, 2013 signed and numbered 22/40 in red conté in the marginphotolithographic printimage size: 28 by 28cm (11 x 11in);sheet size: 30,5 by 30,5cm (12 x 12in);album: 31,5 by 31,5cm (12 3/8 x 12 3/8in).accompanied by CWaka - The Silence, an album by the Cape Town Philharmonic Orchestra and Cape Town Opera.Footnotes:'This album is a silent pause to support those who, like the Cape Town Opera and Cape Town Philharmonic Orchestra, have been silenced by the pandemic.It stands in solidarity with the artists around the world who face being silenced whether that be because of Covid, or conflict, or censorship, or loss of funding.It represents the power of the arts to move us. What will be lost if they are silenced. And the opportunity to work together to save them from this fate.'(www.cwakathesilence.co.za)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Kentridge (born 1955)Soho in Bed with Rhinoceros' (Drawing for Mine) signed 'Kentridge' and dated '91' (lower right)charcoal and red chalk120 x 141cm (47 1/4 x 55 1/2in).Footnotes:ProvenanceAcquired by the current owner at the Goodman Gallery, 'Drawings for Projection' in 1992;A private collection.ExhibitedJohannesburg, Goodman Gallery, 'Drawings for Projection', February, 1992.Brussels, Palais des Beaux-Arts/Paleis voor Schone Kunsten; Munich, Kunstverein München; Austria, Neue Galerie Graz am Landesmuseum Joanneum, William Kentridge, May, 1998 to January, 1999.LiteratureDan Cameron, William Kentridge, (London, 1999) p.115 (illustrated)Mark Rosenthal, William Kentridge, Five Themes, (New Haven and London: Yale University Press, 2009), p. 79 (illustrated)Carolyn Christov-Bakargiev, William Kentridge, (Brussels: Societe des Expositions du Palais des Beaux-Arts de Bruxelles/Vereniging voor Tentoonstellingen van het Paleis voor Schone Kunsten Brussel, 1998), p. 69 (illustrated)Lilian Tone, William Kentridge Fortuna, (London: Thames & Hudson, 2013), p. 151 (illustrated)Matthew Kentridge, The Soho Chronicles, 10 Films by William Kentridge, (London, New York & Calcutta: Seagull Books, 2015), p. 187 (illustrated) Margaret K. Koerner, Smoke, Ashes, Fable, William Kentridge In Bruges, (New Haven and London: Yale University Press, 2017), p. 125 (illustrated) This drawing, which dates from 1991 is from Mine, the second of Kentridge's animated films. It was used as the final sequence in this film from 5:25 min to 5:32 min., when the Rhinoceros tenderly nuzzles at Soho's out-stretched hand.The work is the most significant of the 'Drawings for Projection' to come to the market in recent times and has not been seen publicly since its inclusion in the 1998/99 exhibition.'In these films Kentridge established the story line that would prevail throughout the series: the evolution of the dark-suited industrialist Soho Eckstein, whose complex combination of economic power, personal ruthlessness, and guilt-laden memory characterize one aspect of contemporary South Africa, and his alter ego Felix Teitlebaum, who is portrayed as nude and thoughtful, an artist who wins Soho's wife at least temporarily. In these early films Soho builds his empire and becomes a civic benefactor... ...The early films focus extensively on the struggle of Soho and Felix for Mrs. Eckstein...Soho's appearance derives from a linocut Kentridge had made in his youth of 'my grandfather in his three-piece pin-stripe suit sitting on Muizenberg beach from an old family photograph'...In these early films, Soho is most often seen in his bed surrounded by a clutter of half-eaten food and office machines. The utter jumble of these objects on his bed, and the conjunction of Soho's public and private life, recall the late self-portraits of Philip Guston, in which the artist lies haunted by nightmare and doubt' (Neal Benezra, William Kentridge: Drawings for Projection, exhib. cat. for New York, pgs. 19-20).Playing a consistent caricature throughout Kentridge's work, references of the rhinoceros can be seen in early drawings from the 1980's, to a symbol of the repressed by the hands of the German colonial force in Black Box created in 2005. Here we see the rhinoceros not as a wild animal, but a domestic pet tamely interacting with Soho who dominates the scene. While this may be a display of Kentridge's affection for the animal, given his favourable use of the subject, the rhinoceros also symbolises the bourgeois exploitation of the South African ecosystem. Following the consequences that the mining industry had on the South African environment, Kentridge critiques conservation motivations whilst simultaneously examining the irony of controlling wild animals through eco-tourism. Eco-tourism, Kentridge analyses, has obscured and consequentially manipulated the nature in South Africa, throwing into question the definition of 'wild' given the nature and game reserve's domesticized state.'The technique I use is to have a sheet of paper stuck up on the studio wall and, half-way across the room, my camera, usually an old Bolex. A drawing is tarted on the paper, I walk across to the camera, shoot one or two frames, walk back to the paper, change the drawing (marginally), walk back to the camera, walk back to the paper, to the camera, and so on. So that each sequence as opposed to each frame of the film is a single drawing. In all there may be twenty drawings to a film rather than the thousands one expects. It is more like making a drawing than making a film (albeit a gray, battered and rubbed about drawing). Once the film, editing, adding sound, music and so on proceeds like any other. '...I started filming drawings as a way of recording their histories. Often I found – I find – that a drawing that starts well, or with some interest in its first impulse, becomes too cautious, too overworked, too tame, as the work progresses. (The ways in which a drawing can die on you are depressingly numerous.) A film of the drawing holds each moment. And of course, often, as a drawing proceeds, interest shifts from what was originally central, to something that initially appeared incidental. Filming enables me to follow this process of vision and revision as it happens. This erasing of charcoal, and imperfect activity, always leaves a gray smudge on the paper. So filming not only records the changes in the drawing but reveals too the history of those changes, as each erasure leaves a snail-trail of what has been.' (Lecture, 1993, published in Cycnos: Image et Langage, Problemes, Approches, Méthodes, Nice, vol. 11 no.1, 1994, pp. 163-168. Republished in C. Christov-Bakargiev, William Kentridge, William Kentridge, Societe des Expositions du Palais de Beaux-Arts, Bruxelles 1998, pgs.61-64)BibliographyMatthew Kentridge, The Soho Chronicles, 10 Films by William Kentridge, (London, New York & Calcutta: Seagull Books, 2015)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Julia Hamilton Round Sunglasses!, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Born in 1962 in London. Julia lives and works in London and Deal, Kent, UK. Julia Hamilton is a painter working in oils and large ink drawings. She has exhibited widely and is held in private collections. Exhibitions included: The RA Summer Exhibition x 6 years. Her work is inspired by Tudor Portraiture, Matisse, Picasso and Alice Neal. Her subjects are women behind masks: Burlesque dancers, Circus acts Bunny girls come under her scrutiny. She is a female artist looking at women who are used to being looked at. Education 2019 ROYAL DRAWING SCHOOL, SHOREDITCH - 3 MONTHS INTENSIVE TERM 2015 - 2018 TURPS CORRESPONDENCE COURSE 2010 - 2012 CITY & GUILDS SCHOOL OF ART MA in FINE ART 2005 -2008 MARY WARD CENTRE Diploma in Counselling and Psychotherapy BACP approved course 1999 - 2002 CITY & GUILDS SCHOOL OF ART BA HONS FINE ART PAINTING 1993 - 1995 CENTRAL ST MARTINS POST GRAD DIPLOMA PRINTMAKING 1980 - 1983 EXETER UNIVERSITY BA HONS ENGLISH AND FINE ART Select Exhibitions/Awards 2019 Royal Academy Summer Exhibition London 2018 Two Person Show at Linden Hall Studio Gallery Deal, Kent 2017 NEAC Mall Galleries London Alicia David at Affordable Art Fair/New York New York Sim Smith Gallery London Alicia David at Affordable Art Fair/London London Linden Hall Winter Group Show Deal, Kent St Annes Galleries Winter Show Lewes 2016 Columbia Threadneedle Prize London and Florence Winter Show Linden Hall Studio Gallery Deal, Kent Alicia David at Affordable Art Fair Hampstead London Sim Smith Gallery London Discerning Eye, Mall Galleries London 2015 Good Figures, Mall Galleries London 2014 ON Motcomb London The Discerning Eye, Mall Galleries London Royal Academy Summer Exhibition London Small is Beautiful, Flowers Gallery London 2013 Transition Gallery, Group Show London Threadneedle Art Prize London Lamb and Lamb - The Black Country London Creekside Open chosen by Paul Noble, London Two Person Show at Sarah O'Kane Contemporary Lewes Atkinson Gallery Somerset About Town at Sarah O'Kane Contemporary Lewes The London Art Fair with Long & Ryle London 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

