Zoë Zimmer Mirror No. 2 Digital Photo Collage/Giclée Print on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Artist and Photographer, Zoë Zimmer, was born and raised in London. At fifteen she started modelling, and seven years later transitioned into working as a photographer and graphic artist. Self-taught, she initially started working in fashion and portrait photography while living between London and Los Angeles. Her work has appeared in editorial magazines such as Volt, TWELV, and EXIT, and her portrait work includes Morgan Freeman among others. She has also been featured in various publications such as British Vogue, Tatler, The Observer, The Telegraph and on Dazed Digital. Zoë later turned her focus to working on photo based graphic art and digital collages - which she art directs, shoots, edits and designs herself, and often features self-portraiture - as well as brand collaborations, and album artwork for major labels and recording artists.
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Anita Klein Cuddling Maggie Linocut and Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anita Klein was born in Sydney, Australia in 1960 and studied at both Chelsea School of Art and Slade School of Art, where she was awarded the Henrique Scholarship in 1982 and 1983. In 1985 Anita was made a fellow of the Royal Society of Painter Printmakers and was later elected their President in 2002. Public collectors of her work include the Arts Council of Great Britain, The British Museum and London University, and she has exhibited across Britain, Europe, America, India and Australia, including at the ICA and the Royal Academy in London. At a time when the art world seems to be full of artists attempting to shock and denigrate, Anita Klein's intimate, life affirming work comes as a welcome breath of fresh air. Her personal celebrations of everyday living rendered with humour, sensitivity and beauty reveal a joyful delight in the 'dailiness of life'* (*Mel Gooding, 'Anita Klein Painter; Printmaker'). Anita's art is an archive of personal moments that everyone can identify with. Witty, charismatic, warm and poignant, she is one of Britain's finest and most prominent artists and printmakers of the 21st century.
Anita Klein After Bedtime Linocut and Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anita Klein was born in Sydney, Australia in 1960 and studied at both Chelsea School of Art and Slade School of Art, where she was awarded the Henrique Scholarship in 1982 and 1983. In 1985 Anita was made a fellow of the Royal Society of Painter Printmakers and was later elected their President in 2002. Public collectors of her work include the Arts Council of Great Britain, The British Museum and London University, and she has exhibited across Britain, Europe, America, India and Australia, including at the ICA and the Royal Academy in London. At a time when the art world seems to be full of artists attempting to shock and denigrate, Anita Klein's intimate, life affirming work comes as a welcome breath of fresh air. Her personal celebrations of everyday living rendered with humour, sensitivity and beauty reveal a joyful delight in the 'dailiness of life'* (*Mel Gooding, 'Anita Klein Painter; Printmaker'). Anita's art is an archive of personal moments that everyone can identify with. Witty, charismatic, warm and poignant, she is one of Britain's finest and most prominent artists and printmakers of the 21st century.
Anita Klein Wading Linocut and Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Anita Klein was born in Sydney, Australia in 1960 and studied at both Chelsea School of Art and Slade School of Art, where she was awarded the Henrique Scholarship in 1982 and 1983. In 1985 Anita was made a fellow of the Royal Society of Painter Printmakers and was later elected their President in 2002. Public collectors of her work include the Arts Council of Great Britain, The British Museum and London University, and she has exhibited across Britain, Europe, America, India and Australia, including at the ICA and the Royal Academy in London. At a time when the art world seems to be full of artists attempting to shock and denigrate, Anita Klein's intimate, life affirming work comes as a welcome breath of fresh air. Her personal celebrations of everyday living rendered with humour, sensitivity and beauty reveal a joyful delight in the 'dailiness of life'* (*Mel Gooding, 'Anita Klein Painter; Printmaker'). Anita's art is an archive of personal moments that everyone can identify with. Witty, charismatic, warm and poignant, she is one of Britain's finest and most prominent artists and printmakers of the 21st century.
Anita Klein The Striped Top Linocut and Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Anita Klein was born in Sydney, Australia in 1960 and studied at both Chelsea School of Art and Slade School of Art, where she was awarded the Henrique Scholarship in 1982 and 1983. In 1985 Anita was made a fellow of the Royal Society of Painter Printmakers and was later elected their President in 2002. Public collectors of her work include the Arts Council of Great Britain, The British Museum and London University, and she has exhibited across Britain, Europe, America, India and Australia, including at the ICA and the Royal Academy in London. At a time when the art world seems to be full of artists attempting to shock and denigrate, Anita Klein's intimate, life affirming work comes as a welcome breath of fresh air. Her personal celebrations of everyday living rendered with humour, sensitivity and beauty reveal a joyful delight in the 'dailiness of life'* (*Mel Gooding, 'Anita Klein Painter; Printmaker'). Anita's art is an archive of personal moments that everyone can identify with. Witty, charismatic, warm and poignant, she is one of Britain's finest and most prominent artists and printmakers of the 21st century.
Mandy Payne Study of Southbank Ink and Spraypaint on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Painter/printmaker based in Sheffield whose work focuses on urban landscape, with a particular interest in gentrification, social housing and Brutalist architecture. For her paintings she usually paints on concrete and employs spray paint, referencing the sites she is depicting. Art is a second career, she originally trained as a dentist and spent 25 years working in the Community and Hospital NHS dental services before a career change 10 years ago to work as a full-time artist. Education BDS (Manchester University) MDent Sci (Leeds University) BA Fine Art (Nottingham University) 2 year Fellowship in Stone Lithography at Leicester Print Workshop Select Exhibitions/Awards John Moores Painting Prize 2014 (Prize winner), and exhibited 2016 and 2020 New Light Arts Prize 2015 (First Prize Winer), and exhibited 2017 and 2020 John Ruskin Prize 2014 (Runner up) Work included in: Royal Academy Summer Exhibition 2014, 2015 ,2016, 2017, 2018, 2019 Contemporary British Painting Prize 2016 Threadneedle Prize. Mall Galleries, London 2013 Lynn Painter Stainers Prize, Mall Galleries, London 2019 Figurative Art Now, Mall Galleries, London, 2020 Wells Art Contemporary 2020 Elizabeth Greenshield Foundation Award 2017 Arts Council of England Award, 2015 and 2019 Gallery Representation Saul Hay Gallery, Manchester and Tarpey Gallery Castle Donnington, Ffin y Parc Gallery, Conwy Statement about AOAP Submitted Artwork 4 cards submitted- all made during lockdown when a lot of the materials I usually work with were in short supply, which forced me to experiment with things I had to hand in my studio. Finca 1 and 2 were made whilst experimenting, trying to create concrete like textures with liquid graphite. Exeter Court is a social housing estate in South Kilburn which is about to be demolished, and the Southbank is one of my favourite Brutalist buildings. Both were studies for larger paintings that I subsequently made.
Mandy Payne Study of Exeter Court Spraypaint, Acrylic and Marker Pen on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Painter/printmaker based in Sheffield whose work focuses on urban landscape, with a particular interest in gentrification, social housing and Brutalist architecture. For her paintings she usually paints on concrete and employs spray paint, referencing the sites she is depicting. Art is a second career, she originally trained as a dentist and spent 25 years working in the Community and Hospital NHS dental services before a career change 10 years ago to work as a full-time artist. Education BDS (Manchester University) MDent Sci (Leeds University) BA Fine Art (Nottingham University) 2 year Fellowship in Stone Lithography at Leicester Print Workshop Select Exhibitions/Awards John Moores Painting Prize 2014 (Prize winner), and exhibited 2016 and 2020 New Light Arts Prize 2015 (First Prize Winer), and exhibited 2017 and 2020 John Ruskin Prize 2014 (Runner up) Work included in: Royal Academy Summer Exhibition 2014, 2015 ,2016, 2017, 2018, 2019 Contemporary British Painting Prize 2016 Threadneedle Prize. Mall Galleries, London 2013 Lynn Painter Stainers Prize, Mall Galleries, London 2019 Figurative Art Now, Mall Galleries, London, 2020 Wells Art Contemporary 2020 Elizabeth Greenshield Foundation Award 2017 Arts Council of England Award, 2015 and 2019 Gallery Representation Saul Hay Gallery, Manchester and Tarpey Gallery Castle Donnington, Ffin y Parc Gallery, Conwy Statement about AOAP Submitted Artwork 4 cards submitted- all made during lockdown when a lot of the materials I usually work with were in short supply, which forced me to experiment with things I had to hand in my studio. Finca 1 and 2 were made whilst experimenting, trying to create concrete like textures with liquid graphite. Exeter Court is a social housing estate in South Kilburn which is about to be demolished, and the Southbank is one of my favourite Brutalist buildings. Both were studies for larger paintings that I subsequently made.
