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MUNNINGS ALFRED: (1878-1959) English artist. A brief A.L.S., A J Munnings, one page, 8vo, The Chelsea Arts Club, Church Street, Chelsea, 13th January 1945, to Mrs. Wilkinson. Munnings sends his autograph and thanks his correspondent for their letter. VG

Two trays of New Chelsea Kenrick tea and dinner china (59)

A Danbury Mint 'Chelsea Football Club Centenary' stein, (boxed), three 'Chelsea FC' collectors' plates, an Ardleigh Elliot 'Lamplight Brooke' ceramic music box, a Veronese resin figure of a sitting ballerina and other items.

A Lise B Moorcroft blue poppy decorated lustre vase and cover, Chelsea Works Burslem factory mark, signature and ©99 to base, 22cm high.

A Chelsea tea bowl and saucer, red anchor period (1752-1756), the spiralling lobed bodies moulded with acanthus leaves and decorated with floral sprays, marked beneath each piece, the saucer 13.5cm diameterQty: 1In good condition, very very minor losses to the paint on the rim.

CHELSEA TEXTILES BEDSIDE TABLES, a pair, 50.5cm x 40cm x 64cm, with lip handles. (2)

Chelsea Porcelain - William King, 1922. Number 59 of a limited edition of 75 that were signed by the author. Complete with 171 illustrations, 7 of which are in colour. Patch on front cover.

A quantity of Furnivals "Old Chelsea" pattern teaware; and a Victorian floral decorated tea set

A BOX, TWO BASKETS AND LOOSE CERAMICS AND SUNDRY ITEMS, to include a large Italian ceramic schnauzer dog height 33cm, together with a smaller example, a Beswick Laurel and Hardy cruet set, a Nao figure of playing puppies, a boxed Halcyon Days enamel box 'inspired by a Bilston enamel snuff box dated late 18th century in the collections of the V&A', a small collection of trinket dishes including Wade London Zoo, Paragon Tree of Kashmir, Royal Doulton Old Leeds Sprays, Shelley and Spode Chelsea, etc (1 box + 2 baskets + dog) (sd)

A Chelsea silver shaped dish painted with scattered English flowers under a brown line rim, red anchor and stilt marks c. 1755,21 cms wide.

A Chelsea pierced two handled basket the centre painted a large floral bouquet, the handles with applied as is the exterior of the back, red anchor and stilt marks c. 1755, 20cm across

* Kit Barker (1916-1988)'Chelsea Shore from Battersea'signed and dated 'Barker 74' verso, inscribed with title verso, oil on canvas61 x 112cm, unframedCondition ReportSome spots of dirt in various places across the surface, please refer to images.

* JULIAN BARROW (BRITISH 1939-2013),TOWER OF LETHENDYoil on canvas, signed and dated 1977, titled versoimage size 46cm x 62cm, overall size 61cm x 76cmFramed.Provenance: Private Edinburgh collection.Note: The Tower of Lethendy is a Scottish Baronial style house in Perthshire which has been the subject of media interest in 2022. It was widely reported in the Scottish press that the current owner is a Russian Oligarch albeit one who was among the first to openly and strongly condemn the war in Ukraine. The property boasts a heated swimming pool, two tennis courts and an 18 hole golf course. The press and media also reported that The Tower of Lethendy was acquired by the current owner in 2016.Note 2: Julian Barrow was a painter, adept at catching the spirit of a place, who travelled widely. He was born in Longtown, Cumberland, and studied at RWA and Signorina Simi’s Academy in Florence, Italy. He was a full member of Chelsea Arts Club, living nearby, and from 1988 for 23 years was President of Chelsea Art Society. Group shows included RA Summer Exhibition, 1961–99; Paris Salon, 1965; and NEAC, 2002. He had solo exhibitions at Hazlitt, Gooden and Fox 1972–74–77; Morton Morris & Co, 1982–85; Leger Gallery, 1989–92–95; and Fine Art Society 1999–05, plus many others in America and the Middle East. For decades he lived, with his wife Serena, in a magnificent studio on Tite Street in Chelsea (London) in the building formerly occupied at various times by Sargent, Whistler, Glyn Philpot and Augustus John. Julian Barrow was described by James Lees-Milne as “a country house painter par excellence” and his commissions for interiors and exteriors of country estates took him all over England, Scotland, Ireland, and America. He also painted many of the private clubs in London and New York. John Julius Norwich, in his introduction to the catalogue of a one-man show at the Fine Art Society in London in 2005, notes that Barrow’s pictures “radiate a love of life, a joy in light and shade and colour, a grateful appreciation of all the blessedness that lies around us if we can only make the effort to see it. They warm us; they cheer us; they convince us that whatever terrible things happen in the world, there is a beauty there a-plenty for the asking – and for the taking.” Barrow was commissioned to paint "Her Majesty the Queen Addressing Both Houses of Parliament on the Occasion of Her Golden Jubilee in Westminster Hall" (2002) having previously been commissioned to paint "HM The Queen in Westminster Hall Receiving the Jubilee Address on the 25th Anniversary of Her Accession to The Throne" (1977). Both held in the UK Parliament Art Collection. Julian Barrow's paintings are held in large numbers of prestigious private, corporate and public collections in the UK, US, Middle East, India and the Far East.Condition is good overall, with no visible signs of restoration, damage, or known issues. Additional images have been uploaded to our website. 

MAISON MARTIN MARGIELA Chelsea Boots, Gr. 42. Modell aus weinrotem Leder mit schwarzem Gummibesatz, seitlich elstische Einsätze in Schwarz. Tragespuren vorhanden.| MAISON MARTIN MARGIELA Chelsea Boots, size 42. Model in wine red leather with black rubber trim, elastic inserts in black on the sides. Traces of wear present.

A collection of Studio Pottery including Sitson Pottery Cairns, measures 10cm high, Chelsea Pottery footed plate, Iden Pottery Rye Sussex, also two Portuguese dishes and Portuguese jug a/f (a lot)

New Chelsea Kenrick pattern Coffee set for 6

A box of 19th century and later ceramicsBaskets have a number of cracks.German teabowl in tact.Dresden floral dish chipped.Ribbon plate cracked.Willow pattern service has a number of chips.Whitley cup and saucer in tact.Candlestick badly damaged.Royal Chelsea teacups in tact.

Chelsea football legend Jimmy Floyd Hasselbaink signed 8x10 photo. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99

A Chinese Jardiniere on Stand, 22cm high, Norman Old Chelsea and other dinnerware, Campbell tile, plated ware.