Nick Smith Wish You Were Here, 2022 Collage on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) About Contemporary artist who works in collage with hand-placed colour-chips, synonymous with colour swatches, combining text and image to create intriguing and provocative works. Education MDes Masters in Product Design from Coventry University. 2004 Graduate Select Exhibitions/Awards 9 solo exhibitions and counting... Gallery Representation Rhodes Contemporary, London Statement about AOAP Submitted Artwork This is a nude study, breaking down the image to the bare bones of just colour swatches, while still making it recognisable. 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

Sarah Arsenault Essential, 2022 Acrylic on Matte Medium Transfer Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Sarah Arsenault is a British-Canadian artist based in London. She is a semi-abstract painter who explores human ecology. Her engagements within the environments that she experiences and the interconnectivity that exists among all things, are the prominent themes she explores. Working largely with Eco acrylic, ink and mediums Sarah depicts how she views the world. Her paintings and collages often explore the environmental crisis through a subtle lens.   Education   MA Fine Art in Painting from UAL: Camberwell College of Arts, London, UK, 2020. Bachelor of Fine Art in Drawing & Painting OCAD University, Toronto, Canada, 2019.   Select Exhibitions/Awards   Royal Academy Summer Exhibition 2022 Beyond Future Art Prize 2022, Top 18 Finalist Hastings Museum and Art Gallery Open 2022, shortlisted Unstuck, Cropredy, UK, August 2022 Ruth Borchard Self-Portrait Prize 2021, long listed UAL Art Collection, acquired my work Convergence 1 for their collection Subject to Change, Lewisham ArtHouse, October 2021 Journey into Unknown, The Copeland Gallery, November 2021 Solid Air Artists, no format Gallery, October, 2021 Gallery Representation Represented by Singulart Paris and Partial Gallery Toronto   Statement about AOAP Submitted Artwork   The health of our natural ecosystems depends on pollinators, which include bees, butterflies and other small creatures. They are largely taken for granted, yet so important to our species well being. These paintings highlight the vital act of pollination, the beauty of the pollinators and through a subtle lens, the trouble they are in. 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

Sarah Arsenault Indispensable, 2022 Acrylic on Matte Medium Transfer Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Sarah Arsenault is a British-Canadian artist based in London. She is a semi-abstract painter who explores human ecology. Her engagements within the environments that she experiences and the interconnectivity that exists among all things, are the prominent themes she explores. Working largely with Eco acrylic, ink and mediums Sarah depicts how she views the world. Her paintings and collages often explore the environmental crisis through a subtle lens.   Education   MA Fine Art in Painting from UAL: Camberwell College of Arts, London, UK, 2020. Bachelor of Fine Art in Drawing & Painting OCAD University, Toronto, Canada, 2019.   Select Exhibitions/Awards   Royal Academy Summer Exhibition 2022 Beyond Future Art Prize 2022, Top 18 Finalist Hastings Museum and Art Gallery Open 2022, shortlisted Unstuck, Cropredy, UK, August 2022 Ruth Borchard Self-Portrait Prize 2021, long listed UAL Art Collection, acquired my work Convergence 1 for their collection Subject to Change, Lewisham ArtHouse, October 2021 Journey into Unknown, The Copeland Gallery, November 2021 Solid Air Artists, no format Gallery, October, 2021 Gallery Representation Represented by Singulart Paris and Partial Gallery Toronto   Statement about AOAP Submitted Artwork   The health of our natural ecosystems depends on pollinators, which include bees, butterflies and other small creatures. They are largely taken for granted, yet so important to our species well being. These paintings highlight the vital act of pollination, the beauty of the pollinators and through a subtle lens, the trouble they are in. 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