Mandy Payne Finca I Liquid Graphite and Spray Paint on Somerset Newsprint Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painter/printmaker based in Sheffield whose work focuses on urban landscape, with a particular interest in gentrification, social housing and Brutalist architecture. For her paintings she usually paints on concrete and employs spray paint, referencing the sites she is depicting. Art is a second career, she originally trained as a dentist and spent 25 years working in the Community and Hospital NHS dental services before a career change 10 years ago to work as a full-time artist. Education BDS (Manchester University) MDent Sci (Leeds University) BA Fine Art (Nottingham University) 2 year Fellowship in Stone Lithography at Leicester Print Workshop Select Exhibitions/Awards John Moores Painting Prize 2014 (Prize winner), and exhibited 2016 and 2020 New Light Arts Prize 2015 (First Prize Winer), and exhibited 2017 and 2020 John Ruskin Prize 2014 (Runner up) Work included in: Royal Academy Summer Exhibition 2014, 2015 ,2016, 2017, 2018, 2019 Contemporary British Painting Prize 2016 Threadneedle Prize. Mall Galleries, London 2013 Lynn Painter Stainers Prize, Mall Galleries, London 2019 Figurative Art Now, Mall Galleries, London, 2020 Wells Art Contemporary 2020 Elizabeth Greenshield Foundation Award 2017 Arts Council of England Award, 2015 and 2019 Gallery Representation Saul Hay Gallery, Manchester and Tarpey Gallery Castle Donnington, Ffin y Parc Gallery, Conwy Statement about AOAP Submitted Artwork 4 cards submitted- all made during lockdown when a lot of the materials I usually work with were in short supply, which forced me to experiment with things I had to hand in my studio. Finca 1 and 2 were made whilst experimenting, trying to create concrete like textures with liquid graphite. Exeter Court is a social housing estate in South Kilburn which is about to be demolished, and the Southbank is one of my favourite Brutalist buildings. Both were studies for larger paintings that I subsequently made.
Mandy Payne Finca II Liquid Graphite and Spray Paint on Somerset Newsprint Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painter/printmaker based in Sheffield whose work focuses on urban landscape, with a particular interest in gentrification, social housing and Brutalist architecture. For her paintings she usually paints on concrete and employs spray paint, referencing the sites she is depicting. Art is a second career, she originally trained as a dentist and spent 25 years working in the Community and Hospital NHS dental services before a career change 10 years ago to work as a full-time artist. Education BDS (Manchester University) MDent Sci (Leeds University) BA Fine Art (Nottingham University) 2 year Fellowship in Stone Lithography at Leicester Print Workshop Select Exhibitions/Awards John Moores Painting Prize 2014 (Prize winner), and exhibited 2016 and 2020 New Light Arts Prize 2015 (First Prize Winer), and exhibited 2017 and 2020 John Ruskin Prize 2014 (Runner up) Work included in: Royal Academy Summer Exhibition 2014, 2015 ,2016, 2017, 2018, 2019 Contemporary British Painting Prize 2016 Threadneedle Prize. Mall Galleries, London 2013 Lynn Painter Stainers Prize, Mall Galleries, London 2019 Figurative Art Now, Mall Galleries, London, 2020 Wells Art Contemporary 2020 Elizabeth Greenshield Foundation Award 2017 Arts Council of England Award, 2015 and 2019 Gallery Representation Saul Hay Gallery, Manchester and Tarpey Gallery Castle Donnington, Ffin y Parc Gallery, Conwy Statement about AOAP Submitted Artwork 4 cards submitted- all made during lockdown when a lot of the materials I usually work with were in short supply, which forced me to experiment with things I had to hand in my studio. Finca 1 and 2 were made whilst experimenting, trying to create concrete like textures with liquid graphite. Exeter Court is a social housing estate in South Kilburn which is about to be demolished, and the Southbank is one of my favourite Brutalist buildings. Both were studies for larger paintings that I subsequently made.
Angela Brittain Feeling Flirty Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About As an artist who has started my creative career as a graphic designer working in London advertising agencies and design studios, the artists I like and the work I do has a strong graphic quality of composition and colour. As I progress, my work is becoming more abstract but is usually about people and unspoken communication. So much of the way we interact with people and animals is not uttered and observing this dance of understanding between us is fascinating to me. Education After leaving school I embarked on a 4 year Foundation and Graphic course at Epsom School of Art Select Exhibitions/Awards I exhibit annually at the Russell Galley in Putney and at the Society of Women Artists exhibition in the Mall, London. I also exhibit in the south of England, the USA and Italy. Gallery Representation Society of Women Artists, London, Russell Galley, Putney, The Mineral Point Gallery Wisconsin. Saatchi Online, Artfinder online Statement about AOAP Submitted Artwork The postcard pieces I have submitted for the auction are about the joy of music, dance and love. All worth adding more in our lives!
Angela Brittain Feeling Loving Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About As an artist who has started my creative career as a graphic designer working in London advertising agencies and design studios, the artists I like and the work I do has a strong graphic quality of composition and colour. As I progress, my work is becoming more abstract but is usually about people and unspoken communication. So much of the way we interact with people and animals is not uttered and observing this dance of understanding between us is fascinating to me. Education After leaving school I embarked on a 4 year Foundation and Graphic course at Epsom School of Art Select Exhibitions/Awards I exhibit annually at the Russell Galley in Putney and at the Society of Women Artists exhibition in the Mall, London. I also exhibit in the south of England, the USA and Italy. Gallery Representation Society of Women Artists, London, Russell Galley, Putney, The Mineral Point Gallery Wisconsin. Saatchi Online, Artfinder online Statement about AOAP Submitted Artwork The postcard pieces I have submitted for the auction are about the joy of music, dance and love. All worth adding more in our lives!
Pippa Blake Little Amal: The Walk I Acrylic, Gouache and Pastel on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Pippa Blake was born in Portsmouth, England in 1954, and studied Fine Art (Painting) at Camberwell College of Art, London from 1972 to 1976 gaining BA Honours (First Class). In 2005 she graduated from the Visual Arts Programme, West Dean College, Sussex with a Postgraduate Diploma (Distinction). Blake has travelled the world extensively but now lives and works on Chichester Harbour near the Hampshire/Sussex border, UK. She exhibits frequently both in the UK and New Zealand. She serves as a founding Trustee for BLAKE, an organisation in New Zealand inspiring environmental leadership. Education Camberwell School of Art, 1972 - 76: BA Hons Fine Art (First Class) West Dean College , 2004-2005: Post Graduate Diploma (Distinction) Select Exhibitions/Awards Several solo exhibitions from 1995 onwards with the last 'On the Road 'at Candida Stevens Gallery in July 2020 - next solo show being there in October 2022. I have exhibited frequently in both New Zealand and the UK, I have twice been artist in residence at Chichester Festival Theatre with three large scale paintings being shown at Pallant House Gallery in 2016. I was also an artist in residence on a research vessel between Newfoundland and Iceland back in 2006. Gallery Representation Candida Stevens Gallery Statement about AOAP Submitted Artwork Being International Women's Day I looked for a subject that fitted, a deviation from my landscape-based work. I chose Little Amal, the 3.5 metre high puppet who 'walked' with puppeteers from Syria to Manchester on an art project called The Walk to highlight the urgent needs of young refugees. I feel she represents the many marginalised women having to deal with life under dire circumstances.
Angela Brittain Feeling Musical Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About As an artist who has started my creative career as a graphic designer working in London advertising agencies and design studios, the artists I like and the work I do has a strong graphic quality of composition and colour. As I progress, my work is becoming more abstract but is usually about people and unspoken communication. So much of the way we interact with people and animals is not uttered and observing this dance of understanding between us is fascinating to me. Education After leaving school I embarked on a 4 year Foundation and Graphic course at Epsom School of Art Select Exhibitions/Awards I exhibit annually at the Russell Galley in Putney and at the Society of Women Artists exhibition in the Mall, London. I also exhibit in the south of England, the USA and Italy. Gallery Representation Society of Women Artists, London, Russell Galley, Putney, The Mineral Point Gallery Wisconsin. Saatchi Online, Artfinder online Statement about AOAP Submitted Artwork The postcard pieces I have submitted for the auction are about the joy of music, dance and love. All worth adding more in our lives!
Anastasia Lopoukhine Someone's Hands Pen on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Anastasia Lopoukhine is a French-Russian artist educated in the UK, the US and Russia. Anastasia makes large scale pen and ink drawings, sometimes adding watercolour and oil pastel to build a sense of tactility. The detailed nature of the process gives Anastasia's work an intensity, often lifted with a hint of wry humour. Her approach is that of a narrator inspired by events in history or by personal experiences in different corners of the world. Anastasia holds an MAScot from the University of Edinburgh in History and Russian studies and an MFA from the New York Academy of Art, where she majored in Drawing and Printmaking. Over the past decade Anastasia has participated in group exhibitions and auctions in London, Moscow and New York. Education Stowe School, UK: 2009-2014 The University of Edinburgh, UK: MAScot, 2015-2019 The New York Academy of Art, US: MFA, 2019-2021. Select Exhibitions/Awards TriBeCa Ball, New York, 2020/2021 Réaction Exhibition, London, 2020 Susan Eley Fine Art, Online Show 'Ghost of Presence', New York, September 2021 The Russian Artist Fund, Group Show at the Museum of Applied Arts, Moscow, October 2021 The Christmas Group Show, A3 Gallery, Moscow 17 December 2021 - 17 January 2022 Statement about AOAP Submitted Artwork I wanted to draw what was around me when I opened the envelope with the cards: my favorite chair at my friend's house and my boyfriend's hands. I drew both in pen for that is my medium of choice.