A Chelsea Studio Pottery Jug 18cms tall together with a similar Chelsea Studio Pottery Dish

Two Sampson Paris figures bearing faux Chelsea marks, a Sitzendorf figure of a flower seller, a further continental figure group, a pair of reproduction relief plaques, and three boxes of ceramics and silver plate, including: an 18th century pickle dish, 20th century figures, reproduction creamware mug, blue and white ceramics, plated tea urn, bottle coasters, etc (one tray and four boxes)

An important Sèvres Royal Presentation part tea and coffee service commemorating King George III's recovery from illness, circa 1789Of hard and soft-paste porcelain, each piece decorated with a different motto and/or crowned 'G' flanked by crossed laurels in gold, the rims decorated with a band of stylised flowers composed of a single gold pastille on a pink stem flanked by green dots inspired by fabric designs, the band of flowers enclosed by a double band of stylised neoclassical motifs in puce, blue and picked out in gilding, the handles embellished in gilding, the finials gilt, comprising:a large teapot and cover,a large sugar bowl and cover,a large cold milk jug on three feet,five gobelet litron and saucers,four teacups and five saucers, the teapot and cover: 16.5cm high, interlaced LL monogram and painter's mark attributed to members of the Weydinger family in gold (on the teapot and the milk jug) and blue, various incised marks (24)Footnotes:Provenance:Commissioned by Bernardo y Pérez de la Serna, Marquis del Campo, Spanish Ambassador to the Court of St James, in 1789;Queen Charlotte (1744-1818) [according to tradition - thence to]Mary, Duchess of Gloucester (1776-1857);Prince George, Duke of Cambridge (1819-1904), the grandson of George III; thence to his sonSir Adolphus FitzGeorge (1846-1922); thence to his great-nephewGeneral Sir Victor FitzGeorge-Balfour (1913-1994);Thence by descentLiterature:Geoffrey de Bellaigue, 'Huzza the King is Well!', in Burlington Magazine, vol. CXXXVI (June 1984), pp. 325-331;Geoffrey de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen (2009), vol. II, cat.no. 175, and vol. III, cat. no. 259 This remarkable tea service was part of a larger service, including a dessert service, now mostly in the Royal Collection that was commissioned by the Spanish Ambassador, the Marquis del Campo, for a gala held in name of the King of Spain on 9th June 1789 to celebrate the recovery of King George III from illness. Queen Charlotte, accompanied by her daughters, was the guest of honour at the gala in the Rotunda of the Ranelagh Gardens, Chelsea. Two thousand invitations were issued and the entertainment included dancing by Spanish children, a lottery, moving transparencies and a fireworks display. A supper was dramatically served in boxes that were simultaneously unveiled at one o'clock to reveal the richly-decorated tent-like interiors. The Queen's tent contained a table laid with gold plate as well as the Sèvres porcelain service; it was hung at the back with pea-green satin and with festoon curtains of white lute-string with gold fringing to complement the colours of the service.Differing accounts exist of how the Spanish ambassador disposed of the service after the gala. Elizabeth, Countess of Harcourt attended the gala and recorded in her memoirs that a major part of the service was presented by the Marquis del Campo to her and her husband in February 1796, following his appointment as Ambassador to the French Republic. She noted of the gala: It was very magnificent, and took place at Ranelagh on June the 9th 1789. The Queen was received there in great state. A beautiful service of China with appropriate medallions and mottoes was manufactured by the Royal Sevres Porcelain Works.[...] (Edward William Harcourt (ed.), the Harcourt Papers privately printed by James Parker & Co, Oxford, c.1900, vol. VI, part 1 p.267-268). Another account quoted by Sir Geoffrey de Bellaigue suggests that the tea and coffee service was presented to the Queen the day after the gala, although it could have been given directly to her daughter, Mary, Duchess of Gloucester, who was present. Another possibility is that Lord and Lady Harcourt, who were presented with the dessert service by del Campo when he left London in 1796, may also have received the tea and coffee service and subsequently given it to Mary, Duchess of Gloucester, to whom they were close (de Bellaigue 2009, vol. III, p. 920). The bulk of the dessert service remained in the possession of the Harcourt family until 2003 when it was purchased by The Queen. Following the death of the Duke of Cambridge in 1904, the tea and coffee service was divided between his two sons; the present lot passed to Sir Adolphus FitzGeorge and his descendants, while the second portion went to his brother, Sir Augustus FitzGeorge, and, following his death in 1934, was purchased by Queen Mary (see below). Other than a few items from the dessert service retained by the Harcourt family, all other recorded pieces from the service are now in the Royal Collection (see above Literature).According to David Peters and Sir Geoffrey de Bellaigue, the service closely corresponds precisely with one purchased by the marchand-mercier, Dominique Daguerre, listed in the sales' ledger between 17 April and 12 August 1789. The components of the tea and coffee service include: '24 Tasses, 2 Pots à Sucre, , 2 Pots à lait, 1 Theyere, 1 Jatte a Lait' (two teacups, one gobelet litron and two saucers are now missing). The part of the service purchased by Queen Mary in 1934 and now in the Royal Collection includes: a sugar bowl and cover, a milk jug, a basin, six teacups and saucers and six coffee cups and saucers (De Bellaigue 2009, vol. III, no. 259).It seems certain that Daguerre acted as the Spanish ambassador's intermediary and the mix of hard and soft-paste porcelain and the use (for the dessert service) of existing stock together with specially decorated or inscribed pieces suggests that the commission had to be fulfilled in some haste. Customs records indicate that the service arrived in Dover on 9 May 1789.The following mottoes are inscribed on the pieces:The teapot:'The Best of Husbands', 'the Patron of Arts'The sugar bowl:'Vive Le Roy'The milk jug:'God Save the King'The teacup saucers:'God Save the King', 'the Patron of the Arts', 'Glory to the King', 'The Boast of Good Men', 'The Best of Husbands'The gobelets litron:'God Save the King', 'Glory to the King' (twice), 'the Patron of Arts', 'The Best of Husbands', and the saucers each with a caduceus and oak branch and a banner reading 'Salus Regis Salus Populi'For further information on this lot please visit Bonhams.com

Collection of fourteen Chelsea Flower Show plates by Worcester, Aynsley, Wedgwood etc. earliest 1986 (14)

Shelley Blue Tulip pattern tea set comprising five cups & saucers, six tea plates, sugar bowl, milk jug and sandwich plate no. 11941, together with a Shelley Chelsea pattern part tea set comprising two mugs & saucers, two further saucers, milk jug, sugar bowl and seven tea plates Condition Report:Inspected under UV Saucers: some very minor surface scratches and fading -Tea plates, some minor surface scratches and fading - Serving plate, staining and fading - Milk jug, damaged as per images, missing a section and repaired - Cups, some hairline cracks and staining. Wear commensurate with age

CHARLES VYSE (1882-1971) ?The Daffodil lady?: A Chelsea pottery earthenware figure dated 1923, h.26.5cm.

CHARLES VYSE (1882-1971) ?The Daffodil lady?: A Chelsea pottery earthenware figure dated 1923, h.26.5cm, similar to the last lot but different colours with some model difference. Star crack to base, some minor petal losses and some crazing.

CHARLES VYSE (1882-1971) ?The Shawl?: A Chelsea pottery earthenware figure c1927, h.30cm, mounted on wood plinth.

CHARLES VYSE (1882-1971) 'THE BALLOON WOMAN': A Chelsea earthenware figure, dated 1921 h.23cm.

CHARLES VYSE (1882-1971) ?THE CINNERARIA BOY?: A Chelsea pottery earthenware figure dated 1925, h.26.5cm.

