Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
We found 16019 price guide item(s) matching your search
There are 16019 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
16019 item(s)/page
Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
Tuesday Riddell Midnight Mushrooms, 2020 23.5k Gold Leaf, Silver Leaf, Ink and Gold Powder Signed verso 15 x 10cm (5¾ x 3¾ in.) "I practice the ancient art of japanning which is a 17th century form of decorative finish characterised by layered black lacquer, gilded with gold and silver leaf. Japanning is currently an endangered technique in the UK. The work explores cycles of life and death taking place in the dark underwood of the forest floor." Tuesday Riddell graduated with a BA (Hons) in Fine Art Painting from City & Guilds of London Art School. She has just concluded her Painter-Stainers Decorative Surface Fellowship at City & Guilds - the only Fellowship in the UK that provides specialist training in the craft of decorative surface techniques to ensure that endangered skills are kept alive and vibrant in contemporary practice, focusing on historic techniques such as gilding, japanning, chinoiserie and marbling. Riddell will be granted a one-year honorary membership to The Worshipful Company of Painter-Stainers to conclude her fellowship. She has recently exhibited at Belfiore 9, Viktor Wynd's Museum of Curiosities, Londonewcastle Project Gallery and Subsidiary Projects. Tuesday was selected as part of the 'Young Contemporary Artist Awards 2018' by The Biscuit Factory.
Tuesday Riddell Snowdrop, 2020 23.5k Gold Leaf, Silver Leaf, Ink and Gold Powder Signed verso 15 x 10cm (5¾ x 3¾ in.) "I practice the ancient art of japanning which is a 17th century form of decorative finish characterised by layered black lacquer, gilded with gold and silver leaf. Japanning is currently an endangered technique in the UK. The work explores cycles of life and death taking place in the dark underwood of the forest floor." Tuesday Riddell graduated with a BA (Hons) in Fine Art Painting from City & Guilds of London Art School. She has just concluded her Painter-Stainers Decorative Surface Fellowship at City & Guilds - the only Fellowship in the UK that provides specialist training in the craft of decorative surface techniques to ensure that endangered skills are kept alive and vibrant in contemporary practice, focusing on historic techniques such as gilding, japanning, chinoiserie and marbling. Riddell will be granted a one-year honorary membership to The Worshipful Company of Painter-Stainers to conclude her fellowship. She has recently exhibited at Belfiore 9, Viktor Wynd's Museum of Curiosities, Londonewcastle Project Gallery and Subsidiary Projects. Tuesday was selected as part of the 'Young Contemporary Artist Awards 2018' by The Biscuit Factory.
Ariel Vargassal To Whom Who Wears the Crown II, 2020 Acrylic and 24k Gold Leaf on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ariel Vargassal was born into a richly mixed culture family. These cultural singularities introduced Ariel to undeniable senses of style. He always leaned towards the arts and when he did not mold small clay sculptures, he turned to countless drawings in his notebook. Therefore, it was logical that Ariel followed a Bachelor of Fine Arts at the University of Mexico. In studying the works of the great artist who preceded him, his passion ignited and his determination proved unstoppable. Upon graduation, Ariel became one of the youngest teachers to teach art at a high school at Mexico City, and had the opportunity to showcase his work in different places, including the prestigious "Polyforum Cultural Siqueiros". His first international exhibition was in Salt Lake City, Utah during the Winter Olympic Games as a host of the city, representing the visual arts of Mexico. After this exhibition, Ariel received invitations to showcase her work in area galleries as well as offers elsewhere in the US, so she decided to move to Los Angeles. Vargassal's work has been seen in various digital publications, books and television programs. In addition, he has been fortunate to work with young Hollywood stars as his models and clients. Apart from Mexico City, Salt Lake City and Los Angeles, Ariel has shown her work in Arizona, San Francisco and New York. He is a member of the Los Angeles Art Association, one of the oldest and most prestigious art associations on the West Coast. He worked with International Curators in early 2013, his work was presented at the International Surrealism of Lisbon, Portugal, and recently received invitations to exhibit in Montreal, Canada (Galerie Gora, art contemporain), Germany (the Contemporary Museum of Berlin) and France.