Sarah Arsenault Vital, 2022 Acrylic on Matte Medium Transfer Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Sarah Arsenault is a British-Canadian artist based in London. She is a semi-abstract painter who explores human ecology. Her engagements within the environments that she experiences and the interconnectivity that exists among all things, are the prominent themes she explores. Working largely with Eco acrylic, ink and mediums Sarah depicts how she views the world. Her paintings and collages often explore the environmental crisis through a subtle lens.   Education   MA Fine Art in Painting from UAL: Camberwell College of Arts, London, UK, 2020. Bachelor of Fine Art in Drawing & Painting OCAD University, Toronto, Canada, 2019.   Select Exhibitions/Awards   Royal Academy Summer Exhibition 2022 Beyond Future Art Prize 2022, Top 18 Finalist Hastings Museum and Art Gallery Open 2022, shortlisted Unstuck, Cropredy, UK, August 2022 Ruth Borchard Self-Portrait Prize 2021, long listed UAL Art Collection, acquired my work Convergence 1 for their collection Subject to Change, Lewisham ArtHouse, October 2021 Journey into Unknown, The Copeland Gallery, November 2021 Solid Air Artists, no format Gallery, October, 2021 Gallery Representation Represented by Singulart Paris and Partial Gallery Toronto   Statement about AOAP Submitted Artwork   The health of our natural ecosystems depends on pollinators, which include bees, butterflies and other small creatures. They are largely taken for granted, yet so important to our species well being. These paintings highlight the vital act of pollination, the beauty of the pollinators and through a subtle lens, the trouble they are in. 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

Ela Menescal Meet Cute, 2022 Mixed Media, Collage and Printing on Hahnemühle 310g Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   The art of Ela Menescal serves as a playful platform that, in its narrative, seeks to bring together elements that are sometimes contradictory but that are tuned in new senses and directions. Her work plays with the viewer's memories of childhood through metaphors with pop culture icons and images from her own childhood memories, resulting in a unique approach, with a touch of humor and irreverence. Ela Menescal is a Brazilian artist born on February 5, 1987, in Rio de Janeiro. She grew up in a musical and artistic environment; her own school notebooks were notably expressive and fun. Her collage works began at first, as a way of disseminating fashion and style. From these compositions, Ela Menescal's desire to migrate to the field of art with an approach to contemporary issues. Her production expands at an intense, original and invariably creative pace. The artist maintains lightness and poetry in her visual compositions, without leaving aside irony and criticism of current times. Her artworks are mostly inspired by music and movies. She held individual and group exhibitions in Rio de Janeiro. She participated in the SP-Arte fair in 2022 and in ArtRio fair in 2020 and 2022. Her artwork has been selected by the Royal Academy of Arts for the Summer Exhibition 2022.   Education   She went to Law School and practiced Intellectual Property and Fashion Law bridging a gap between Law and Fashion. In 2017, she became a fashion stylist, graduating with international certification from IRCNY (Image Resource Center of New York). Since 2021, Ela has attended Creative Thinking lectures and courses ministered by Scottish Charles Watson who is an independent researcher living in Rio de Janeiro and investigates the creative process.   Select Exhibitions/Awards   Exhibition 'Day Dreaming' (2019) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'I See You' (2020) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'Saravá' (2022) - Galeria Anita Schwartz, Rio de Janeiro Exhibition 'Summer Exhibition 2022' (2022) - Royal Academy of Arts, London Art Fairs: ArtRio - Rio de Janeiro's International Art Festival (2020) - Galeria Martha Pagy Escritório de Arte SP-Arte - São Paulo's International Art Festival (2022) - Galeria Anita Schwartz ArtRio - Rio de Janeiro's Internacional Art Festival (2022) - Galeria Anita Schwartz   Gallery Representation   2018 - 2021 Galeria Martha Pagy Escritório de Arte, Rio de Janeiro 2022 - Galeria Anita Schwartz, Rio de Janeiro   Statement about AOAP Submitted Artwork MEET CUTE, 2022 Reinterpretation of 'Wheat Field with a Lark' (1887) painting by Vincent Van Gogh Mixed media, collages and 
printing on Hahnemühle 310g paper 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

Ela Menescal The Kingdom We Have Made, 2022 Mixed Media, Collage and Printing on Hahnemühle 310g Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   The art of Ela Menescal serves as a playful platform that, in its narrative, seeks to bring together elements that are sometimes contradictory but that are tuned in new senses and directions. Her work plays with the viewer's memories of childhood through metaphors with pop culture icons and images from her own childhood memories, resulting in a unique approach, with a touch of humor and irreverence. Ela Menescal is a Brazilian artist born on February 5, 1987, in Rio de Janeiro. She grew up in a musical and artistic environment; her own school notebooks were notably expressive and fun. Her collage works began at first, as a way of disseminating fashion and style. From these compositions, Ela Menescal's desire to migrate to the field of art with an approach to contemporary issues. Her production expands at an intense, original and invariably creative pace. The artist maintains lightness and poetry in her visual compositions, without leaving aside irony and criticism of current times. Her artworks are mostly inspired by music and movies. She held individual and group exhibitions in Rio de Janeiro. She participated in the SP-Arte fair in 2022 and in ArtRio fair in 2020 and 2022. Her artwork has been selected by the Royal Academy of Arts for the Summer Exhibition 2022.   Education   She went to Law School and practiced Intellectual Property and Fashion Law bridging a gap between Law and Fashion. In 2017, she became a fashion stylist, graduating with international certification from IRCNY (Image Resource Center of New York). Since 2021, Ela has attended Creative Thinking lectures and courses ministered by Scottish Charles Watson who is an independent researcher living in Rio de Janeiro and investigates the creative process.   Select Exhibitions/Awards   Exhibition 'Day Dreaming' (2019) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'I See You' (2020) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'Saravá' (2022) - Galeria Anita Schwartz, Rio de Janeiro Exhibition 'Summer Exhibition 2022' (2022) - Royal Academy of Arts, London Art Fairs: ArtRio - Rio de Janeiro's International Art Festival (2020) - Galeria Martha Pagy Escritório de Arte SP-Arte - São Paulo's International Art Festival (2022) - Galeria Anita Schwartz ArtRio - Rio de Janeiro's Internacional Art Festival (2022) - Galeria Anita Schwartz   Gallery Representation   2018 - 2021 Galeria Martha Pagy Escritório de Arte, Rio de Janeiro 2022 - Galeria Anita Schwartz, Rio de Janeiro   Statement about AOAP Submitted Artwork   THE KINGDOM WE HAVE MADE, 2022 Reinterpretation of 'Eric Clapton' (1993) photo by Terry O'Neill Mixed media, collages and 
printing on Hahnemühle 310g paper 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