A mixed lot of blue and white ceramics to include Mason's 'Old Chelsea', Booth's 'Real Old Willow' etc

Hamilton, William: (1751 Chelsea - Soho 1801) nach. Musidora. - Celadon and Amelia. 2 Kupferstiche mit Punktierung v. P.W.Tomkins bzw. F.Bartolozzi bei P.W.Tomkins, Ldn. 1794-98. Je ca. 33 x 27, Blgr. 48 x 38 cm. Jwls. mit den Namensz., Titel, Adr. u. Datum i.d. Platte. - Tls. etw. stockfl. R

Wilfred Gabriel de Glehn (British 1870 - 1951)Hydrangeas by the studio windowsigned with monogram (lower right); studio stamp (on stretcher verso) oil on canvas, oval 87.6 x 66.3cm (34 1/2 x 26 1/8in).Footnotes:ProvenanceWith David Messum, London.ExhibitedLondon, David Messum, Wilfrid de Glehn, RA John Singer Sargent's Painting Companion, Exhibition 1998, 1998, no. 12.LiteratureD. Messum, Wilfrid de Glehn, RA John Singer Sargent's Painting Companion, Exhibition 1998, exh. cat., London, 1998, no. 12 (illustrated in colour).In the background, this painting depicts a view of the River Thames and Chelsea Embankment taken from the window of de Glehn's studio in his London house at 73 Cheyne Walk. The house was sadly destroyed during World War Two by a parachute bomb in April 1941 resulting in de Glehn and his wife moving permanently to their Manor House at Stratford Tony. In two other works by de Glehn both depicting the drawing-room of his Manor House, one entitled Head of the Household, and the other My Drawing Room, Stratford Tony, this oval still life of blue flowers can be seen hanging on the wall to the left of the window.The importance of De Glehn's work was recognised during his lifetime as he held numerous one man-shows at Durand Ruel in New York and Paris, The Carfax Gallery, The Fine Art Society, Goupil Gallery, Leicester Galleries, Barbizon House, and Knoedler's in London, and Vose Galleries in Boston. It has been suggested that this painting could have been exhibited at the New English Art Club in 1906, as Hydrangeas, no 123.For further information on this lot please visit Bonhams.com

Ceramics & Glass - Waterford Crystal, three whisky tumbles, wine glasses, sherry glasses; Johnson Brothers Royal Chelsea and Old Oak pattern table china

Spode parrot decorated table wares, Masons Chelsea pattern part teaset and Victorian pottery teaset, platters and a glass lamp Condition Report:Not available for this lot.

Assorted ceramics including washbowls and ewers, imari bowl, Mason's old Chelsea pattern teaset etc Condition Report:Not available for this lot.

18THC CAUGHLEY PORCELAIN a mixed lot including a coffee can in the Mother & Child pattern, a sparrow beak jug (hairline crack to rim and handle), a small wine taster or scoop in the Fisherman or Pleasure Boat pattern (firing crack to base rim and chip to inside of base rim), a Chelsea type ewer in the same pattern, and 3 other items. (7)

COPELAND ROYAL YACHT CUP & SAUCER - KING EDWARD VII a single cup and saucer with alternating circular reserves for King Edward VII and The Royal Yacht, retailed by T Goode & Co, saucer 12cms diameter. Also with a pair of urn shaped Chelsea style porcelain salts, each painted with exotic birds (6cms high, one with gold anchor mark), a pearlware vase in the imari style with gilded decoration, and two coffee cans. (7)

FOOTBALL; a quantity of vintage football programmes, mainly 1960s and 1970s, various teams to include Coventry City, Southampton, Nottingham Forest, Tottenham Hotspur, Leeds United, Arsenal, Leicester City, Burnley, Bury, etc, a programme for Manchester City versus Tottenham Hotspur, Saturday October 12th 1968, bearing several signatures and a programme for Manchester City versus Coventry City, Saturday 13th January 1968, bearing several signatures, a European Cup Winners' Cup programme for TSV Munchen 1860 V West Ham United, May 19th 1965, an FA Cup Final Replay programme for Chelsea V Leeds United, April 29th 1970, a World Cup Mexico 1970 programme, a reproduction Jules Rimet Cup 1966 programme and a small quantity of football cards, all contained in a black folder, also a quantity of football magazines including Football Academy, Goal and Football Monthly, etc.

FOOTBALL; a quantity of Cup Final programmes, mostly from the 1960s to include Final Ties, Walthamstow Avenue vs West Auckland Town 1961, Leicester City vs Wolverhampton Wanderers 1949, Burnley vs Tottenham Hotspur 1962, Final programme to include Chelsea vs Tottenham 1967, two West Brom, Vs Everton 1968, two Everton vs Sheffield Wednesday, three Leicester city vs Manchester United 1962-63, Leeds vs Liverpool 1965, Leicester City vs Man City 1969, and a quantity of 1970s Final programmes, etc.

FOOTBALL; a Liverpool Football Club football bearing several signatures, a Liverpool FC sports bag and a small quantity of football related ephemera, to include '30 Years of European Champions' souvenir guide, Anfield Review magazines from 1987, 1996, 2000, a match day programme for Liverpool V Swansea City FC, 26th December 2017, Morecambe V Man United football programme 1st August 2011, Everton V Charlton Athletic programme, 17th January 2004, a collection of c1960s Typhoo Tea team photographs, mainly in their original envelopes, comprising Liverpool FC, with two red and white rosettes, Everton FC, with blue and white rosette, Leeds United FC, with white rosette, Rangers FC, with blue and white rosette, Glasgow Celtic FC, with green and white rosette, Manchester City FC, with white rosette, Chelsea FC, with blue and white rosette, and Manchester United FC, with red and white rosette, three Liverpool FC pennants and two World Cup 1966 pennants in packet, also a Liverpool tourist pennant and three pennants for the investiture of Prince Charles at Caernarvon Castle, July 1969.

FOOTBALL; a quantity of late 1950s and 1960s football programmes to include Chelsea vs West Ham 1959, Leeds United 1960, Arsenal 1961, three Newcastle vs Norwich City 1964, Everton vs Aston Villa 1961, Blackpool 1962, Liverpool 1962, Burnley 1962, Fulham and Chelsea 1963, Manchester City 1963 vs West Bromwich Albion, Cardiff City and Preston North End, Tottenham FA Cup Semi-Final vs Manchester United 1962, vs Bolton Wanderers 1962, Everton 1962, and Arsenal vs Wrest Ham 1959, Everton 1960, etc.