Anastasia Shimshilashvili Oxford Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I was born in Moscow in 1987. I started my art education in 1998 at the Moscow State Academy Art Lyceum of The Russian Academy of Arts. I believe that a large part of my knowledge and skill was developed at the lyceum. The Surikov Art Institute was a logical progression of my academic training. I got admitted into the Faculty of Painting and after my 2nd year, I got accepted into the Department of Monumental Art. There, I learnt various techniques such as making church frescos, mosaics, breadboarding etc. Following graduation, I have focused a substantial amount of my time on teaching fine art to eager students, running a YouTube Art Channel, and recently publishing a 'self-teach' art book based on my teaching methods in Russia. The most important aspect is the character of each personage and tone. I like to work on different pieces with different technologies simultaneously. This way I never get tired of one particular work and I can enjoy diversity during my work. Education MA in Fine Art Faculty of Painting, Surikov Academic Institute of Art, Moscow at 2011 BA Monumental Art Workshop of Monumental Art, Faculty of Painting, V. Surikov Moscow State Academy Art Institute, Moscow, Russian Federation 2009 Architectural Graphics and Drawing Introduction to Architecture and Design. Moscow Architectural Institute, Moscow, Russian Federation 2004-2005 Secondary, Higher Secondary Education Specialisation in Painting and Graphic Art - Studio No.1 under V.E. Elizarov, Moscow State Academy Art Lyceum, Moscow, Russian Federation 1998-2005 Select Exhibitions/Awards Royal Society of British Artists Royal Institute of Painters in Water Colours Saatchi The Other Art Fair The Sunday Times Watercolour Competition The Biennial Ruth Borchard Self-Portrait Prize Figurative ART now New English Art Club Society of Women Artists The Pastel Society Sky Portrait Artist of the Year Sky Landscape Artist of the Year Young Artists of Russia Exhibitions of Moscow Union of Artists
Uta Schotten Untitled 1 Pigment Print on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Uta Schotten lives and works in Cologne, Germany. *1972 in Haarlem (NL) Education 1991-1992 Frankfurt am Main, Städelschule, University of Art under Prof. Jörg Immendorff 1992-1996 Braunschweig University of Art Prof. Steven McKenna, Prof. Arwed Gorella 1996-1999 Kunstakademie Düsseldorf, University of Art Prof. Rissa, Prof. Siegfried Anzinger 1998 Special appointment as Prof. Siegfried Anzinger's Master student Final Exams, 1999 Diploma at Kunstakademie Düsseldorf, University of Art Since 1999 International und national Exhibitions Freelance Painter 2003-2005 Sculptor in Prof. Tony Cragg's studio Select Exhibitions/Awards Group Exhibitions (Selection) 2020 Galerie Aurel Scheibler, Berlin With A.R. Penck, Francis Picabia, Egon Schiele, Andy Warhol, among others. 2020 BBK Leipzig 2019 Kunstpalast Düsseldorf, Museum Ehrenhof, Düsseldorf 2019 Royal Academy of Arts, London 2018 Entfesselte Natur, Hamburger Kunsthalle, Hamburg With Caspar David Friedrich, Theódore Dericault, Johann Wolfgang von Goethe, Eugene Isabey, Martin Kippenberger, Carl Friedrich Lessing, Marcel Odenbach, Thomas Struth 2018 Kunstverein Kunstgruppe, Köln With Siegfried Anziger, Rosemarie Trockel, Gerd und Uwe Tobias, among others. 2017 Picture this, Galerie Rasche Ripken, Berlin Rik de Boe, Jochen Mura, Hein Spellmann 2017 Gabriele Münter Preis, Akademie der Künste, Berlin With Valie Export among others. 2017 Achromatic, Galerie Biesenbach, Köln 2016 Royal Academy of Arts, London With Marina Abramovic, Georg Baselitz, Anna und Bernhard Blume, Fischli, Peter Davis Weiss, Gilbert und George, Idris Kahn, Dir Anish Kapoor, Anselm Kiefer, Thomas Ruff Gallery Representation Galerie Michael Heufelder, München/Munich Galerie Rasche Ripken, Berlin Statement about AOAP Submitted Artwork Paradise is inside you
Uta Schotten Untitled 2 Pigment Print on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Uta Schotten lives and works in Cologne, Germany. *1972 in Haarlem (NL) Education 1991-1992 Frankfurt am Main, Städelschule, University of Art under Prof. Jörg Immendorff 1992-1996 Braunschweig University of Art Prof. Steven McKenna, Prof. Arwed Gorella 1996-1999 Kunstakademie Düsseldorf, University of Art Prof. Rissa, Prof. Siegfried Anzinger 1998 Special appointment as Prof. Siegfried Anzinger's Master student Final Exams, 1999 Diploma at Kunstakademie Düsseldorf, University of Art Since 1999 International und national Exhibitions Freelance Painter 2003-2005 Sculptor in Prof. Tony Cragg's studio Select Exhibitions/Awards Group Exhibitions (Selection) 2020 Galerie Aurel Scheibler, Berlin With A.R. Penck, Francis Picabia, Egon Schiele, Andy Warhol, among others. 2020 BBK Leipzig 2019 Kunstpalast Düsseldorf, Museum Ehrenhof, Düsseldorf 2019 Royal Academy of Arts, London 2018 Entfesselte Natur, Hamburger Kunsthalle, Hamburg With Caspar David Friedrich, Theódore Dericault, Johann Wolfgang von Goethe, Eugene Isabey, Martin Kippenberger, Carl Friedrich Lessing, Marcel Odenbach, Thomas Struth 2018 Kunstverein Kunstgruppe, Köln With Siegfried Anziger, Rosemarie Trockel, Gerd und Uwe Tobias, among others. 2017 Picture this, Galerie Rasche Ripken, Berlin Rik de Boe, Jochen Mura, Hein Spellmann 2017 Gabriele Münter Preis, Akademie der Künste, Berlin With Valie Export among others. 2017 Achromatic, Galerie Biesenbach, Köln 2016 Royal Academy of Arts, London With Marina Abramovic, Georg Baselitz, Anna und Bernhard Blume, Fischli, Peter Davis Weiss, Gilbert und George, Idris Kahn, Dir Anish Kapoor, Anselm Kiefer, Thomas Ruff Gallery Representation Galerie Michael Heufelder, München/Munich Galerie Rasche Ripken, Berlin Statement about AOAP Submitted Artwork Paradise is inside you
Pippa Blake Little Amal: The Walk II Acrylic, Gouache and Pastel on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Pippa Blake was born in Portsmouth, England in 1954, and studied Fine Art (Painting) at Camberwell College of Art, London from 1972 to 1976 gaining BA Honours (First Class). In 2005 she graduated from the Visual Arts Programme, West Dean College, Sussex with a Postgraduate Diploma (Distinction). Blake has travelled the world extensively but now lives and works on Chichester Harbour near the Hampshire/Sussex border, UK. She exhibits frequently both in the UK and New Zealand. She serves as a founding Trustee for BLAKE, an organisation in New Zealand inspiring environmental leadership. Education Camberwell School of Art, 1972 - 76: BA Hons Fine Art (First Class) West Dean College , 2004-2005: Post Graduate Diploma (Distinction) Select Exhibitions/Awards Several solo exhibitions from 1995 onwards with the last 'On the Road 'at Candida Stevens Gallery in July 2020 - next solo show being there in October 2022. I have exhibited frequently in both New Zealand and the UK, I have twice been artist in residence at Chichester Festival Theatre with three large scale paintings being shown at Pallant House Gallery in 2016. I was also an artist in residence on a research vessel between Newfoundland and Iceland back in 2006. Gallery Representation Candida Stevens Gallery Statement about AOAP Submitted Artwork Being International Women's Day I looked for a subject that fitted, a deviation from my landscape-based work. I chose Little Amal, the 3.5 metre high puppet who 'walked' with puppeteers from Syria to Manchester on an art project called The Walk to highlight the urgent needs of young refugees. I feel she represents the many marginalised women having to deal with life under dire circumstances.
Ritva Georgiades Midnight I Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Ritva was born and raised in North Finland and has lived in England many years. She is Mixed Media artist. She loves paper and makes collages with many layers to create textured surfaces. she also uses strings of beads that she makes to attach on top of the collages. Education BA (Honours) Surrey Institute of Art & Design Select Exhibitions/Awards RA Summer Exhibition, Discerning Eye - Mall Galleries, Society of Women Artists Gallery Representation McKay Williamson Statement about AOAP Submitted Artwork In her collage work Ritva seeks beauty and magic.
Ritva Georgiades Midnight II Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Ritva was born and raised in North Finland and has lived in England many years. She is Mixed Media artist. She loves paper and makes collages with many layers to create textured surfaces. she also uses strings of beads that she makes to attach on top of the collages. Education BA (Honours) Surrey Institute of Art & Design Select Exhibitions/Awards RA Summer Exhibition, Discerning Eye - Mall Galleries, Society of Women Artists Gallery Representation McKay Williamson Statement about AOAP Submitted Artwork In her collage work Ritva seeks beauty and magic.
Ritva Georgiades Midnight III Mixed Media on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ritva was born and raised in North Finland and has lived in England many years. She is Mixed Media artist. She loves paper and makes collages with many layers to create textured surfaces. she also uses strings of beads that she makes to attach on top of the collages. Education BA (Honours) Surrey Institute of Art & Design Select Exhibitions/Awards RA Summer Exhibition, Discerning Eye - Mall Galleries, Society of Women Artists Gallery Representation McKay Williamson Statement about AOAP Submitted Artwork In her collage work Ritva seeks beauty and magic.
Ritva Georgiades Midnight IV Mixed Media on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ritva was born and raised in North Finland and has lived in England many years. She is Mixed Media artist. She loves paper and makes collages with many layers to create textured surfaces. she also uses strings of beads that she makes to attach on top of the collages. Education BA (Honours) Surrey Institute of Art & Design Select Exhibitions/Awards RA Summer Exhibition, Discerning Eye - Mall Galleries, Society of Women Artists Gallery Representation McKay Williamson Statement about AOAP Submitted Artwork In her collage work Ritva seeks beauty and magic.