Ela Menescal Open Arms, 2022 Mixed Media, Collage and Printing on Hahnemühle 310g Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   The art of Ela Menescal serves as a playful platform that, in its narrative, seeks to bring together elements that are sometimes contradictory but that are tuned in new senses and directions. Her work plays with the viewer's memories of childhood through metaphors with pop culture icons and images from her own childhood memories, resulting in a unique approach, with a touch of humor and irreverence. Ela Menescal is a Brazilian artist born on February 5, 1987, in Rio de Janeiro. She grew up in a musical and artistic environment; her own school notebooks were notably expressive and fun. Her collage works began at first, as a way of disseminating fashion and style. From these compositions, Ela Menescal's desire to migrate to the field of art with an approach to contemporary issues. Her production expands at an intense, original and invariably creative pace. The artist maintains lightness and poetry in her visual compositions, without leaving aside irony and criticism of current times. Her artworks are mostly inspired by music and movies. She held individual and group exhibitions in Rio de Janeiro. She participated in the SP-Arte fair in 2022 and in ArtRio fair in 2020 and 2022. Her artwork has been selected by the Royal Academy of Arts for the Summer Exhibition 2022.   Education   She went to Law School and practiced Intellectual Property and Fashion Law bridging a gap between Law and Fashion. In 2017, she became a fashion stylist, graduating with international certification from IRCNY (Image Resource Center of New York). Since 2021, Ela has attended Creative Thinking lectures and courses ministered by Scottish Charles Watson who is an independent researcher living in Rio de Janeiro and investigates the creative process.   Select Exhibitions/Awards   Exhibition 'Day Dreaming' (2019) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'I See You' (2020) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'Saravá' (2022) - Galeria Anita Schwartz, Rio de Janeiro Exhibition 'Summer Exhibition 2022' (2022) - Royal Academy of Arts, London Art Fairs: ArtRio - Rio de Janeiro's International Art Festival (2020) - Galeria Martha Pagy Escritório de Arte SP-Arte - São Paulo's International Art Festival (2022) - Galeria Anita Schwartz ArtRio - Rio de Janeiro's Internacional Art Festival (2022) - Galeria Anita Schwartz   Gallery Representation   2018 - 2021 Galeria Martha Pagy Escritório de Arte, Rio de Janeiro 2022 - Galeria Anita Schwartz, Rio de Janeiro   Statement about AOAP Submitted Artwork OPEN ARMS, 2021 Mixed media, collages and 
printing on Hahnemühle 310g paper 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

Ela Menescal Revelation, 2022 Mixed Media, Collage and Printing on Hahnemühle 310g Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   The art of Ela Menescal serves as a playful platform that, in its narrative, seeks to bring together elements that are sometimes contradictory but that are tuned in new senses and directions. Her work plays with the viewer's memories of childhood through metaphors with pop culture icons and images from her own childhood memories, resulting in a unique approach, with a touch of humor and irreverence. Ela Menescal is a Brazilian artist born on February 5, 1987, in Rio de Janeiro. She grew up in a musical and artistic environment; her own school notebooks were notably expressive and fun. Her collage works began at first, as a way of disseminating fashion and style. From these compositions, Ela Menescal's desire to migrate to the field of art with an approach to contemporary issues. Her production expands at an intense, original and invariably creative pace. The artist maintains lightness and poetry in her visual compositions, without leaving aside irony and criticism of current times. Her artworks are mostly inspired by music and movies. She held individual and group exhibitions in Rio de Janeiro. She participated in the SP-Arte fair in 2022 and in ArtRio fair in 2020 and 2022. Her artwork has been selected by the Royal Academy of Arts for the Summer Exhibition 2022.   Education   She went to Law School and practiced Intellectual Property and Fashion Law bridging a gap between Law and Fashion. In 2017, she became a fashion stylist, graduating with international certification from IRCNY (Image Resource Center of New York). Since 2021, Ela has attended Creative Thinking lectures and courses ministered by Scottish Charles Watson who is an independent researcher living in Rio de Janeiro and investigates the creative process.   Select Exhibitions/Awards   Exhibition 'Day Dreaming' (2019) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'I See You' (2020) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'Saravá' (2022) - Galeria Anita Schwartz, Rio de Janeiro Exhibition 'Summer Exhibition 2022' (2022) - Royal Academy of Arts, London Art Fairs: ArtRio - Rio de Janeiro's International Art Festival (2020) - Galeria Martha Pagy Escritório de Arte SP-Arte - São Paulo's International Art Festival (2022) - Galeria Anita Schwartz ArtRio - Rio de Janeiro's Internacional Art Festival (2022) - Galeria Anita Schwartz   Gallery Representation   2018 - 2021 Galeria Martha Pagy Escritório de Arte, Rio de Janeiro 2022 - Galeria Anita Schwartz, Rio de Janeiro   Statement about AOAP Submitted Artwork REVELATION, 2022 Reinterpretation of 'The Last Supper' (1498) painting by Leonardo da Vinci Mixed media, collages and 
printing on Hahnemühle 310g paper 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