Peter Mammes Childhood, 2022 Gouache Paint and Gold Leaf on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Peter Mammes was born in Krugersdorp, South Africa on July 6, 1986, Into an Afrikaans-speaking community. He moved to Johannesburg at the age of 11 and attended the National School of the Arts in Braamfontein, where he received his only formal training in art. Interested predominantly in drawing and painting, he had his first solo exhibition at the age of 16. Peter started working in isolation after high school, developing his drawing skills and making artworks based on medieval European woodcuts. He set up a studio in India in 2013 and later in Russia, where he researched and developed the themes that have become inherent in his work. In 2018 Peter set up a studio in Cairo, Egypt, where he made a series of drawings informed by his research into both ancient Egyptian art and hieroglyphics and contemporary local politics. Peter travels extensively around the world to find ideas and imagery for his work, collecting patterns that he finds on stone carvings and reliefs on temples, facades and graves. He was recently commissioned to design a commemorative coin for circulation for the South African mint, released in 2019. Peter currently resides in London on an exceptional talent visa. His studio is in Whitechapel.   Select Exhibitions/Awards   Solo Exhibitions 2019 Presumed alive HOXTON 253 art project space London United Kingdom 2018 It's Already Too Late Once The Soldiers Have Arrived Daville Baillie Gallery Johannesburg South Africa 2017 Dawn of the Anthropocene Toffee Gallery Darling South Africa Ethics Priest Gallery Johannesburg South Africa 2016 Reprisal, subjective objects Fried Contemporary Art Gallery Pretoria South Africa Nuances in a narrow spectrum 2.5 Luvey 'n Rose Cape Town South Africa Nuances in a narrow spectrum Lizamore & Associates Johannesburg South Africa 2014 Triumph Prosthetics for the People NIROX projects - Johannesburg South Africa Iconography of the just Room Gallery & Projects Johannesburg South Africa 2010 Antagonistic Harmonies in First Arrangement Johannesburg Art Gallery (JAG) Johannesburg South Africa   Group Exhibitions 2020 Eternity is now // Akaretler // Istanbul // Turkey Reveries // Espacio Gallery // London // United Kingdom Knoop/Knot // University of Stellenbosch Art Gallery // Stellenbosch // South Africa Punk 4 Mental Health // Stash Gallery // London // United Kingdom 2019 FUSION Vol. 2 // Eclectica contemporary // Cape Town // South Africa Speculative Fiction // Candid Arts Trust // London United Kingdom Visible Unreality // Museo civico di Castel Nuovo - Maschio Angioino // Naples // Italy Art Below Chelsea // 2019 ArtBelow // London // United Kingdom Incite // Deepestdarkest // Cape town // South Africa SEAS// Brighton // United Kingdom 2018 Spring Salon // Lizamore & Associates // Johannesburg // South Africa David Baille gallery // Johannesburg // South Africa Untitled gallery // Cape Town // South Africa Absa art Auction // Johannesburg // South Africa Studio G // Cape town // South Africa 2017 Atelier 2017 // Absa Gallery // Johannesburg // South Africa 35 Years- Trailblazers // Lizamore & Associates // Johannesburg // South Africa Confessional // Absa Gallery // Johannesburg // South Africa Sixteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Moore gallery // Franchhoek // South Africa 2016 Clash // Bag Factory // Johannesburg // South Africa Skulls: a group exhibitions of skull interpretations // Fried Contemporary Art Gallery // Pretoria // South Africa Performing Wo/man // Oliewenhuis Art Museum // Bloemfontein // South Africa I had a dream last night (But I Can't remember what it was about) // No End Contemporary Art Space // Johannesburg // South Africa Fifteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Death and Taxes // Fried Contemporary Art Gallery // Pretoria // South Africa Creator/curator // Absa Gallery // Johannesburg // South Africa Remain(s) // DF Contemporary // Cape town // South Africa Art room // Johannesburg // South Africa Basha Uhuru festival at Constitution Hill // Johannesburg // South Africa 1 Eloff street // Johannesburg // South Africa ZERO // SOMA // Johannesburg // South Africa 2015 Equus: the Four Horseman // Cavalli Wine Estate and Gallery // Strand // South Africa No End To This // No End Contemporary Art Space // Johannesburg // South Africa Cross-Sections // Kalashnikovv Gallery // Johannesburg // South Africa REVAMP // Priest Gallery // Johannesburg // South Africa Macabre // Underculture Contemporary // Port Elizabeth // South Africa Atelier Art competition // Absa Gallery // Johannesburg // South Africa Die Burger 100 years of publication // Artscape Theatre Centre // Cape town// 2015 The art room // Johannesburg // South Africa Transitions at the Transvaal Post office // Johannesburg // South Africa Cross section at The Transvaal Post office // Johannesburg // 2015 Revamp at Priest // Johannesburg // South Africa Twillsharp //Johannesburg // South Africa Cabinets of curiosity // Capetown // South Africa Fetish at Artec // Port Elizabeth // South Africa Dirt at Rubixcube // Johannesburg // South Africa 2014 Lizamore And Associates Hosts Two Exhibitions In May // Lizamore & Associates // Johannesburg // South Africa Vista // Carol Lee Fine Art // Johannesburg // South Africa Diedericks/Faber fine art // Cape Town // South Africa Rubixcube at arts on main // Johannesburg // South Africa 2013 Home is wherever I'm with you // Salon Ninety One // Cape Town // South Africa   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Peter Mammes Dodo Pattern, 2022 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Peter Mammes was born in Krugersdorp, South Africa on July 6, 1986, Into an Afrikaans-speaking community. He moved to Johannesburg at the age of 11 and attended the National School of the Arts in Braamfontein, where he received his only formal training in art. Interested predominantly in drawing and painting, he had his first solo exhibition at the age of 16. Peter started working in isolation after high school, developing his drawing skills and making artworks based on medieval European woodcuts. He set up a studio in India in 2013 and later in Russia, where he researched and developed the themes that have become inherent in his work. In 2018 Peter set up a studio in Cairo, Egypt, where he made a series of drawings informed by his research into both ancient Egyptian art and hieroglyphics and contemporary local politics. Peter travels extensively around the world to find ideas and imagery for his work, collecting patterns that he finds on stone carvings and reliefs on temples, facades and graves. He was recently commissioned to design a commemorative coin for circulation for the South African mint, released in 2019. Peter currently resides in London on an exceptional talent visa. His studio is in Whitechapel.   Select Exhibitions/Awards   Solo Exhibitions 2019 Presumed alive HOXTON 253 art project space London United Kingdom 2018 It's Already Too Late Once The Soldiers Have Arrived Daville Baillie Gallery Johannesburg South Africa 2017 Dawn of the Anthropocene Toffee Gallery Darling South Africa Ethics Priest Gallery Johannesburg South Africa 2016 Reprisal, subjective objects Fried Contemporary Art Gallery Pretoria South Africa Nuances in a narrow spectrum 2.5 Luvey 'n Rose Cape Town South Africa Nuances in a narrow spectrum Lizamore & Associates Johannesburg South Africa 2014 Triumph Prosthetics for the People NIROX projects - Johannesburg South Africa Iconography of the just Room Gallery & Projects Johannesburg South Africa 2010 Antagonistic Harmonies in First Arrangement Johannesburg Art Gallery (JAG) Johannesburg South Africa   Group Exhibitions 2020 Eternity is now // Akaretler // Istanbul // Turkey Reveries // Espacio Gallery // London // United Kingdom Knoop/Knot // University of Stellenbosch Art Gallery // Stellenbosch // South Africa Punk 4 Mental Health // Stash Gallery // London // United Kingdom 2019 FUSION Vol. 2 // Eclectica contemporary // Cape Town // South Africa Speculative Fiction // Candid Arts Trust // London United Kingdom Visible Unreality // Museo civico di Castel Nuovo - Maschio Angioino // Naples // Italy Art Below Chelsea // 2019 ArtBelow // London // United Kingdom Incite // Deepestdarkest // Cape town // South Africa SEAS// Brighton // United Kingdom 2018 Spring Salon // Lizamore & Associates // Johannesburg // South Africa David Baille gallery // Johannesburg // South Africa Untitled gallery // Cape Town // South Africa Absa art Auction // Johannesburg // South Africa Studio G // Cape town // South Africa 2017 Atelier 2017 // Absa Gallery // Johannesburg // South Africa 35 Years- Trailblazers // Lizamore & Associates // Johannesburg // South Africa Confessional // Absa Gallery // Johannesburg // South Africa Sixteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Moore gallery // Franchhoek // South Africa 2016 Clash // Bag Factory // Johannesburg // South Africa Skulls: a group exhibitions of skull interpretations // Fried Contemporary Art Gallery // Pretoria // South Africa Performing Wo/man // Oliewenhuis Art Museum // Bloemfontein // South Africa I had a dream last night (But I Can't remember what it was about) // No End Contemporary Art Space // Johannesburg // South Africa Fifteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Death and Taxes // Fried Contemporary Art Gallery // Pretoria // South Africa Creator/curator // Absa Gallery // Johannesburg // South Africa Remain(s) // DF Contemporary // Cape town // South Africa Art room // Johannesburg // South Africa Basha Uhuru festival at Constitution Hill // Johannesburg // South Africa 1 Eloff street // Johannesburg // South Africa ZERO // SOMA // Johannesburg // South Africa 2015 Equus: the Four Horseman // Cavalli Wine Estate and Gallery // Strand // South Africa No End To This // No End Contemporary Art Space // Johannesburg // South Africa Cross-Sections // Kalashnikovv Gallery // Johannesburg // South Africa REVAMP // Priest Gallery // Johannesburg // South Africa Macabre // Underculture Contemporary // Port Elizabeth // South Africa Atelier Art competition // Absa Gallery // Johannesburg // South Africa Die Burger 100 years of publication // Artscape Theatre Centre // Cape town// 2015 The art room // Johannesburg // South Africa Transitions at the Transvaal Post office // Johannesburg // South Africa Cross section at The Transvaal Post office // Johannesburg // 2015 Revamp at Priest // Johannesburg // South Africa Twillsharp //Johannesburg // South Africa Cabinets of curiosity // Capetown // South Africa Fetish at Artec // Port Elizabeth // South Africa Dirt at Rubixcube // Johannesburg // South Africa 2014 Lizamore And Associates Hosts Two Exhibitions In May // Lizamore & Associates // Johannesburg // South Africa Vista // Carol Lee Fine Art // Johannesburg // South Africa Diedericks/Faber fine art // Cape Town // South Africa Rubixcube at arts on main // Johannesburg // South Africa 2013 Home is wherever I'm with you // Salon Ninety One // Cape Town // South Africa   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Peter Mammes War Crimes, 2022 Cold Cast Brass, Flocking and Gold Leaf Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Peter Mammes was born in Krugersdorp, South Africa on July 6, 1986, Into an Afrikaans-speaking community. He moved to Johannesburg at the age of 11 and attended the National School of the Arts in Braamfontein, where he received his only formal training in art. Interested predominantly in drawing and painting, he had his first solo exhibition at the age of 16. Peter started working in isolation after high school, developing his drawing skills and making artworks based on medieval European woodcuts. He set up a studio in India in 2013 and later in Russia, where he researched and developed the themes that have become inherent in his work. In 2018 Peter set up a studio in Cairo, Egypt, where he made a series of drawings informed by his research into both ancient Egyptian art and hieroglyphics and contemporary local politics. Peter travels extensively around the world to find ideas and imagery for his work, collecting patterns that he finds on stone carvings and reliefs on temples, facades and graves. He was recently commissioned to design a commemorative coin for circulation for the South African mint, released in 2019. Peter currently resides in London on an exceptional talent visa. His studio is in Whitechapel.   