Katarina Ranković Personal Fleet Pen Drawing on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Katarina Rankovic (b.1994) is a video, drawing and text-based artist exploring the extent to which personhood is encoded in character, and whether fictional characters can be reverse engineered into something approximating persons; a kind of literary prototype of general artificial intelligence. Current projects include 'Empathy Drawings', a means of becoming other through the body of line; 'Anomaline', a novel about an anti-person; 'Vernacular Spectacular', a one-woman empathy circus, and 'Scripting for Agency', a PhD project at Goldsmiths College. As a Serb born in Yorkshire, raised in Norway and working in London, both the theory and practice of Katarina's work originates from the daily necessity of inhabiting and switching between many selves. Education PhD Art - Goldsmiths College, 2019-2022 MA Fine Art - Central Saint Martins, 2016-2018 BA Fine Art (Painting) - Wimbledon College of Arts, 2013-2016 Select Exhibitions/Awards New Writing with New Contemporaries, South London Gallery, 19 February 2022 Bloomberg New Contemporaries 2021, South London Gallery, 10 Dec 2021 - 20 Feb 2022 Bloomberg New Contemporaries 2021, Firstsite Gallery, Colchester, 25 Sept - 28 Nov 2021 Ridiculous! Elephant West, London, 9 Jan - 2 Feb 2020 Pseudo, Perfomistanbul Performance Research Archive, 2020 Vernacular Spectacular, solo exhibition, Tension Fine Art, 9 Aug - 7 Sept 2019 Winner of the Golden Aesop Grand Prix in Contemporary Art at the 24th Biennial of Humour and Satire, Gabrovo, Bulgaria, 2019 TBCTV, Somerset House, London, 3 - 7 Oct 2018 Xhibit 2018, Art Bermondsey Project Space, 19 Apr - 12 May 2018 NOVA Awards; Aberystwyth Arts Center, Royal Cambrian Society, Arcade Cardiff, 26 Jan - 1 Apr 2018 Art to Artillery, short film commissioned by NOWNESS and Louis Vuitton Moët Hennessy, 2017 Winner of Refinery29 Artist Vision Award, 2017 Altered Realities, Lethaby Gallery, London, 22 Feb - 15 Mar 2017 Blind Scripting, Tate Exchange, Tate Modern, 13 Jan, 2017 Blind Scripting, Nottingham Contemporary, 1 - 2 Dec 2016 Crypt Residency, Crypt Gallery, London, Oct 2016 A Ritual Resuscitation of Eternal Lovers, The Cockpit Theatre, London, 21 Dec 2015 The Doctor, Artists' Locomotion Moving Image Festival, London, 2 - 4 May 2014 Statement about AOAP Submitted Artwork These improvised ink drawings are part of a strand of my practice called 'Empathy Drawings'. The drawings grow out of an initial appreciation of the medium itself; the body of the line. I then imagine the line that comes out of my pen to be an enviable body, something which I desire to wriggle into like a second skin. The line is a perfectly impressionable being which yields to the vibrations of my fledgling intent. I discover myself in them. By empathising with the line I create for myself a spiritual prosthesis through which I can temporarily become other, like a dancer slipping into character.
Katarina Ranković Stage Moose Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Katarina Rankovic (b.1994) is a video, drawing and text-based artist exploring the extent to which personhood is encoded in character, and whether fictional characters can be reverse engineered into something approximating persons; a kind of literary prototype of general artificial intelligence. Current projects include 'Empathy Drawings', a means of becoming other through the body of line; 'Anomaline', a novel about an anti-person; 'Vernacular Spectacular', a one-woman empathy circus, and 'Scripting for Agency', a PhD project at Goldsmiths College. As a Serb born in Yorkshire, raised in Norway and working in London, both the theory and practice of Katarina's work originates from the daily necessity of inhabiting and switching between many selves. Education PhD Art - Goldsmiths College, 2019-2022 MA Fine Art - Central Saint Martins, 2016-2018 BA Fine Art (Painting) - Wimbledon College of Arts, 2013-2016 Select Exhibitions/Awards New Writing with New Contemporaries, South London Gallery, 19 February 2022 Bloomberg New Contemporaries 2021, South London Gallery, 10 Dec 2021 - 20 Feb 2022 Bloomberg New Contemporaries 2021, Firstsite Gallery, Colchester, 25 Sept - 28 Nov 2021 Ridiculous! Elephant West, London, 9 Jan - 2 Feb 2020 Pseudo, Perfomistanbul Performance Research Archive, 2020 Vernacular Spectacular, solo exhibition, Tension Fine Art, 9 Aug - 7 Sept 2019 Winner of the Golden Aesop Grand Prix in Contemporary Art at the 24th Biennial of Humour and Satire, Gabrovo, Bulgaria, 2019 TBCTV, Somerset House, London, 3 - 7 Oct 2018 Xhibit 2018, Art Bermondsey Project Space, 19 Apr - 12 May 2018 NOVA Awards; Aberystwyth Arts Center, Royal Cambrian Society, Arcade Cardiff, 26 Jan - 1 Apr 2018 Art to Artillery, short film commissioned by NOWNESS and Louis Vuitton Moët Hennessy, 2017 Winner of Refinery29 Artist Vision Award, 2017 Altered Realities, Lethaby Gallery, London, 22 Feb - 15 Mar 2017 Blind Scripting, Tate Exchange, Tate Modern, 13 Jan, 2017 Blind Scripting, Nottingham Contemporary, 1 - 2 Dec 2016 Crypt Residency, Crypt Gallery, London, Oct 2016 A Ritual Resuscitation of Eternal Lovers, The Cockpit Theatre, London, 21 Dec 2015 The Doctor, Artists' Locomotion Moving Image Festival, London, 2 - 4 May 2014 Statement about AOAP Submitted Artwork These improvised ink drawings are part of a strand of my practice called 'Empathy Drawings'. The drawings grow out of an initial appreciation of the medium itself; the body of the line. I then imagine the line that comes out of my pen to be an enviable body, something which I desire to wriggle into like a second skin. The line is a perfectly impressionable being which yields to the vibrations of my fledgling intent. I discover myself in them. By empathising with the line I create for myself a spiritual prosthesis through which I can temporarily become other, like a dancer slipping into character.
Janaina Tschäpe Winter I Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Janaina Tschäpe was born in Munich, Germany in 1973 and lives and works in New York. She has had solo exhibitions at the Den Frie Center of Contemporary Art, Copenhagen, Denmark; the Sarasota Art Museum, Florida; the Musée L'Orangerie, Paris, France; the Museum of Contemporary Art Tucson, Arizona; Kasama Nichido Museum of Art, Kasama, Japan; the Irish Museum of Modern Art, Dublin, Ireland, and the Contemporary Museum of Art, St Louis. She has been featured in numerous group exhibitions at venues including The Lewis Glucksman Gallery, Cork, Ireland; NCA Taipei, Taiwan; Whitechapel Gallery, London; TBA21-Augarten, Vienna, Austria; CCBB, Rio de Janeiro, Brazil; Centre D'Art Contemporain de Normandie, France; 21st Century Museum of Contemporary Art, Nanazawa, Japan; Instituto Tomie Ohtake, São Paulo; Storefront for Art and Architecture, New York; National Museum of Women in the Arts, Washington D.C.; Pratt Manhattan Gallery; OCA Museu da Cidade, São Paulo; Kunsthal Kade, Netherlands; Cidade Matarazzo, São Paulo, Brazil; Ronnebaeksholm, Denmark; Cultural Centro Banco do Brazil in Belo Horizonte, Brazil; Museum of Fine Arts Boston, Massachusetts; and Museum of Contemporary Art Taipei, Taiwan. Tchäpe's work is found in important public collections including Centre Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Harvard Art Museum, Cambridge, Massachusetts; Museu de Arte Moderna do Rio de Janeiro, Brazil; Moderna Museet, Stockholm, Sweden; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; and the Solomon R. Guggenheim Museum, New York, among others. She has completed public commissions in New York City; Miami Beach, Florida; São Paulo, Brazil; and Holbæk, Denmark. Education 1997-1998 Master in Fine Arts, School of Visual Arts, New York 1992-1997 Bachelor of Fine Arts, Hochschule für bilende Künste, Hamburg, Germany Gallery Representation Sean Kelly Gallery in New York / Fortes D'Aloia & Gabriel, São Paulo, Brazil / Galleri Bo Bjerggaard, Copenhagen, Denmark / nca | nichido contemporary art, Tokyo, Japan
Janaina Tschäpe Winter II Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Janaina Tschäpe was born in Munich, Germany in 1973 and lives and works in New York. She has had solo exhibitions at the Den Frie Center of Contemporary Art, Copenhagen, Denmark; the Sarasota Art Museum, Florida; the Musée L'Orangerie, Paris, France; the Museum of Contemporary Art Tucson, Arizona; Kasama Nichido Museum of Art, Kasama, Japan; the Irish Museum of Modern Art, Dublin, Ireland, and the Contemporary Museum of Art, St Louis. She has been featured in numerous group exhibitions at venues including The Lewis Glucksman Gallery, Cork, Ireland; NCA Taipei, Taiwan; Whitechapel Gallery, London; TBA21-Augarten, Vienna, Austria; CCBB, Rio de Janeiro, Brazil; Centre D'Art Contemporain de Normandie, France; 21st Century Museum of Contemporary Art, Nanazawa, Japan; Instituto Tomie Ohtake, São Paulo; Storefront for Art and Architecture, New York; National Museum of Women in the Arts, Washington D.C.; Pratt Manhattan Gallery; OCA Museu da Cidade, São Paulo; Kunsthal Kade, Netherlands; Cidade Matarazzo, São Paulo, Brazil; Ronnebaeksholm, Denmark; Cultural Centro Banco do Brazil in Belo Horizonte, Brazil; Museum of Fine Arts Boston, Massachusetts; and Museum of Contemporary Art Taipei, Taiwan. Tchäpe's work is found in important public collections including Centre Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Harvard Art Museum, Cambridge, Massachusetts; Museu de Arte Moderna do Rio de Janeiro, Brazil; Moderna Museet, Stockholm, Sweden; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; and the Solomon R. Guggenheim Museum, New York, among others. She has completed public commissions in New York City; Miami Beach, Florida; São Paulo, Brazil; and Holbæk, Denmark. Education 1997-1998 Master in Fine Arts, School of Visual Arts, New York 1992-1997 Bachelor of Fine Arts, Hochschule für bilende Künste, Hamburg, Germany Gallery Representation Sean Kelly Gallery in New York / Fortes D'Aloia & Gabriel, São Paulo, Brazil / Galleri Bo Bjerggaard, Copenhagen, Denmark / nca | nichido contemporary art, Tokyo, Japan