Lois Wallace Field of Fire, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Lois Wallace is a contemporary painter who trained at the Slade School of Art.   Education   B.A Fine Art (Painting) Coventry Polytechnic. HDFA The Slade School of Art, University College London.   Select Exhibitions/Awards   Recent selected solo exhibitions 2022 Silent fire PS Mirabel gallery, Manchester, 2020 Small worlds The Old Lock up gallery, 2019 Perfect Day International project space Birmingham, 2019 Other Places Tarpey Gallery. Selected Group Shows Royal Academy Summer exhibition 2022, 2017, 2016 and 2015; Beep Painting Biennial, 2022; New Light touring exhibition 2020-21. Other exhibitions include The Discerning Eye 2018 and the Columbia Threadneedle competition where she was awarded a finalist prize. .   Gallery Representation   Raab Gallery Berlin. Saul Hay Gallery. McAllister Thomas Fine Art.   Statement about AOAP Submitted Artwork   Blaze and Field of fire are paintings of imagined places that depict fragility and disquiet through the tonality of light and atmosphere. The paintings are located within the genre of the sublime and are aligned to the tradition of English landscape painting. 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    

Lois Wallace Blaze, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Lois Wallace is a contemporary painter who trained at the Slade School of Art.   Education   B.A Fine Art (Painting) Coventry Polytechnic. HDFA The Slade School of Art, University College London.   Select Exhibitions/Awards   Recent selected solo exhibitions 2022 Silent fire PS Mirabel gallery, Manchester, 2020 Small worlds The Old Lock up gallery, 2019 Perfect Day International project space Birmingham, 2019 Other Places Tarpey Gallery. Selected Group Shows Royal Academy Summer exhibition 2022, 2017, 2016 and 2015; Beep Painting Biennial, 2022; New Light touring exhibition 2020-21. Other exhibitions include The Discerning Eye 2018 and the Columbia Threadneedle competition where she was awarded a finalist prize. .   Gallery Representation   Raab Gallery Berlin. Saul Hay Gallery. McAllister Thomas Fine Art.   Statement about AOAP Submitted Artwork   Blaze and Field of fire are paintings of imagined places that depict fragility and disquiet through the tonality of light and atmosphere. The paintings are located within the genre of the sublime and are aligned to the tradition of English landscape painting. 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    

James Springall Movers and Shakers, 2022 Collage on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   James Springall (b.1977) is a British artist who primarily works with found images from book and magazine pages that he reappropriates to take out of context. His work has been included in group exhibitions at the Royal Academy of Arts, Feinkunst Krüger and Saatchi Gallery, commissioned by VICE and Rough Trade, and profiled in The Age of Collage 3 (Gestalten). He has curated exhibitions of contemporary collage art for Jealous Gallery in London and the Viborg Museum in Denmark. He lives and works in Pécharmant, France.   Select Exhibitions/Awards   LESS Festival Viborg, Denmark 2020 Art Car Boot Fair Dreamland, Margate, UK 2019 The Age of Collage Feinkunst Krüger Gallery, Hamburg, Germany 2019 Tribute to Viborg, 1018 - 2018 Viborg Museum, Viborg, Denmark 2018 The International Weird Collage Show Jealous Gallery, London, UK 2018 London Original Print Fair Royal Academy of Arts, London, UK 2017 50 x 50 II Saatchi Gallery, London, UK 2017 Jealous Needs You Jealous Gallery, London, UK 2016   Gallery Representation   LIE Gallery (UK). Don't Walk, Walk Gallery (UK).   Statement about AOAP Submitted Artwork   These four works, made specifically for the AOAP Winter auction, are in keeping with my regular practice of reappropriating found materials in order to make something new. By reusing, reassembling, recombining, erasing, rephrasing, redacting, adding and subtracting, I am resuscitating long forgotten imagery and bringing it back to life in different forms. 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    

James Springall Foot, 2022 Collage on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   James Springall (b.1977) is a British artist who primarily works with found images from book and magazine pages that he reappropriates to take out of context. His work has been included in group exhibitions at the Royal Academy of Arts, Feinkunst Krüger and Saatchi Gallery, commissioned by VICE and Rough Trade, and profiled in The Age of Collage 3 (Gestalten). He has curated exhibitions of contemporary collage art for Jealous Gallery in London and the Viborg Museum in Denmark. He lives and works in Pécharmant, France.   Select Exhibitions/Awards   LESS Festival Viborg, Denmark 2020 Art Car Boot Fair Dreamland, Margate, UK 2019 The Age of Collage Feinkunst Krüger Gallery, Hamburg, Germany 2019 Tribute to Viborg, 1018 - 2018 Viborg Museum, Viborg, Denmark 2018 The International Weird Collage Show Jealous Gallery, London, UK 2018 London Original Print Fair Royal Academy of Arts, London, UK 2017 50 x 50 II Saatchi Gallery, London, UK 2017 Jealous Needs You Jealous Gallery, London, UK 2016   Gallery Representation   LIE Gallery (UK). Don't Walk, Walk Gallery (UK).   Statement about AOAP Submitted Artwork   These four works, made specifically for the AOAP Winter auction, are in keeping with my regular practice of reappropriating found materials in order to make something new. By reusing, reassembling, recombining, erasing, rephrasing, redacting, adding and subtracting, I am resuscitating long forgotten imagery and bringing it back to life in different forms. 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    