Ruth Philo From the Virgin's Robe I, 2020 Raw Pigments and Binder on Unstretched Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings combine experiences of inner and outer worlds, essentially paintscapes of thought, feeling and intuition. Toughly material, I often work with pigments and binders that feel close to the earth. These pieces were made during lockdown, in confinement and isolation, and explore blue pigments like ultramarine and cobalt. Blue, the colour of distance, memory, time, sky, sea, and the Virgin's robes; this series explores its history, beauty and associations. I live and work in Sudbury, Suffolk and have a BA History of Art, University of Warwick and MA Fine Art, Norwich University of the Arts. My work has been selected for the Jerwood Drawing Prize and Royal Academy Summer exhibition and is in several collections worldwide. I regularly exhibit in the UK and abroad and am a member of Contemporary British Painting.
Ruth Philo From the Virgin's Robe II, 2020 Raw Pigments and Binder on Unstretched Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings combine experiences of inner and outer worlds, essentially paintscapes of thought, feeling and intuition. Toughly material, I often work with pigments and binders that feel close to the earth. These pieces were made during lockdown, in confinement and isolation, and explore blue pigments like ultramarine and cobalt. Blue, the colour of distance, memory, time, sky, sea, and the Virgin's robes; this series explores its history, beauty and associations. I live and work in Sudbury, Suffolk and have a BA History of Art, University of Warwick and MA Fine Art, Norwich University of the Arts. My work has been selected for the Jerwood Drawing Prize and Royal Academy Summer exhibition and is in several collections worldwide. I regularly exhibit in the UK and abroad and am a member of Contemporary British Painting.
Kelly-Anne Davitt Sweet Love, 2020 Oil on Canvas Board Signed verso 15 x 10cm (5¾ x 3¾ in.) "I like painting the heart throb sweet for Art on a Postcard, I use it as a symbol of life and living. I often paint sweets, they are a vehicle for me to paint many different forms, shapes, textures and colours. Sweet love oil painting, explores cultural imagery and is a reaction to our current circumstances. When the threat of loss is so close, love for the important people in our lives is intensified. Bum Shot and Pink Bum Shot Mini limited edition prints explore themes of empowerment, having faith, strength and courage in the face of adversity. A nod to this unprecedented pandemic and the challenges we have all faced during lockdown and a celebration of my curatorial debut 'The Most Powerful Woman In The Universe' which was held at Gallery 46 in Whitechapel last year." A young British artist, painter and feminist, Kelly-Anne Davitt was selected by the National Portrait Gallery to exhibit in the BP Portrait Awards, immediately after graduating from London Guildhall University with a degree in Fine Art. Kelly has had solo shows: Beach Balls & Melons at Dadiani Fine Art, Cork Street and Feel Good at Blacks, Soho. She has also exhibited her work at Faggionato Fine Arts, Colony Room Club, Gallery 46, The Laurence Stern Trust, Art Car Boot Fair, Zoo Art Fair, Trolley Gallery, Outside World Gallery and Lights of Soho. Through her oil paintings exploring the hyper-sexual images of women found online and within media, rendered realistically and with playful pop tones, Kelly achieves a contemporary approach and attitude to the time-honoured female nude. She also uses light text sculpture to re-enforce the ideas within her paintings. Taking text that amuses and outrages her from tabloids and magazines and re-appropriating them to illuminate the ridiculous, absurd and humorous. These themes remain dominant in Kelly's work. She currently lives and works in London.