Pippa Blake Little Amal: The Walk III Acrylic, Gouache and Pastel on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Pippa Blake was born in Portsmouth, England in 1954, and studied Fine Art (Painting) at Camberwell College of Art, London from 1972 to 1976 gaining BA Honours (First Class). In 2005 she graduated from the Visual Arts Programme, West Dean College, Sussex with a Postgraduate Diploma (Distinction). Blake has travelled the world extensively but now lives and works on Chichester Harbour near the Hampshire/Sussex border, UK. She exhibits frequently both in the UK and New Zealand. She serves as a founding Trustee for BLAKE, an organisation in New Zealand inspiring environmental leadership. Education Camberwell School of Art, 1972 - 76: BA Hons Fine Art (First Class) West Dean College , 2004-2005: Post Graduate Diploma (Distinction) Select Exhibitions/Awards Several solo exhibitions from 1995 onwards with the last 'On the Road 'at Candida Stevens Gallery in July 2020 - next solo show being there in October 2022. I have exhibited frequently in both New Zealand and the UK, I have twice been artist in residence at Chichester Festival Theatre with three large scale paintings being shown at Pallant House Gallery in 2016. I was also an artist in residence on a research vessel between Newfoundland and Iceland back in 2006. Gallery Representation Candida Stevens Gallery Statement about AOAP Submitted Artwork Being International Women's Day I looked for a subject that fitted, a deviation from my landscape-based work. I chose Little Amal, the 3.5 metre high puppet who 'walked' with puppeteers from Syria to Manchester on an art project called The Walk to highlight the urgent needs of young refugees. I feel she represents the many marginalised women having to deal with life under dire circumstances.
Lindy Norton Man Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a practicing artist, printmaker and illustrator. I live and work in Yorkshire. Education MA in Printmaking (Chelsea School of Art), MA in Children's Book Illustration (Anglia Ruskin, Cambridge) Select Exhibitions/Awards Highly Commended Macmillan Prize 2018. Silver Award, Creative Conscience Competition 2019. Royal Academy Summer Show 2021. Various one man shows. New Light Prize Exhibition touring from 2020 to 2021 ending at Bankside Gallery London. Gallery Representation I am not represented by one gallery but have recently exhibited at various galleries including Ropewalk Gallery, (Lincolnshire), Salt Gallery, (Beverley) Royal Academy (Summer Show) Bankside Gallery (London) Statement about AOAP Submitted Artwork I have submitted four different postcards for the AOAP auction. These are snippets from various pieces of work, (including developmental sketchbook work) undertaken recently. My aim was to produce some images that may appeal, in order to raise money for this very worthwhile charity.
Lindy Norton The Journey Acrylic and Gouache on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am a practicing artist, printmaker and illustrator. I live and work in Yorkshire. Education MA in Printmaking (Chelsea School of Art), MA in Children's Book Illustration (Anglia Ruskin, Cambridge) Select Exhibitions/Awards Highly Commended Macmillan Prize 2018. Silver Award, Creative Conscience Competition 2019. Royal Academy Summer Show 2021. Various one man shows. New Light Prize Exhibition touring from 2020 to 2021 ending at Bankside Gallery London. Gallery Representation I am not represented by one gallery but have recently exhibited at various galleries including Ropewalk Gallery, (Lincolnshire), Salt Gallery, (Beverley) Royal Academy (Summer Show) Bankside Gallery (London) Statement about AOAP Submitted Artwork I have submitted four different postcards for the AOAP auction. These are snippets from various pieces of work, (including developmental sketchbook work) undertaken recently. My aim was to produce some images that may appeal, in order to raise money for this very worthwhile charity.
Lindy Norton Snow Child Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am a practicing artist, printmaker and illustrator. I live and work in Yorkshire. Education MA in Printmaking (Chelsea School of Art), MA in Children's Book Illustration (Anglia Ruskin, Cambridge) Select Exhibitions/Awards Highly Commended Macmillan Prize 2018. Silver Award, Creative Conscience Competition 2019. Royal Academy Summer Show 2021. Various one man shows. New Light Prize Exhibition touring from 2020 to 2021 ending at Bankside Gallery London. Gallery Representation I am not represented by one gallery but have recently exhibited at various galleries including Ropewalk Gallery, (Lincolnshire), Salt Gallery, (Beverley) Royal Academy (Summer Show) Bankside Gallery (London) Statement about AOAP Submitted Artwork I have submitted four different postcards for the AOAP auction. These are snippets from various pieces of work, (including developmental sketchbook work) undertaken recently. My aim was to produce some images that may appeal, in order to raise money for this very worthwhile charity.
Lindy Norton Jeopardy Gouache on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am a practicing artist, printmaker and illustrator. I live and work in Yorkshire. Education MA in Printmaking (Chelsea School of Art), MA in Children's Book Illustration (Anglia Ruskin, Cambridge) Select Exhibitions/Awards Highly Commended Macmillan Prize 2018. Silver Award, Creative Conscience Competition 2019. Royal Academy Summer Show 2021. Various one man shows. New Light Prize Exhibition touring from 2020 to 2021 ending at Bankside Gallery London. Gallery Representation I am not represented by one gallery but have recently exhibited at various galleries including Ropewalk Gallery, (Lincolnshire), Salt Gallery, (Beverley) Royal Academy (Summer Show) Bankside Gallery (London) Statement about AOAP Submitted Artwork I have submitted four different postcards for the AOAP auction. These are snippets from various pieces of work, (including developmental sketchbook work) undertaken recently. My aim was to produce some images that may appeal, in order to raise money for this very worthwhile charity.
Helen Walsh Blue Shimmer Pen, Pastel and Collage on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am fascinated by the natural world, our connection to it and our place within it. I am interested in our desire to transcend, to move beyond what we know. The cycle of the seasons and of life change accordingly and I am interested in moving my practice forward through exploring this dichotomy. Birds and feathers are an important element in my creative practice. I'm inspired by the way they move, their plumage, their otherness. They are freer; their ability to fly suggests a means of escape, implying there is something to escape from. They are symbols of transcendence, linking the physical to the spiritual world. This theme occurs in myths and stories across cultures and throughout history. In my practice they represent us, our spirits and a desire to transcend and change. Drawing is a central element of my practice, it is the starting point and a means of creation in itself. I use drawing to research, explore and explain. Drawing is an excellent method of communication and I use a variety of drawing techniques in my participatory practice to support participants to explore and develop ideas. Increasing awareness of our impact on the environment and our responsibilities draws me to work more with natural materials. Creating my own dyes from responsibly foraged materials connects my work to the land; adding another layer to the spiral of connection. Education BA (Hons) Embroidery, Manchester Metropolitan University Select Exhibitions/Awards Scottish Drawing Competition Exhibition 2021 (Paisley Art Institute) Whither Shall I Wander? 2020-21 (Wildfowl and Wetlands Trust Caerlaverock) Stitched Art is Art 2019 (Society for Embroidered Work, London) Draw the Line 2017 (Surface Gallery, Nottingham) Wingspan 2017 (Farfield Mill, Sedbergh) Statement about AOAP Submitted Artwork Feathers (and birds) fascinate me; intricate, beautiful and so seemingly delicate yet incredibly strong. Drawing feathers allows me to explore this dichotomy and our relationship with the natural world.
Helen Walsh Spotty Feather Pen and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am fascinated by the natural world, our connection to it and our place within it. I am interested in our desire to transcend, to move beyond what we know. The cycle of the seasons and of life change accordingly and I am interested in moving my practice forward through exploring this dichotomy. Birds and feathers are an important element in my creative practice. I'm inspired by the way they move, their plumage, their otherness. They are freer; their ability to fly suggests a means of escape, implying there is something to escape from. They are symbols of transcendence, linking the physical to the spiritual world. This theme occurs in myths and stories across cultures and throughout history. In my practice they represent us, our spirits and a desire to transcend and change. Drawing is a central element of my practice, it is the starting point and a means of creation in itself. I use drawing to research, explore and explain. Drawing is an excellent method of communication and I use a variety of drawing techniques in my participatory practice to support participants to explore and develop ideas. Increasing awareness of our impact on the environment and our responsibilities draws me to work more with natural materials. Creating my own dyes from responsibly foraged materials connects my work to the land; adding another layer to the spiral of connection. Education BA (Hons) Embroidery, Manchester Metropolitan University Select Exhibitions/Awards Scottish Drawing Competition Exhibition 2021 (Paisley Art Institute) Whither Shall I Wander? 2020-21 (Wildfowl and Wetlands Trust Caerlaverock) Stitched Art is Art 2019 (Society for Embroidered Work, London) Draw the Line 2017 (Surface Gallery, Nottingham) Wingspan 2017 (Farfield Mill, Sedbergh) Statement about AOAP Submitted Artwork Feathers (and birds) fascinate me; intricate, beautiful and so seemingly delicate yet incredibly strong. Drawing feathers allows me to explore this dichotomy and our relationship with the natural world.