James Springall Magic Tip, 2022 Collage on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   James Springall (b.1977) is a British artist who primarily works with found images from book and magazine pages that he reappropriates to take out of context. His work has been included in group exhibitions at the Royal Academy of Arts, Feinkunst Krüger and Saatchi Gallery, commissioned by VICE and Rough Trade, and profiled in The Age of Collage 3 (Gestalten). He has curated exhibitions of contemporary collage art for Jealous Gallery in London and the Viborg Museum in Denmark. He lives and works in Pécharmant, France.   Select Exhibitions/Awards   LESS Festival Viborg, Denmark 2020 Art Car Boot Fair Dreamland, Margate, UK 2019 The Age of Collage Feinkunst Krüger Gallery, Hamburg, Germany 2019 Tribute to Viborg, 1018 - 2018 Viborg Museum, Viborg, Denmark 2018 The International Weird Collage Show Jealous Gallery, London, UK 2018 London Original Print Fair Royal Academy of Arts, London, UK 2017 50 x 50 II Saatchi Gallery, London, UK 2017 Jealous Needs You Jealous Gallery, London, UK 2016   Gallery Representation   LIE Gallery (UK). Don't Walk, Walk Gallery (UK).   Statement about AOAP Submitted Artwork   These four works, made specifically for the AOAP Winter auction, are in keeping with my regular practice of reappropriating found materials in order to make something new. By reusing, reassembling, recombining, erasing, rephrasing, redacting, adding and subtracting, I am resuscitating long forgotten imagery and bringing it back to life in different forms. 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    

James Springall Adverse Conditions, 2022 Collage on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   James Springall (b.1977) is a British artist who primarily works with found images from book and magazine pages that he reappropriates to take out of context. His work has been included in group exhibitions at the Royal Academy of Arts, Feinkunst Krüger and Saatchi Gallery, commissioned by VICE and Rough Trade, and profiled in The Age of Collage 3 (Gestalten). He has curated exhibitions of contemporary collage art for Jealous Gallery in London and the Viborg Museum in Denmark. He lives and works in Pécharmant, France.   Select Exhibitions/Awards   LESS Festival Viborg, Denmark 2020 Art Car Boot Fair Dreamland, Margate, UK 2019 The Age of Collage Feinkunst Krüger Gallery, Hamburg, Germany 2019 Tribute to Viborg, 1018 - 2018 Viborg Museum, Viborg, Denmark 2018 The International Weird Collage Show Jealous Gallery, London, UK 2018 London Original Print Fair Royal Academy of Arts, London, UK 2017 50 x 50 II Saatchi Gallery, London, UK 2017 Jealous Needs You Jealous Gallery, London, UK 2016   Gallery Representation   LIE Gallery (UK). Don't Walk, Walk Gallery (UK).   Statement about AOAP Submitted Artwork   These four works, made specifically for the AOAP Winter auction, are in keeping with my regular practice of reappropriating found materials in order to make something new. By reusing, reassembling, recombining, erasing, rephrasing, redacting, adding and subtracting, I am resuscitating long forgotten imagery and bringing it back to life in different forms. 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    

Henrike Gomber Curly King, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   HENRIKE GOMBER is a German artist who has lived many lives. She was first a ceramic artist, before working as a designer, mostly digital and conceptual. She has now decided to retire from the fashion and trends industry to dedicate herself to color. Her work explores the relationships between people, with a fascinated eye. Her characters are raw, dark and playful at the same time. As she says herself, painting enables her to express nasty emotions, and mad feelings. 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    

Henrike Gomber Firehead, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   HENRIKE GOMBER is a German artist who has lived many lives. She was first a ceramic artist, before working as a designer, mostly digital and conceptual. She has now decided to retire from the fashion and trends industry to dedicate herself to color. Her work explores the relationships between people, with a fascinated eye. Her characters are raw, dark and playful at the same time. As she says herself, painting enables her to express nasty emotions, and mad feelings. 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    

Henrike Gomber O.T. (1), 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   HENRIKE GOMBER is a German artist who has lived many lives. She was first a ceramic artist, before working as a designer, mostly digital and conceptual. She has now decided to retire from the fashion and trends industry to dedicate herself to color. Her work explores the relationships between people, with a fascinated eye. Her characters are raw, dark and playful at the same time. As she says herself, painting enables her to express nasty emotions, and mad feelings. 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    

Henrike Gomber O.T. (2), 2022 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   HENRIKE GOMBER is a German artist who has lived many lives. She was first a ceramic artist, before working as a designer, mostly digital and conceptual. She has now decided to retire from the fashion and trends industry to dedicate herself to color. Her work explores the relationships between people, with a fascinated eye. Her characters are raw, dark and playful at the same time. As she says herself, painting enables her to express nasty emotions, and mad feelings. 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    

Bronwen Malcolm Black Pond, 2022 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Bronwen Malcolm works in central London. Trained at St Martins, Malcolm had her first exhibition in her second year of her degree. The show sold out. On graduation Malcolm continued to develop her own style, constantly reassessing her own visual language. Her paintings are largely narratives, drawing on her vivid imagination. Her love of drawing led to a series of large nude and horse studies in 1987. These were produced by blowing and brushing graphite powder onto damped paper. The resulting work was shown at a one man show at the Diorama Gallery. Following four months travelling in India and Nepal in 1990, Malcolm produced a body of work based on her travels and the people she had met. By 1993 Malcolm was being represented by the Thackeray Gallery in London, who showed her work extensively both in the UK and the USA. In 2003 Malcolm began a series of paintings based loosely on the lives of the saints. The work was a tapestry of research into not just the saints, but the cults and superstitions that have grown around them. Some of the renderings were based on real people often in contemporary settings, often satirical. Weaving the anecdotal with symbols and often bizarre facts about the saints, the works explored stories that are largely unfamiliar today. The exhibition was at Gallery 286. Since then Malcolm has been experimenting with a new pictorial language that is much looser than her early work. She has had recent success at the Discerning Eye and Royal Academy.   Education   Wimbledon School of Art 1981-82, St Martins School of Art 1982-85   Select Exhibitions/Awards   Statement about AOAP Submitted Artwork   They are from a series of work I'm building. 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    