Select Exhibitions/Awards   Solo Exhibitions 2019 Presumed alive HOXTON 253 art project space London United Kingdom 2018 It's Already Too Late Once The Soldiers Have Arrived Daville Baillie Gallery Johannesburg South Africa 2017 Dawn of the Anthropocene Toffee Gallery Darling South Africa Ethics Priest Gallery Johannesburg South Africa 2016 Reprisal, subjective objects Fried Contemporary Art Gallery Pretoria South Africa Nuances in a narrow spectrum 2.5 Luvey 'n Rose Cape Town South Africa Nuances in a narrow spectrum Lizamore & Associates Johannesburg South Africa 2014 Triumph Prosthetics for the People NIROX projects - Johannesburg South Africa Iconography of the just Room Gallery & Projects Johannesburg South Africa 2010 Antagonistic Harmonies in First Arrangement Johannesburg Art Gallery (JAG) Johannesburg South Africa   Group Exhibitions 2020 Eternity is now // Akaretler // Istanbul // Turkey Reveries // Espacio Gallery // London // United Kingdom Knoop/Knot // University of Stellenbosch Art Gallery // Stellenbosch // South Africa Punk 4 Mental Health // Stash Gallery // London // United Kingdom 2019 FUSION Vol. 2 // Eclectica contemporary // Cape Town // South Africa Speculative Fiction // Candid Arts Trust // London United Kingdom Visible Unreality // Museo civico di Castel Nuovo - Maschio Angioino // Naples // Italy Art Below Chelsea // 2019 ArtBelow // London // United Kingdom Incite // Deepestdarkest // Cape town // South Africa SEAS// Brighton // United Kingdom 2018 Spring Salon // Lizamore & Associates // Johannesburg // South Africa David Baille gallery // Johannesburg // South Africa Untitled gallery // Cape Town // South Africa Absa art Auction // Johannesburg // South Africa Studio G // Cape town // South Africa 2017 Atelier 2017 // Absa Gallery // Johannesburg // South Africa 35 Years- Trailblazers // Lizamore & Associates // Johannesburg // South Africa Confessional // Absa Gallery // Johannesburg // South Africa Sixteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Moore gallery // Franchhoek // South Africa 2016 Clash // Bag Factory // Johannesburg // South Africa Skulls: a group exhibitions of skull interpretations // Fried Contemporary Art Gallery // Pretoria // South Africa Performing Wo/man // Oliewenhuis Art Museum // Bloemfontein // South Africa I had a dream last night (But I Can't remember what it was about) // No End Contemporary Art Space // Johannesburg // South Africa Fifteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Death and Taxes // Fried Contemporary Art Gallery // Pretoria // South Africa Creator/curator // Absa Gallery // Johannesburg // South Africa Remain(s) // DF Contemporary // Cape town // South Africa Art room // Johannesburg // South Africa Basha Uhuru festival at Constitution Hill // Johannesburg // South Africa 1 Eloff street // Johannesburg // South Africa ZERO // SOMA // Johannesburg // South Africa 2015 Equus: the Four Horseman // Cavalli Wine Estate and Gallery // Strand // South Africa No End To This // No End Contemporary Art Space // Johannesburg // South Africa Cross-Sections // Kalashnikovv Gallery // Johannesburg // South Africa REVAMP // Priest Gallery // Johannesburg // South Africa Macabre // Underculture Contemporary // Port Elizabeth // South Africa Atelier Art competition // Absa Gallery // Johannesburg // South Africa Die Burger 100 years of publication // Artscape Theatre Centre // Cape town// 2015 The art room // Johannesburg // South Africa Transitions at the Transvaal Post office // Johannesburg // South Africa Cross section at The Transvaal Post office // Johannesburg // 2015 Revamp at Priest // Johannesburg // South Africa Twillsharp //Johannesburg // South Africa Cabinets of curiosity // Capetown // South Africa Fetish at Artec // Port Elizabeth // South Africa Dirt at Rubixcube // Johannesburg // South Africa 2014 Lizamore And Associates Hosts Two Exhibitions In May // Lizamore & Associates // Johannesburg // South Africa Vista // Carol Lee Fine Art // Johannesburg // South Africa Diedericks/Faber fine art // Cape Town // South Africa Rubixcube at arts on main // Johannesburg // South Africa 2013 Home is wherever I'm with you // Salon Ninety One // Cape Town // South Africa   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Peter Mammes Fate, 2022 Resin and Gold Leaf on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Peter Mammes was born in Krugersdorp, South Africa on July 6, 1986, Into an Afrikaans-speaking community. He moved to Johannesburg at the age of 11 and attended the National School of the Arts in Braamfontein, where he received his only formal training in art. Interested predominantly in drawing and painting, he had his first solo exhibition at the age of 16. Peter started working in isolation after high school, developing his drawing skills and making artworks based on medieval European woodcuts. He set up a studio in India in 2013 and later in Russia, where he researched and developed the themes that have become inherent in his work. In 2018 Peter set up a studio in Cairo, Egypt, where he made a series of drawings informed by his research into both ancient Egyptian art and hieroglyphics and contemporary local politics. Peter travels extensively around the world to find ideas and imagery for his work, collecting patterns that he finds on stone carvings and reliefs on temples, facades and graves. He was recently commissioned to design a commemorative coin for circulation for the South African mint, released in 2019. Peter currently resides in London on an exceptional talent visa. His studio is in Whitechapel.   Select Exhibitions/Awards   Solo Exhibitions 2019 Presumed alive HOXTON 253 art project space London United Kingdom 2018 It's Already Too Late Once The Soldiers Have Arrived Daville Baillie Gallery Johannesburg South Africa 2017 Dawn of the Anthropocene Toffee Gallery Darling South Africa Ethics Priest Gallery Johannesburg South Africa 2016 Reprisal, subjective objects Fried Contemporary Art Gallery Pretoria South Africa Nuances in a narrow spectrum 2.5 Luvey 'n Rose Cape Town South Africa Nuances in a narrow spectrum Lizamore & Associates Johannesburg South Africa 2014 Triumph Prosthetics for the People NIROX projects - Johannesburg South Africa Iconography of the just Room Gallery & Projects Johannesburg South Africa 2010 Antagonistic Harmonies in First Arrangement Johannesburg Art Gallery (JAG) Johannesburg South Africa   Group Exhibitions 2020 Eternity is now // Akaretler // Istanbul // Turkey Reveries // Espacio Gallery // London // United Kingdom Knoop/Knot // University of Stellenbosch Art Gallery // Stellenbosch // South Africa Punk 4 Mental Health // Stash Gallery // London // United Kingdom 2019 FUSION Vol. 2 // Eclectica contemporary // Cape Town // South Africa Speculative Fiction // Candid Arts Trust // London United Kingdom Visible Unreality // Museo civico di Castel Nuovo - Maschio Angioino // Naples // Italy Art Below Chelsea // 2019 ArtBelow // London // United Kingdom Incite // Deepestdarkest // Cape town // South Africa SEAS// Brighton // United Kingdom 2018 Spring Salon // Lizamore & Associates // Johannesburg // South Africa David Baille gallery // Johannesburg // South Africa Untitled gallery // Cape Town // South Africa Absa art Auction // Johannesburg // South Africa Studio G // Cape town // South Africa 2017 Atelier 2017 // Absa Gallery // Johannesburg // South Africa 35 Years- Trailblazers // Lizamore & Associates // Johannesburg // South Africa Confessional // Absa Gallery // Johannesburg // South Africa Sixteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Moore gallery // Franchhoek // South Africa 2016 Clash // Bag Factory // Johannesburg // South Africa Skulls: a group exhibitions of skull interpretations // Fried Contemporary Art Gallery // Pretoria // South Africa Performing Wo/man // Oliewenhuis Art Museum // Bloemfontein // South Africa I had a dream last night (But I Can't remember what it was about) // No End Contemporary Art Space // Johannesburg // South Africa Fifteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Death and Taxes // Fried Contemporary Art Gallery // Pretoria // South Africa Creator/curator // Absa Gallery // Johannesburg // South Africa Remain(s) // DF Contemporary // Cape town // South Africa Art room // Johannesburg // South Africa Basha Uhuru festival at Constitution Hill // Johannesburg // South Africa 1 Eloff street // Johannesburg // South Africa ZERO // SOMA // Johannesburg // South Africa 2015 Equus: the Four Horseman // Cavalli Wine Estate and Gallery // Strand // South Africa No End To This // No End Contemporary Art Space // Johannesburg // South Africa Cross-Sections // Kalashnikovv Gallery // Johannesburg // South Africa REVAMP // Priest Gallery // Johannesburg // South Africa Macabre // Underculture Contemporary // Port Elizabeth // South Africa Atelier Art competition // Absa Gallery // Johannesburg // South Africa Die Burger 100 years of publication // Artscape Theatre Centre // Cape town// 2015 The art room // Johannesburg // South Africa Transitions at the Transvaal Post office // Johannesburg // South Africa Cross section at The Transvaal Post office // Johannesburg // 2015 Revamp at Priest // Johannesburg // South Africa Twillsharp //Johannesburg // South Africa Cabinets of curiosity // Capetown // South Africa Fetish at Artec // Port Elizabeth // South Africa Dirt at Rubixcube // Johannesburg // South Africa 2014 Lizamore And Associates Hosts Two Exhibitions In May // Lizamore & Associates // Johannesburg // South Africa Vista // Carol Lee Fine Art // Johannesburg // South Africa Diedericks/Faber fine art // Cape Town // South Africa Rubixcube at arts on main // Johannesburg // South Africa 2013 Home is wherever I'm with you // Salon Ninety One // Cape Town // South Africa   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Bex Massey Hawez!, 2022 Acrylic and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Massey's practice incorporates figurative painting and installation. She uses collage and traditional making techniques to discuss ideas surrounding value. Reoccurring themes surrounding this 'value' are intersectional feminist issues, the post digital and British subcultures. Recent series have discussed the beginnings of misogyny with the Pandora myth ('We didn't start the fire' (solo) 2020); social media and the echo chambers created within ('Primaries', 2021) and current more autobiographical series ('The truth is out there' (solo) 2022) which discusses 'Section 28'and its impact on a generation of Queer teens.   Education   Chelsea College of Art   Select Exhibitions/Awards   Selected recent exhibitions: 2020 - We didn't start the fire, (SOLO) VOLT Eastbourne; Pop Now, Gallery 46, London; Body Politic, Susan Boutwell Gallery, Munich. 2021 - Play and the post peak, The Factory, London; The Big Show, Good Mother Gallery, San Francisco; Everywoman, Superchief Gallery, New York. 2022 - Hyper Contemporary, Hasbrook Galleries, Milwaukee; Instagram Live, 19 Karen, Queensland; Kunst the clown and friends, Lebenson Gallery, Paris and The truth is out there, (SOLO) Roman Road Gallery, London. Shortlisted awards: 'The Signature Art Prize' (2014), 'Young Masters Art Prize' (2014), 'The Taking Shape Prize (2016), 'Blooom Award' (2016) and received the 'Butterbiggens Prize in British Painting' in 2019 and 'Repaint History' in 2021. Statement about AOAP Submitted Artwork   'Hawez' and 'Nah Man' are largely based on the same titled 'Hawez, Nah Man!' diptych from 2020. I chose to refashion a study from this canvas for AOAP as when I think of post cards I think of travel and contacting loved ones. Both of these delights were curtailed in 2020 due to Covid 19. 'Hawez, Nah Man' was in my solo show 'We didn't start the fire' at VOLT, Eastbourne that year. The show was extended for two months but only physically open for a week due to two national lockdowns. Although a very limited number of people were able to see the work IRL prints of which sold quickly through the Artist Support Pledge and enabled me to connect with people again virtually and physically whilst queuing for/posting the items.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.          