Helen Walsh Two Feathers Linocut Print on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am fascinated by the natural world, our connection to it and our place within it. I am interested in our desire to transcend, to move beyond what we know. The cycle of the seasons and of life change accordingly and I am interested in moving my practice forward through exploring this dichotomy. Birds and feathers are an important element in my creative practice. I'm inspired by the way they move, their plumage, their otherness. They are freer; their ability to fly suggests a means of escape, implying there is something to escape from. They are symbols of transcendence, linking the physical to the spiritual world. This theme occurs in myths and stories across cultures and throughout history. In my practice they represent us, our spirits and a desire to transcend and change. Drawing is a central element of my practice, it is the starting point and a means of creation in itself. I use drawing to research, explore and explain. Drawing is an excellent method of communication and I use a variety of drawing techniques in my participatory practice to support participants to explore and develop ideas. Increasing awareness of our impact on the environment and our responsibilities draws me to work more with natural materials. Creating my own dyes from responsibly foraged materials connects my work to the land; adding another layer to the spiral of connection. Education BA (Hons) Embroidery, Manchester Metropolitan University Select Exhibitions/Awards Scottish Drawing Competition Exhibition 2021 (Paisley Art Institute) Whither Shall I Wander? 2020-21 (Wildfowl and Wetlands Trust Caerlaverock) Stitched Art is Art 2019 (Society for Embroidered Work, London) Draw the Line 2017 (Surface Gallery, Nottingham) Wingspan 2017 (Farfield Mill, Sedbergh) Statement about AOAP Submitted Artwork Feathers (and birds) fascinate me; intricate, beautiful and so seemingly delicate yet incredibly strong. Drawing feathers allows me to explore this dichotomy and our relationship with the natural world.
JOAQUIN SUNYER DE MIRÓ (Sitges, Barcelona, 1874 - 1956)."Landscape".Oil on canvas.Signed in the lower right corner.Measurements: 50 x 61,5 cm.Considered one of the maximum representatives of the noucentista style, Sunyer was the nephew of the painter Joaquim de Miró i Argenter, with whom he started painting. His work is particularly notable for his landscapes and female nudes, as well as his portraits, which are far removed from traditional painting. His compositions are an example of balance, always seeking the evocative power of images, figures and atmospheres. After studying at the La Lonja School in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. That same year he took part in the Fine Arts Exhibition. Shortly afterwards he settled in Paris, where he specialised in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he became friends with Picasso and Hugué, and exhibited at the Salons. During his Parisian period he worked with real dedication, evolving towards a Post-Impressionist language. Between 1905 and 1906 he travelled around Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returned to Paris in 1907 and held several exhibitions in the French capital and Liège. He settled in Sitges in 1910, at a time when his style was gradually losing its post-impressionist influences and moving towards Mediterranean themes and the simplified canon figures of Cézanne. These years saw a major change in his painting, and he became a leading figure in Noucentisme. His new language, based on an essential composition of clear structures and sober, transparent colours, clearly Mediterranean, would create a school within Catalan art. The following year, in 1911, Sunyer organised a personal exhibition at the Faianç Catalá which placed him, after Nonell's death, at the head of Catalan painting at the time. During the following years he travelled and exhibited in Europe, but returned to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honour, and subsequently special galleries were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime's work. An anthological exhibition was also held in Madrid in 1974, commemorating the centenary of his birth. Joaquín Sunyer is currently represented at the MACBA, the Bilbao Fine Arts Museum, the Centre Georges Pompidou in Paris and the Reina Sofía National Art Centre in Madrid.
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962). "Pont Royal on the Seine River". Oil on cardboard. Signed in the lower right corner. Measures: 47 x 63,5 cm. The Parisian district of Montmartre deeply inspired a young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962). "Cabaret de Lapin Agile", Montmartre. Oil on canvas. Signed in the lower left corner. Size: 46 x 55 cm. The Parisian district of Montmartre deeply inspired a young and promising Elisée Maclet, just landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."Dancers.Oil on canvas.Signed in the lower left corner.Size: 51 x 41 cm; 60 x 50 cm (frame).A mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1920, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). The latter was surrounded by controversy, because Pruna won it for his oil painting "El vi de Chios", for which he used a photograph published in a Parisian pornographic magazine as a model. In response to the uproar, Pruna withdrew the prize, but the jury upheld its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, most notably the exhibition organised in London in 1937. At the same time he worked for Ridruejo's propaganda services, with works such as the poster commemorating the promulgation of the Labour Force, and Eugenio d'Ors, National Head of Fine Arts, introduced him to the Spanish representation at the Venice Biennale in 1938. After the war he combined easel painting exhibitions with mural painting, a genre in which his work in the Monastery of Montserrat was particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. His style, centred on a graceful, stylised female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, being fully in keeping with the classicist trend that appeared in Western art after the first wave of avant-gardism and of which his friend Cocteau was the driving force. Pruna focused on portraiture and above all on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterised by a stylised, diaphanous line, and are in tune with the return to order that followed the rupture that Cubism represented in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space bearing his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.
RAMON NADAL HORRACH (Palma de Mallorca, 1913 - 1999)."Landscape", 1945.Oil on canvas.Signed and dated in the lower right-hand corner.Measurements: 65 x 84.5 cm; 82 x 99 cm (frame).Ramon Nadal trained with Llorenç Cerdà and Francesc Rosselló at the School of Arts and Crafts in Palma de Mallorca, and was introduced to the world of art thanks to his father. At the age of just thirteen he held his first exhibition, which was held at the La Veda gallery in Palma. In 1940 he took part in the founding of the Círculo de Bellas Artes in Palma, where he would later exhibit his works on several occasions. He mainly worked in oil painting, and his work encompasses practically all genres (figure, still life, portrait, etc.), although he is especially known for his landscapes. He belongs to the Mallorcan post-impressionist movement, and is noted for the consistency of his drawing. Throughout his career his work was recognised on several occasions, especially the Medal of Honour of the Círculo de Bellas Artes de Palma in 1952 and the City of Palma Prize the following year. Likewise, since 1964 he was a full member of the Royal Academy of Sant Sebastià. Some outstanding young artists were trained in his studio, such as Alicia Alcover, Miguel Llabrés, Antoni Alzamora, Juan Segura, Josep Manresa Clar and his nephew, Francisco Gaita. There is currently a street in Palma de Mallorca that bears his name, and his works form part of several collections, including that of the Can Prunera Museum in Sóller (Mallorca).
JOSÉ MONGRELL TORRENT (Valencia, 1870 - Barcelona, 1937)."Parrot".Oil on cardboard.Signed in the lower right corner.Size: 51 x 41 cm; 80 x 66 cm (frame).José Mongrell studied at the School of Fine Arts of San Carlos in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He gained artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master what helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others.
DIONISDIO FIERROS ÁLVAREZ (La Ballota, Asturias, 1827 - Madrid, 1894)."Cliffs".Watercolour on paper.Lack of glass.With restorations.Signed in the lower right corner.Measurements: 77 x 51 cm; 88 x 61 cm (frame).Born in a peasant environment, Dionisio Fierros trained in Madrid, first in the workshop of José Madrazo and then in that of his son Federico. At the same time he enrolled at the San Fernando Academy of Fine Arts and copied works at the Prado Museum. In 1885 he left the court and moved to Galicia, determined to succeed as a painter, and devoted himself to commissioned portraits, a genre in which he excelled with a strong personality, somewhere between realist and romantic. He remained in Galicia for three years and tirelessly painted portraits, landscapes and genre scenes featuring the popular types of the area. In 1860 Fierros took part in the National Exhibition of Fine Arts in Madrid and won one of the first medals with his painting "Romería en las cercanías de Santiago" ("Pilgrimage near Santiago"), which would give prestige in Madrid to the genre of genre painting, so popular at the time. He then travelled to Paris to complete his training, thanks to the protection of the Marquis of San Adrián, and on his return to Spain he settled in Santiago de Compostela, painting landscapes and popular Galician customs. He continued his picturesque wanderings, which took him to Salamanca, where he also left numerous testimonies of popular types. In 1866 he again took part in the National Competition and was again awarded a prize. Dionisio Fierros is currently represented in the Prado Museum, the Museum of Modern Art in Madrid, the National Museum of Fine Arts in Buenos Aires, the Pazo Quiñones de León in Vigo, the Provincial Museum in Lugo, the Museum of Fine Arts in Asturias, the University of Santiago de Compostela, the Museo Casa Natal de Jovellanos, the Royal Sites and various provincial and town councils, among others.