Bronwen Malcolm Squirrels, 2022 Watercolour and Ink on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Bronwen Malcolm works in central London. Trained at St Martins, Malcolm had her first exhibition in her second year of her degree. The show sold out. On graduation Malcolm continued to develop her own style, constantly reassessing her own visual language. Her paintings are largely narratives, drawing on her vivid imagination. Her love of drawing led to a series of large nude and horse studies in 1987. These were produced by blowing and brushing graphite powder onto damped paper. The resulting work was shown at a one man show at the Diorama Gallery. Following four months travelling in India and Nepal in 1990, Malcolm produced a body of work based on her travels and the people she had met. By 1993 Malcolm was being represented by the Thackeray Gallery in London, who showed her work extensively both in the UK and the USA. In 2003 Malcolm began a series of paintings based loosely on the lives of the saints. The work was a tapestry of research into not just the saints, but the cults and superstitions that have grown around them. Some of the renderings were based on real people often in contemporary settings, often satirical. Weaving the anecdotal with symbols and often bizarre facts about the saints, the works explored stories that are largely unfamiliar today. The exhibition was at Gallery 286. Since then Malcolm has been experimenting with a new pictorial language that is much looser than her early work. She has had recent success at the Discerning Eye and Royal Academy.   Education   Wimbledon School of Art 1981-82, St Martins School of Art 1982-85   Select Exhibitions/Awards   Statement about AOAP Submitted Artwork   They are from a series of work I'm building. 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    

Tomàs Morell The Spanish English Lady, 2022 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Tomàs Morell was born in Barcelona, 1964, and moved to Germany with his family in 1974, where he attended university, and subsequently lived in Nurnberg, Erlangen, Berlin, Cologne, Frankfurt. He currently lives between Barcelona and Albons (Empordà), Spain.   Education   Morell graduated from the "Kunst Akademie", Nuremberg, Germany, with a Fine Arts degree in 1990. He subsequently studied graphic design and communication in the "Escola Massana", Barcelona, Spain, where he graduated in 1994.   Select Exhibitions/Awards   Solo exhibitions: 2021- "Pirouettes for beginners", Art Enllà Gallery, Barcelona, Spain. 2020- "Déjà-vu", Erlanger Kunstverein, Germany. 2014- "Ecce Homo, How to become Who You Are", Galerie Steiner, Berlin, Germany. 2018- Painting, Enigma and Desire 2", Experimental Centre for the Arts, Vallgrassa, Begues. 2017- "Painting, Enigma and Desire" H2O Gallery, Barcelona. Group exhibitions: 2022- "Polychromy", Artualgallery, Beirut, Libanon. 2022- "Offline Exhibition", Tinimini Room, Dordrecht, NL. 2021- "Needful things", Uxval Gochez Gallery, Barcelona. 2020- "Mira Barcelona", Pfaffenhofener Kunstverein, Germany. 1998- "The Partnaire Symptom", Gallery Maeght, Barcelona. 1997- "Painting" and 1996- "Affinita", Castello di Rivara, Turin, curated by Franz Paludetto and Carolin Lindig.   Gallery Representation   Uxval Gochez Gallery, Barcelona, Spain.   Statement about AOAP Submitted Artwork   The work that Tomàs Morell presents at Art on a Postcard is a collection of four miniature paintings made in the summer of 2022. He is interested in exploring ideas related to the identity of women and femininity, using contemporary stereotypical imagery, interwoven with memories and personal experiences. The invented scenes are humorous as they allude to the debate surrounding gender identity, and while emphasizing irony in order to approach the human condition, the paintings are testimonies of a deep admiration and love for the feminine. 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    

Tomàs Morell Femme Fatale With Red Hair, 2022 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Tomàs Morell was born in Barcelona, 1964, and moved to Germany with his family in 1974, where he attended university, and subsequently lived in Nurnberg, Erlangen, Berlin, Cologne, Frankfurt. He currently lives between Barcelona and Albons (Empordà), Spain.   Education   Morell graduated from the "Kunst Akademie", Nuremberg, Germany, with a Fine Arts degree in 1990. He subsequently studied graphic design and communication in the "Escola Massana", Barcelona, Spain, where he graduated in 1994.   Select Exhibitions/Awards   Solo exhibitions: 2021- "Pirouettes for beginners", Art Enllà Gallery, Barcelona, Spain. 2020- "Déjà-vu", Erlanger Kunstverein, Germany. 2014- "Ecce Homo, How to become Who You Are", Galerie Steiner, Berlin, Germany. 2018- Painting, Enigma and Desire 2", Experimental Centre for the Arts, Vallgrassa, Begues. 2017- "Painting, Enigma and Desire" H2O Gallery, Barcelona. Group exhibitions: 2022- "Polychromy", Artualgallery, Beirut, Libanon. 2022- "Offline Exhibition", Tinimini Room, Dordrecht, NL. 2021- "Needful things", Uxval Gochez Gallery, Barcelona. 2020- "Mira Barcelona", Pfaffenhofener Kunstverein, Germany. 1998- "The Partnaire Symptom", Gallery Maeght, Barcelona. 1997- "Painting" and 1996- "Affinita", Castello di Rivara, Turin, curated by Franz Paludetto and Carolin Lindig.   Gallery Representation   Uxval Gochez Gallery, Barcelona, Spain.   Statement about AOAP Submitted Artwork   The work that Tomàs Morell presents at Art on a Postcard is a collection of four miniature paintings made in the summer of 2022. He is interested in exploring ideas related to the identity of women and femininity, using contemporary stereotypical imagery, interwoven with memories and personal experiences. The invented scenes are humorous as they allude to the debate surrounding gender identity, and while emphasizing irony in order to approach the human condition, the paintings are testimonies of a deep admiration and love for the feminine. 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    