Bex Massey Nah Man!, 2022 Acrylic and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Massey's practice incorporates figurative painting and installation. She uses collage and traditional making techniques to discuss ideas surrounding value. Reoccurring themes surrounding this 'value' are intersectional feminist issues, the post digital and British subcultures. Recent series have discussed the beginnings of misogyny with the Pandora myth ('We didn't start the fire' (solo) 2020); social media and the echo chambers created within ('Primaries', 2021) and current more autobiographical series ('The truth is out there' (solo) 2022) which discusses 'Section 28'and its impact on a generation of Queer teens.   Education   Chelsea College of Art   Select Exhibitions/Awards   Selected recent exhibitions: 2020 - We didn't start the fire, (SOLO) VOLT Eastbourne; Pop Now, Gallery 46, London; Body Politic, Susan Boutwell Gallery, Munich. 2021 - Play and the post peak, The Factory, London; The Big Show, Good Mother Gallery, San Francisco; Everywoman, Superchief Gallery, New York. 2022 - Hyper Contemporary, Hasbrook Galleries, Milwaukee; Instagram Live, 19 Karen, Queensland; Kunst the clown and friends, Lebenson Gallery, Paris and The truth is out there, (SOLO) Roman Road Gallery, London. Shortlisted awards: 'The Signature Art Prize' (2014), 'Young Masters Art Prize' (2014), 'The Taking Shape Prize (2016), 'Blooom Award' (2016) and received the 'Butterbiggens Prize in British Painting' in 2019 and 'Repaint History' in 2021. Statement about AOAP Submitted Artwork   'Hawez' and 'Nah Man' are largely based on the same titled 'Hawez, Nah Man!' diptych from 2020. I chose to refashion a study from this canvas for AOAP as when I think of post cards I think of travel and contacting loved ones. Both of these delights were curtailed in 2020 due to Covid 19. 'Hawez, Nah Man' was in my solo show 'We didn't start the fire' at VOLT, Eastbourne that year. The show was extended for two months but only physically open for a week due to two national lockdowns. Although a very limited number of people were able to see the work IRL prints of which sold quickly through the Artist Support Pledge and enabled me to connect with people again virtually and physically whilst queuing for/posting the items.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Heloise O'Keeffe Lady in Blue I, 2022 Blue Pencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Heloise is an artist based in South London. Her work is predominantly based around the human form which she first became fascinated by while studying in Amsterdam. After moving back to the UK and wanting to pursue her studies she went on to study the Sight-size technique at Sarum Studio, Atelier of Fine Art in Salisbury, Wilshire, and later at the London Atelier of Representational Art (LARA). Heloise's work has been exhibited all over the UK, she is member artist of ArtCan, a non-profit arts group founded by Kate Enters and has recently been selected as a finalist for the BCA Awards 2022.   Education   2017 - 2018 LARA, London Sight-Size Training. 2016 - 2017 Sarum Studio, Atelier of Fine Art, Salisbury. Sight-Size Training. 2015 - 2016 MK24, Amsterdam. Model and Emotion Life Drawing.   Select Exhibitions/Awards   2022 Society of Graphic Fine Art, Mall Galleries, The Mall, London 2022 Eye of the Beholder, 508 Gallery, Kings Road, London, UK 2022 Framing Our Future, ArtCan (Online Gallery) 2021 Christmas Exhibition, Eastwood Fine Art, Stockbridge, Hampshire 2021 Verdant, ArtCan (Online Gallery) 2021 Notre Temps ArtCan and La Condamine (Online) 2019 The Young Artists' Christmas Exhibition, Guggleton Gallery, Dorset 2019 Chelsea Secret Art Sale, National Army Museum, London 2018 The Young Artists' Christmas Exhibition, Guggleton Gallery, Dorset 2017 Secret Fundraiser, Messums, Tisbury, Wiltshire 2017 Studio Open Day, Sarum Studio School of Fine Art Salisbury, UK Gallery Representation   Eastwood Fine Art   Statement about AOAP Submitted Artwork   These two pieces are part of a series of line drawings I have been working on looking at form and the simplicity of lines within the human figure. Finding the beauty of the female form in just a few lines is something which I am drawn to time and time again. The composition for me was really important, as I wanted it to fill the page, drawing the eye to that specific section of the body rather than the body as a whole. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Heloise O'Keeffe Lady in Blue II, 2022 Blue Pencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Heloise is an artist based in South London. Her work is predominantly based around the human form which she first became fascinated by while studying in Amsterdam. After moving back to the UK and wanting to pursue her studies she went on to study the Sight-size technique at Sarum Studio, Atelier of Fine Art in Salisbury, Wilshire, and later at the London Atelier of Representational Art (LARA). Heloise's work has been exhibited all over the UK, she is member artist of ArtCan, a non-profit arts group founded by Kate Enters and has recently been selected as a finalist for the BCA Awards 2022.   Education   2017 - 2018 LARA, London Sight-Size Training. 2016 - 2017 Sarum Studio, Atelier of Fine Art, Salisbury. Sight-Size Training. 2015 - 2016 MK24, Amsterdam. Model and Emotion Life Drawing.   Select Exhibitions/Awards   2022 Society of Graphic Fine Art, Mall Galleries, The Mall, London 2022 Eye of the Beholder, 508 Gallery, Kings Road, London, UK 2022 Framing Our Future, ArtCan (Online Gallery) 2021 Christmas Exhibition, Eastwood Fine Art, Stockbridge, Hampshire 2021 Verdant, ArtCan (Online Gallery) 2021 Notre Temps ArtCan and La Condamine (Online) 2019 The Young Artists' Christmas Exhibition, Guggleton Gallery, Dorset 2019 Chelsea Secret Art Sale, National Army Museum, London 2018 The Young Artists' Christmas Exhibition, Guggleton Gallery, Dorset 2017 Secret Fundraiser, Messums, Tisbury, Wiltshire 2017 Studio Open Day, Sarum Studio School of Fine Art Salisbury, UK Gallery Representation   Eastwood Fine Art   Statement about AOAP Submitted Artwork   These two pieces are part of a series of line drawings I have been working on looking at form and the simplicity of lines within the human figure. Finding the beauty of the female form in just a few lines is something which I am drawn to time and time again. The composition for me was really important, as I wanted it to fill the page, drawing the eye to that specific section of the body rather than the body as a whole. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Victoria Mardon Twenty-One (Blue to Green), 2022 Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Victoria Mardon is an emerging abstract artist living and working in Exeter, Devon. Using acrylic on canvas, she creates precise and complex chromatic, hard-edged, geometrical paintings. Mardon studied Graphic Design at Bath Spa University and graduated in 2000. Although she never followed a career in Graphic Design, the experience shaped her painting style. Op Art, Colour Theory and Pattern Design are strong influences in her practice. Together with artists Bridget Riley, Carlos Cruz-Diez and Sarah Morris. Mardon had a two-person show at the Brownsword Hepworth Gallery in Chelsea, London, in 2021. She also had paintings longlisted for the Jacksons Painting Prize and was selected for the RWA Open Exhibition.   Education   BA (Hons) Graphic Design   Select Exhibitions/Awards   Victoria Mardon and Andrew Stonyer at Brownsword Hepworth. 2021   Gallery Representation   Brownsword Hepworth. London.   Statement about AOAP Submitted Artwork   In these works, I am also using the push and pull effect of the warm vs cool colours to create the illusion of depth whilst using hues of that same tonal value to create a visual vibration.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.      