LUIS TABERNER Y MONTALVO (Madrid, 1844-1900)."Puttis".Oil on canvas. Re-coloured.With restorations.Signed in the lower left corner.Measurements: 49 x 82 cm.Trained at the School of Fine Arts of San Fernando in Madrid, Luis Taberner regularly attended the National Exhibitions of Fine Arts, where he presented, in 1871, the work "El propagandista". The Prado Museum documents that he was also present at the Madrid Horticultural Exhibition of 1881 with the painting entitled "Unas orzas". The Spanish art gallery continues, "A genre painter and skilful portraitist, his works include the Portrait of King Alfonso XII and those of Emilio Arrieta, Francisco A. Barbieri, Manuel Fernández Caballero and Francisco López Dóriga y Bustamante. He also practised decorative painting, of which numerous oil sketches have survived.
ISMAEL DE LA SERNA GONZÁLEZ (Guadix, Granada, 1898 - Paris, 1968)."Still life violin". Watercolour and coloured pencils.Signed in the lower right area.Size: 30 x 41,5 cm; 48 x 54,5 cm (frame).Ismael González de la Serna began his art studies in Granada and concluded them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.
JULIA MINGUILLÓN IGLESIAS (Lugo, 1907 - Madrid, 1965)."Landscape".Oil on panel.Signed in the lower right corner.Measurements: 70 x 48 cm; 82 x 58 cm (frame).Julia Minguillón began her artistic training at the age of eleven with the painter Castro Cires in Valladolid. She later completed her studies in Madrid, first at the School of Arts and Crafts and later at the San Fernando School of Fine Arts, finally graduating in 1932 as a teacher of drawing and painting. During these years of apprenticeship she was taught by Manuel Benedito, Cecilio Pla, Joaquín Valverde, Ignacio Pinazo and Eduardo Chicharro. Minguillón developed a personal style halfway between postmodernism and naturalism, and painted both landscapes and genre scenes, the latter brimming with a naive lyricism full of sensitivity that would mark later Galician painting. He became known through the National Exhibitions of Fine Arts, and in 1941 he was awarded a gold medal for "Escuela de Doloriñas" (Museo del Prado, on deposit at the Provincial Museum of Lugo). This work perfectly exemplifies Minguillón's style which, according to M.V. Carballo-Calero, is characterised by a tendency towards primitivism, which generally led him to paint on panel rather than on canvas, and by a schematic style with post-Cubist touches in its composition. She also took part in the most important international competitions, as well as in various group exhibitions. In 1948 she was awarded the Grand Prize for Fine Arts, and a year later she moved to Galicia, where she was appointed a corresponding member of the Galician Royal Academy. After a trip to America, in 1961 she settled permanently in Madrid, where she died four years later. She is currently mainly represented in the Provincial Museum of Lugo, although her works also form part of other collections such as the Nova Caixa Galicia, the Museum of Contemporary Art in Madrid and numerous museums in Galicia, the rest of Spain and abroad.
Micro mosaic; Rome, ca. 1850."View of St Peter's Square".Micro enamel tesserae.Size: 13 x 18 x 2 cm.Where mosaic art made its greatest inroads was in the reproduction of urban scenes that formed part of the Grand Tour routes. This bird's eye view of the city, specifically of St. Peter's Square, has the typical characteristics of this type of work. In the skyline, the colours range from the pinkish tones of the city skyline to the more cerulean tones of the atmosphere. A variety of ochre and earth tones describe the architecture.The art of micromosaic came to fruition during the 18th and 19th centuries. The term was coined by Sir Arthur Gilbert to refer to mosaics made with small pieces of enamel. The use of birds was common in Florentine mosaics to represent the seasons as early as the Renaissance, and became more frequent during the Baroque period, as emblems of purity and the soul. The art of micro-mosaic was born in the Vatican to cope with the deterioration of its collection of paintings. Realising that architectural mosaics retained their colour over time, the papal workshops began experimenting with the technique of glass mosaic to reproduce the masterpieces. The Vatican kept the secret of the formula that allowed an exact reproduction with micromosaics whose lack of gloss and chromatic quality made the copy indistinguishable from the original painting. As early as the 19th century, private workshops began to proliferate in Rome in response to the demand of the tourist market. Commercial mosaics became available in a variety of decorative pieces. Many of them are preserved in the Hermitage Museum in St Petersburg, in the Gilbert Collection in London and in the Vatican itself, whose workshops are probably responsible for this piece.
French school; second quarter of the 19th century."Portrait of a gentleman.Oil on canvas.It conserves its original canvas.Measurements: 51 x 40 cm; 70 x 60 cm (frame).Portrait of a gentleman who appears before the spectator in profile, although he seems to direct his sight slightly in such a way that he links with the gaze of the one who observes the piece. The work is executed with a rapid, sometimes sketchy brushstroke, although the artist does not lose interest in capturing the details, giving great importance to the hair and features of the subject.The work is clearly inspired by the portraits of Anton van Dyck, a key Flemish Baroque painter and one of the most important portraitists of the 17th century. The son of a cloth and silk merchant, which undoubtedly influenced his appreciation of textiles, Van Dyck began his training at the age of ten in the studio of Hendrick van Balen, who had spent several years in Italy and developed a markedly Italianate style. This period of Van Dyck's training coincided with Rubens' return from Italy, after which he produced a series of altarpieces for the churches of Antwerp, bringing with him a whole new visual language in its ambition, drama and colour, which fitted in well with the Counter-Reformation religiosity of the Spanish Netherlands. It is not surprising therefore that Van Balen's brilliant pupil soon joined the circle of Rubens. By 1620 Van Dyck was already his principal assistant, although he had his own independent studio in the city. During these years he devoted himself mainly to religious works and in 1620 he was invited to London to work for King James I. In February 1621 he was already in London. In February 1621 he returned to Antwerp and in October he left for Italy. During these months in his native city he began to emerge as a brilliant portraitist, with works such as the portrait of "Frans Snyders and his Wife" (Frick Collection, New York) and "Isabella Brant", the wife of Rubens (National Gallery, Washington). In Italy Van Dyck spent six years in Genoa, from where he visited Rome and Venice, always studying the works of earlier masters, particularly Venetians and especially Titian, whose influence would be evident throughout the rest of his career. He also visited Sicily, where he painted the portrait of the viceroy Manuel Filiberto of Savoy. In Genoa the Flemish artist became the most sought-after portraitist by the local aristocracy and in 1627 he returned to Antwerp with a solid reputation and was soon appointed painter to the Archduchess Isabella. However, he did not abandon religious painting, to which he devoted himself in particular between 1628 and 1630, during Rubens' absence from Antwerp. His religious works reveal characteristics typical of Counter-Reformation art, such as the profound religious sentiment and the reflection of the mystical fervour that pervaded the painter's own personality. In 1632 he moved to London again, this time at the request of King Charles I.
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921)."Arabian stay".Oil on canvas.Attached certificate issued by Don Ángel Castro.It presents restorations.Signed in the lower right corner.Measurements: 45 x 70,5 cm.José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre themes and "casacones". In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Bar scene".Oil crayon on paper.Signed in the lower right corner.Size: 25 x 20 cm; 48 x 42 cm (frame).Opisso was a painter, draughtsman and cartoonist. In his youth he took part in the modernist environment of Barcelona, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Familia. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his home town at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).In the scene proposed by Opisso, the author uses humour and caricature as he often does. With a forced point of view, from the lower, swooping area, Opisso portrays in the foreground a marine's attempt to kiss a beautiful woman. The positions of their bodies create diagonal lines, some of them opposing each other, especially if we look at the couple's legs. While the sailor aggressively approaches the woman, she is cornered at the right edge of the work, being subjected to his kiss. Meanwhile, in the background, the sailor's companions are also enjoying the effervescent atmosphere of the place.
JUAN BAUTISTA DE GUZMÁN ORANTE (Granada, 1850- Barcelona, 1898)."In a Granada Courtyard", Granada, 1889.Oil on canvas.Signed, dated and located in the lower right corner.Measurements: 61 x 98 cm.In this occasion Juan Bautista de Guzmán offers us a scene contextualised in the interior of a Granada courtyard with sandy grounds and beautiful gardens. A young girl, dressed in a beautiful dress with ruffles and red polka dots, listens attentively to the words of a gallant musketeer. The work continues Juan Bautista de Guzmán's style of painting, which is part of Andalusian genre painting, frequently depicting popular scenes of bullfighters, peasants, taverns and courtyards in Granada. Costumbrista genre painting was a characteristic exponent of Andalusian folklore during the period of the rise of Romanticism and 19th-century Orientalism. Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of Romanticism enlivened this trend, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanising and liberal national bourgeoisie which, also due to foreign influence and under the Romantic fashion, turned its eyes to the people and monuments of the past. This, which was general throughout Spain, was particularly prevalent in Andalusia, as this land was the dream destination of foreigners, and where the influence of the vision they had of the Spaniards and their peculiar customs had to be felt most strongly.Juan Bautista de Guzmán began his training at the School of Fine Arts in Granada and then went on to the San Fernando School in Madrid. A painter of popular Andalusian scenes, landscapes and orientalist themes, he held several exhibitions of his work and took part in artistic competitions and contests such as the Fine Arts Exhibitions in Granada in 1876 and Cadiz in 1879, winning prizes in both. He also took part in the National Exhibition in Madrid in 1881, presenting the genre-themed work "Confesión al aire libre" ("Confession in the Open Air"). His works also include the canvases entitled "El cepillo de las ánimas", "Interior de una taberna después de una corrida" ("Interior of a Tavern after a Bullfight") and "Una murga" ("A Murga"). A fervent admirer of Fortuny, Juan Bautista de Guzmán followed in the footsteps of the Catalan master and settled in Barcelona, where he died in 1898. He is currently represented in the Museum of Fine Arts and the Museum of Art and Culture in Granada.
PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."La blanche".1925Oil on canvas.Signed and dated in the lower right corner.Measurements: 116 x 89 cm; 135,5 x 108,5 cm (frame).The aura of Picasso's influence surrounds Pruna's work, and this is particularly evident in this work, which Pruna produced at a time when the most avant-garde European painters were looking back (to the Renaissance or Ancient Greece), reinventing classicism in their own way. Picasso was immersed in his classicist period when Pruna moved to Paris in the 1920s, and a relationship of friendship and mutual admiration began between them. The mark that the Malaga-born artist, in his post-Cubist period, left on Pruna is strongly felt in this painting. Elegance and simplicity are masterfully combined in this composition. The stylised profile of a young woman with her back to us is enhanced by the white scarf covering her black hair. A tight-fitting dress reveals the subtle swirl of her form. Faint silvery shadows define the curve of the buttocks, and these silvery glimpses reverberate on the girl's pearly flesh tones. Only a slight hint of crimson and the carmine of the fine lips interrupt the rich range of greys, which are also shared by the background. The room occupied by the figure is barely hinted at with a few linear strokes.A mainly self-taught painter, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). Following the outbreak of the Civil War, Pruna continued his international exhibition activity, and his exhibition in London in 1937 was particularly noteworthy. After the war he combined his easel painting exhibitions with mural painting, a genre in which his works in the monastery of Montserrat were particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. His style, centred on a graceful, stylised female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, being fully in keeping with the classicist trend that appeared in Western art after the first wave of avant-gardism and of which his friend Cocteau was the driving force. Pruna focused on portraiture and above all on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterised by a stylised, diaphanous line, and are in tune with the return to order that followed the rupture that Cubism represented in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space bearing his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.
French school; 19th century.Oil on canvas.Signed E. Delacroix.Presents X-ray and GSS analysis.Measurements: 65.5 x 81.5 cm; 81 x 98 cm (frame).In a sumptuous and delicate way the author of this work wraps the body of a naked young woman in rich fabrics. The woman, who adopts a languid, carefree pose, is oblivious to the viewer and absorbed in her own intimacy. This is a totally romantic attitude, the impossible attracts and fascinates the imagination, turning the image of the woman into a symbol of sensuality. It is the representation of an impossible because the romantics would never be able to find what they dreamed of, as they were realities that did not exist. It should also be noted that, within the subject matter of this nude, the author was inspired by the depictions of odalisques, which became widely popular. This recourse to Orientalism should be understood as one of the currents that fuelled European art in the 19th century, coinciding with the triumph of the capitalist bourgeoisie and the imperialist countries, especially England and France. Within the Romantic rejection of time itself, a fantastic and free flight in time and space developed, towards antiquity and towards an Orient that stretched from Spain to Russia, passing through North Africa and even reaching Japan. If Chinese art dominated the 18th century and Japanese art dazzled the Impressionists, the Middle East will be the new discovery. Starting with Ingres' beautiful and unattainable odalisques, with their pale skin and elegant gestures that always make one think of a captive Christian princess, never an Arab woman, the various schools of painting developed a whole new iconography that sought to recreate in a fantastic way - since nothing was known about the Orient - a world forbidden to Westerners and full of attractions. Painters such as the French painters Bouguereau and Giraud recreated exotic scenes in minute detail, seeking to serve as a window onto the unknown through an almost photographic reproduction that lends verisimilitude to the narratives and stimulates the imagination of the European spectator. The oriental protagonists are almost always beautiful, elegant women, who embody the yearning for the unattainable. Romantic exoticism is thus the quintessence of modern nostalgia; it is the constant pursuit of something impossible to attain, something that does not exist or has been transformed. Thus, although paintings like this one may appear realistic at first glance, they remain first and foremost Romantic, emblematic of an era and a way of thinking that ushered in the modern age.Both the aesthetic and thematic treatment of the work indicate that this is a painter in contact with the currents of both Romanticism and Neoclassicism. In short, the characteristics of this work bring together various trends that developed in France in the early 19th century, making the country, and in particular the city of Paris, one of the most important cultural centres of the period.
VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Portrait of a lady.Oil on canvas.With restorations.Signed in the lower right area.Measurements: 89 x 70 cm.Portrait of a lady with a long bust, the work follows the precepts established by the genre of the portrait during all the history of art; the neutral background that monumentalizes the figure, the position in the foreground and the strict frontality among other characteristics. However, it is worth noting the pose of the sitter, who is shown before the viewer with her arms crossed, clasping her hands and leaning slightly to one side, which shows how tired she is from hours of posing before the artist and leaves the viewer with an anecdotal element that describes the sitter's personality. Palmaroli was a vigorous portraitist who knew how to delve deeply into the psychology of the sitter and recreate the minute details of her clothing. With a virtuoso brushstroke, he expressed the plasticity of the clothes and the brilliance of the adolescent flesh tones in a veristic language. The son of an Italian lithographer, Palmaroli entered the School of Fine Arts at the San Fernando Academy in Madrid in 1848. A few years later, in 1853, he succeeded his father in the post of lithographer at the Museo del Prado, created especially for him by the king consort Francisco de Asís with the support of José de Madrazo. In 1857 this post enabled him to go to Italy to further his training, accompanied by Eduardo Rosales and Luis Álvarez Catalá. On his return he submitted two paintings executed during his trip to the National Exhibition of Fine Arts of 1862, which were awarded second and first medals. From his earliest works, Palmaroli began to move away from the official aesthetic of his time, evolving towards much more intimate, refined plastic works inspired by contemporary and even everyday motifs. He returned to Italy in 1863 and stayed there for three years, during which time he painted "The Sermon in the Sistine Chapel" (Caja Duero, Salamanca), a work of enormous success which won him the first medal at the National Exhibition of 1866 and very good reviews in Paris. During this period of splendour and pictorial maturity he also painted numerous portraits, including that of the Infanta Isabel de Borbón (Royal Palace, Madrid). Once he settled in Madrid again, in 1871 he obtained his third first-class medal at the National Academy, and the following year he was appointed a member of the San Fernando Academy. In 1873 Palmaroli settled in Paris, where he worked extensively as a painter of tableautins for ten years, at the end of which he was called to Rome as director of the Rome Academy. In the Italian capital he continued with the same genre of anecdotal inspiration until 1894, when he was appointed director of the Museo del Prado, a post he held until 1896. Towards the end of his life, his painting cautiously approached symbolism in such significant works as his Martyrdom of Saint Christina (Prado, on deposit in Jaen). Palmaroli was also the teacher of prominent painters such as Carlota Rosales, daughter of Eduardo Rosales, Casimiro Sainz, Eduardo León Garrido and Domingo Muñoz Cuesta, among others. Vicente Palmaroli is currently represented in the Prado Museum, the Malaga Municipal Museum, the museums of Jaén, L'Empordà, Granada and La Coruña, the Ministry of Public Works and the Royal Theatre in Madrid, the Royal Academy of San Fernando and the Romantic Museum in Madrid, among others.
DICK KET (1902 - 1940)."Dutch City View", 1928.Ink drawing on paper.Informative annotation on the back.Signed and dated in the lower right-hand corner.Provenance: Private collection Mallorca.Size: 27.5 x 23 cm; 39.5 x 45 cm (frame).Although Ket's first paintings are impressionist in style, he was decisively influenced by the art of Neue Sachlichkeit in 1929 and, from then on, he painted in a magical realist style. His meticulously composed and rendered still lifes feature favourite objects such as bottles, an empty bowl, eggs and musical instruments. Ket juxtaposed these objects in angular arrangements, seen from a high viewpoint, their cast shadows creating emphatic diagonals. These compositions reveal the influence of Cubism filtered through Cassandre's posters, which are frequently depicted in Ket's paintings. Another source of inspiration came from early Dutch painting, which Ket admired for its atmosphere of austere reverence that he called its "intrusive" quality. Ket completed approximately 140 paintings, including forty self-portraits. As a result of his technical experimentation with different formulations and additives to the glaze medium, some of his paintings are not completely dry after six decades. In his self-portraits the progressive symptoms of his physical deterioration are evident. Museums housing works by Dick Ket include the Rijksmuseum in Amsterdam, the Arnhem Museum and the Boijmans Van Beuningen Museum in Rotterdam.
Two 19th century shell cameo brooches, the first oval cameo carved to depict the Venus Anadyomene or The Birth of Venus, Venus depicted arising from the sea on a scallop shell accompanied by a cherub riding a pair of dolphins, with Helios Apollo riding his horsedrawn chariot across the skies with cherubs and muses, collet set within a plain gold frame with scroll engraved ribbon details to the cardinal points, the second carved to depict a figure carrying a lyre on his back accompanied by a child, collet set in scroll engraved mount, first brooch length 71mm, second 52.5mm. £200-£300 --- The birth of Venus or Venus Anadyomene (Venus arises from the sea), was a popular subject in Classical and Neo-classical art. According to Roman myth, Venus, the goddess of love and fertility, was conceived when her father, the titan Caelus-Uranus, was castrated and his genitals thrown into the sea; she was ‘born’ as a fully formed woman (the ideal of womanhood) arising out of the sea foam. Helios Apollo was the classical Sun god, riding across the sky each day in his chariot. This depiction appears to be loosely based on The Birth of Venus or Le Triomphe de Neptune, by Nicolas Poussin (1594–1665), currently housed in the Philadelphia Museum of Art.
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