Tomàs Morell Women With Curls, 2022 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Tomàs Morell was born in Barcelona, 1964, and moved to Germany with his family in 1974, where he attended university, and subsequently lived in Nurnberg, Erlangen, Berlin, Cologne, Frankfurt. He currently lives between Barcelona and Albons (Empordà), Spain.   Education   Morell graduated from the "Kunst Akademie", Nuremberg, Germany, with a Fine Arts degree in 1990. He subsequently studied graphic design and communication in the "Escola Massana", Barcelona, Spain, where he graduated in 1994.   Select Exhibitions/Awards   Solo exhibitions: 2021- "Pirouettes for beginners", Art Enllà Gallery, Barcelona, Spain. 2020- "Déjà-vu", Erlanger Kunstverein, Germany. 2014- "Ecce Homo, How to become Who You Are", Galerie Steiner, Berlin, Germany. 2018- Painting, Enigma and Desire 2", Experimental Centre for the Arts, Vallgrassa, Begues. 2017- "Painting, Enigma and Desire" H2O Gallery, Barcelona. Group exhibitions: 2022- "Polychromy", Artualgallery, Beirut, Libanon. 2022- "Offline Exhibition", Tinimini Room, Dordrecht, NL. 2021- "Needful things", Uxval Gochez Gallery, Barcelona. 2020- "Mira Barcelona", Pfaffenhofener Kunstverein, Germany. 1998- "The Partnaire Symptom", Gallery Maeght, Barcelona. 1997- "Painting" and 1996- "Affinita", Castello di Rivara, Turin, curated by Franz Paludetto and Carolin Lindig.   Gallery Representation   Uxval Gochez Gallery, Barcelona, Spain.   Statement about AOAP Submitted Artwork   The work that Tomàs Morell presents at Art on a Postcard is a collection of four miniature paintings made in the summer of 2022. He is interested in exploring ideas related to the identity of women and femininity, using contemporary stereotypical imagery, interwoven with memories and personal experiences. The invented scenes are humorous as they allude to the debate surrounding gender identity, and while emphasizing irony in order to approach the human condition, the paintings are testimonies of a deep admiration and love for the feminine. 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    

Tomàs Morell Femme Avec Des Boucles Au Bord De La Mer, 2022 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Tomàs Morell was born in Barcelona, 1964, and moved to Germany with his family in 1974, where he attended university, and subsequently lived in Nurnberg, Erlangen, Berlin, Cologne, Frankfurt. He currently lives between Barcelona and Albons (Empordà), Spain.   Education   Morell graduated from the "Kunst Akademie", Nuremberg, Germany, with a Fine Arts degree in 1990. He subsequently studied graphic design and communication in the "Escola Massana", Barcelona, Spain, where he graduated in 1994.   Select Exhibitions/Awards   Solo exhibitions: 2021- "Pirouettes for beginners", Art Enllà Gallery, Barcelona, Spain. 2020- "Déjà-vu", Erlanger Kunstverein, Germany. 2014- "Ecce Homo, How to become Who You Are", Galerie Steiner, Berlin, Germany. 2018- Painting, Enigma and Desire 2", Experimental Centre for the Arts, Vallgrassa, Begues. 2017- "Painting, Enigma and Desire" H2O Gallery, Barcelona. Group exhibitions: 2022- "Polychromy", Artualgallery, Beirut, Libanon. 2022- "Offline Exhibition", Tinimini Room, Dordrecht, NL. 2021- "Needful things", Uxval Gochez Gallery, Barcelona. 2020- "Mira Barcelona", Pfaffenhofener Kunstverein, Germany. 1998- "The Partnaire Symptom", Gallery Maeght, Barcelona. 1997- "Painting" and 1996- "Affinita", Castello di Rivara, Turin, curated by Franz Paludetto and Carolin Lindig.   Gallery Representation   Uxval Gochez Gallery, Barcelona, Spain.   Statement about AOAP Submitted Artwork   The work that Tomàs Morell presents at Art on a Postcard is a collection of four miniature paintings made in the summer of 2022. He is interested in exploring ideas related to the identity of women and femininity, using contemporary stereotypical imagery, interwoven with memories and personal experiences. The invented scenes are humorous as they allude to the debate surrounding gender identity, and while emphasizing irony in order to approach the human condition, the paintings are testimonies of a deep admiration and love for the feminine. 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    

Simon Bartram Billy The Third, 2022 Oil and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Simon was born in Jarrow and brought up in Hebburn in an area of northeast England that was previously defined by heavy industries such as shipbuilding and mining. He paints and draws a selection of post industrial men who, somewhat stereotypically, find their identities in the clothes they wear, the haircuts they sport and the football team they follow. They live in real and imaginary towns and cities that are intersected by rivers that flow east into the North Sea. Above them, the skies are intersected by the vapour trails of aeroplanes leaving for places far away. The painted men, however, always stay and, going forward, it is Simon's ambition to look beyond their haircuts and hoodies and explore who they really are and how they fit into their changing environment.   Education   Birmingham Polytechnic, Illustration (BA) 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    

Brian McKenzie Hanging Bosci Suits, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos.   Education   Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype.   Select Exhibitions/Awards   Exhibited at the Royal Academy Summer show several times   Gallery Representation   Something Gallery   Statement about AOAP Submitted Artwork   I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused.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   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    

Brian McKenzie Hanging Bosci Suits II, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos.   Education   Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype.   Select Exhibitions/Awards   Exhibited at the Royal Academy Summer show several times   Gallery Representation   Something Gallery   Statement about AOAP Submitted Artwork   I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. 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    

Brian McKenzie Collecting Mutated Plants Near Fukushima Daiichi Reactor, 2022 Etching Signed verso 10 x 15cm (3¾ x 5¾ in.) About   My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos.   Education   Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype.   Select Exhibitions/Awards   Exhibited at the Royal Academy Summer show several times   Gallery Representation   Something Gallery   Statement about AOAP Submitted Artwork   I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. 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    

Brian McKenzie Fungal Dream, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos.   Education   Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype.   Select Exhibitions/Awards   Exhibited at the Royal Academy Summer show several times   Gallery Representation   Something Gallery   Statement about AOAP Submitted Artwork   I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. 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