Rachel Isabel Mukendi Untitled Waves III, 2022 Mixed Media Collage Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Rachel is a multidisciplinary artist, born in Kinshasa, raised in London. Graduated from Chelsea College of Arts London in 2017, and is currently studying Contemporary Art History at Goldsmiths. Her work explores blackness, femininity and being soft using mediums such as digital collage, illustration, film and poetry to unpack these themes.   Education   Chelsea College of Arts 2017   Select Exhibitions/Awards   POW WOW Black History Month Group Show WAW Studios, London 2021   Statement about AOAP Submitted Artwork   I wanted to be play more with this work. I recycled pervious artwork to make these pieces. Water is a consistent feature in my work and I want to expand the flow with yarn. The process was an integral part of the work and required a delicate touch and care. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Victoria Mardon Twenty-One (Pink to Pink), 2022 Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Victoria Mardon is an emerging abstract artist living and working in Exeter, Devon. Using acrylic on canvas, she creates precise and complex chromatic, hard-edged, geometrical paintings. Mardon studied Graphic Design at Bath Spa University and graduated in 2000. Although she never followed a career in Graphic Design, the experience shaped her painting style. Op Art, Colour Theory and Pattern Design are strong influences in her practice. Together with artists Bridget Riley, Carlos Cruz-Diez and Sarah Morris. Mardon had a two-person show at the Brownsword Hepworth Gallery in Chelsea, London, in 2021. She also had paintings longlisted for the Jacksons Painting Prize and was selected for the RWA Open Exhibition.   Education   BA (Hons) Graphic Design   Select Exhibitions/Awards   Victoria Mardon and Andrew Stonyer at Brownsword Hepworth. 2021   Gallery Representation   Brownsword Hepworth. London.   Statement about AOAP Submitted Artwork   In these works, I am also using the push and pull effect of the warm vs cool colours to create the illusion of depth whilst using hues of that same tonal value to create a visual vibration.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Adam de Boer Swimming With Travis at Oranje 1, 2022 Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) Please note images 4 and 5 show Lots 211-214 together.   About   Adam de Boer is an American artist currently based in Los Angeles whose work incorporates lessons and materials learned from his time living in Java, Indonesia, the place of his father's birth.   Education   Fulbright Research Fellow, Yogyakarta, Indonesia - 2017-2018 MA - Fine Art - Chelsea College of Art - 2012 BA - Painting - College of Creative Studies, University of California, Santa Barbara - 2006   Select Exhibitions/Awards   Joan Mitchell Fellow - 2022-2027 Gajah Gallery, Jakarta - 2023 Taymour Grahne Projects, London - 2022 Ghosts of Empires, Ben Brown, Hong Kong & London - 2022   Statement about AOAP Submitted Artwork   This little polyptych depicts a time swimming with my twin brother, Travis, at the Oranje Hotel in Surabaya. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam de Boer Swimming With Travis at Oranje 2, 2022 Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) Please note images 4 and 5 show Lots 211-214 together.   About   Adam de Boer is an American artist currently based in Los Angeles whose work incorporates lessons and materials learned from his time living in Java, Indonesia, the place of his father's birth.   Education   Fulbright Research Fellow, Yogyakarta, Indonesia - 2017-2018 MA - Fine Art - Chelsea College of Art - 2012 BA - Painting - College of Creative Studies, University of California, Santa Barbara - 2006   Select Exhibitions/Awards   Joan Mitchell Fellow - 2022-2027 Gajah Gallery, Jakarta - 2023 Taymour Grahne Projects, London - 2022 Ghosts of Empires, Ben Brown, Hong Kong & London - 2022   Statement about AOAP Submitted Artwork   This little polyptych depicts a time swimming with my twin brother, Travis, at the Oranje Hotel in Surabaya. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam de Boer Swimming With Travis at Oranje 3, 2022 Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) Please note images 4 and 5 show Lots 211-214 together.   About   Adam de Boer is an American artist currently based in Los Angeles whose work incorporates lessons and materials learned from his time living in Java, Indonesia, the place of his father's birth.   Education   Fulbright Research Fellow, Yogyakarta, Indonesia - 2017-2018 MA - Fine Art - Chelsea College of Art - 2012 BA - Painting - College of Creative Studies, University of California, Santa Barbara - 2006   Select Exhibitions/Awards   Joan Mitchell Fellow - 2022-2027 Gajah Gallery, Jakarta - 2023 Taymour Grahne Projects, London - 2022 Ghosts of Empires, Ben Brown, Hong Kong & London - 2022   Statement about AOAP Submitted Artwork   This little polyptych depicts a time swimming with my twin brother, Travis, at the Oranje Hotel in Surabaya. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam de Boer Swimming With Travis at Oranje 4, 2022 Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) Please note images 4 and 5 show Lots 211-214 together.   About   Adam de Boer is an American artist currently based in Los Angeles whose work incorporates lessons and materials learned from his time living in Java, Indonesia, the place of his father's birth.   Education   Fulbright Research Fellow, Yogyakarta, Indonesia - 2017-2018 MA - Fine Art - Chelsea College of Art - 2012 BA - Painting - College of Creative Studies, University of California, Santa Barbara - 2006   Select Exhibitions/Awards   Joan Mitchell Fellow - 2022-2027 Gajah Gallery, Jakarta - 2023 Taymour Grahne Projects, London - 2022 Ghosts of Empires, Ben Brown, Hong Kong & London - 2022   Statement about AOAP Submitted Artwork   This little polyptych depicts a time swimming with my twin brother, Travis, at the Oranje Hotel in Surabaya. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Hugh Mendes Obituaries, 2022 Graphite and Coloured Pencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Artist based in London. Exhibited internationally. Senior lecturer at City & Guilds of London Art School   Education   BA Chelsea School of Art. MA City & Guilds of London Art School   Select Exhibitions/Awards   Solo shows: Charlie Smith London, Gusford Los Angeles, Braubach 5 Frankfurt. Many group shows. Museum shows: Saltzburg, Austria. Sacramento, Torrance, USA   Gallery Representation   Charlie Smith London   Statement about AOAP Submitted Artwork   Graphite version of one of my first obituary paintings, for which I have become very well known. This was on the cover of my recent retrospective catalogue. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Anthony Daley Venus Dismantled I, 2022 Oil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   At age 7, Anthony (Tony) Daley left Jamaica for the United Kingdom, where he pursued multiple degrees at both Wimbledon and Chelsea College of Art. Emerging in the 80's, Tony's abstract expressions of colour were profound, captivating crowds across London, The USA, Switzerland, and major art hubs across the globe. Tony instantly started exhibiting with the Angela Flowers Gallery during the public emergence of his artistic expression, exhibiting across the United Kingdom and Europe. From there, Tony has exhibited across major galleries in London, Ireland, New York, Los Angeles, The Netherlands, & Switzerland. Tony has recently been featured in the Financial Times, Saatchi Newsletter and The Metro, as well as a range of historical art reference books and catalogues.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action    

Anthony Daley Venus Dismantled II, 2022 Oil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   At age 7, Anthony (Tony) Daley left Jamaica for the United Kingdom, where he pursued multiple degrees at both Wimbledon and Chelsea College of Art. Emerging in the 80's, Tony's abstract expressions of colour were profound, captivating crowds across London, The USA, Switzerland, and major art hubs across the globe. Tony instantly started exhibiting with the Angela Flowers Gallery during the public emergence of his artistic expression, exhibiting across the United Kingdom and Europe. From there, Tony has exhibited across major galleries in London, Ireland, New York, Los Angeles, The Netherlands, & Switzerland. Tony has recently been featured in the Financial Times, Saatchi Newsletter and The Metro, as well as a range of historical art reference books and catalogues.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action    

Anthony Daley Venus Dismantled III, 2022 Oil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   At age 7, Anthony (Tony) Daley left Jamaica for the United Kingdom, where he pursued multiple degrees at both Wimbledon and Chelsea College of Art. Emerging in the 80's, Tony's abstract expressions of colour were profound, captivating crowds across London, The USA, Switzerland, and major art hubs across the globe. Tony instantly started exhibiting with the Angela Flowers Gallery during the public emergence of his artistic expression, exhibiting across the United Kingdom and Europe. From there, Tony has exhibited across major galleries in London, Ireland, New York, Los Angeles, The Netherlands, & Switzerland. Tony has recently been featured in the Financial Times, Saatchi Newsletter and The Metro, as well as a range of historical art reference books and catalogues.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action