Kelly-Anne Davitt Bum Shot Mini, 2020 Limited Edition Digital Print Signed recto 15 x 10cm (5¾ x 3¾ in.) "I like painting the heart throb sweet for Art on a Postcard, I use it as a symbol of life and living. I often paint sweets, they are a vehicle for me to paint many different forms, shapes, textures and colours. Sweet love oil painting, explores cultural imagery and is a reaction to our current circumstances. When the threat of loss is so close, love for the important people in our lives is intensified. Bum Shot and Pink Bum Shot Mini limited edition prints explore themes of empowerment, having faith, strength and courage in the face of adversity. A nod to this unprecedented pandemic and the challenges we have all faced during lockdown and a celebration of my curatorial debut 'The Most Powerful Woman In The Universe' which was held at Gallery 46 in Whitechapel last year." A young British artist, painter and feminist, Kelly-Anne Davitt was selected by the National Portrait Gallery to exhibit in the BP Portrait Awards, immediately after graduating from London Guildhall University with a degree in Fine Art. Kelly has had solo shows: Beach Balls & Melons at Dadiani Fine Art, Cork Street and Feel Good at Blacks, Soho. She has also exhibited her work at Faggionato Fine Arts, Colony Room Club, Gallery 46, The Laurence Stern Trust, Art Car Boot Fair, Zoo Art Fair, Trolley Gallery, Outside World Gallery and Lights of Soho. Through her oil paintings exploring the hyper-sexual images of women found online and within media, rendered realistically and with playful pop tones, Kelly achieves a contemporary approach and attitude to the time-honoured female nude. She also uses light text sculpture to re-enforce the ideas within her paintings. Taking text that amuses and outrages her from tabloids and magazines and re-appropriating them to illuminate the ridiculous, absurd and humorous. These themes remain dominant in Kelly's work. She currently lives and works in London.
Jonni Cheatwood Hot Legzzz, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art. Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times. Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.
Jonni Cheatwood Going to See the Queen, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art. Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times. Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.
Jonni Cheatwood Preston Still has Petit Feet, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art. Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times. Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.
Simon Laurie Fish and Wine, 2020 Pencil on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections.
Simon Laurie Bass Beer, 2020 Pencil on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections.
Simon Laurie Jug and Fruit, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections.
Simon Laurie Bottle and Fish, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections.
Amy Bessone Small Refuge 1, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?" Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses". Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California, Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Amy Bessone Small Refuge 2, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?" Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses". Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California, Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Amy Bessone Small Refuge 3, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?" Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses". Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California, Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Amy Bessone Small Refuge 4, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?" Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses". Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California, Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Kristy M Chan Covering Both Ears with One Hand, 2020 Watercolour, Oil and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Kristy Chan is a contemporary artist whose works are dense with information often exploring odd depictions of the environment. Kristy's paintings reflect on her upbringing in Hong Kong. Her hologram-like works explore the notion of displacement, movement, and change. Kristy's recent works are a documentation of the visuals and sensations during her time spent with that piece of work. She often describes certain uncanny qualities of her works as "stolen realities" in her surroundings. Shapes and forms are imported into her images, leaving their original meaning behind. Kristy Chan was born in Hong Kong, 1997. She studied at Slade School of Fine Art, London 2016-2019 followed by Sotheby's Institute of Art, London 2019-2020. She lives and works in London.
Kristy M Chan Makeshift Kaleidoscope, 2020 Watercolour, Oil and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Kristy Chan is a contemporary artist whose works are dense with information often exploring odd depictions of the environment. Kristy's paintings reflect on her upbringing in Hong Kong. Her hologram-like works explore the notion of displacement, movement, and change. Kristy's recent works are a documentation of the visuals and sensations during her time spent with that piece of work. She often describes certain uncanny qualities of her works as "stolen realities" in her surroundings. Shapes and forms are imported into her images, leaving their original meaning behind. Kristy Chan was born in Hong Kong, 1997. She studied at Slade School of Fine Art, London 2016-2019 followed by Sotheby's Institute of Art, London 2019-2020. She lives and works in London.
Kristy M Chan Reaching the Top Cupboard, 2020 Watercolour, Oil and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Kristy Chan is a contemporary artist whose works are dense with information often exploring odd depictions of the environment. Kristy's paintings reflect on her upbringing in Hong Kong. Her hologram-like works explore the notion of displacement, movement, and change. Kristy's recent works are a documentation of the visuals and sensations during her time spent with that piece of work. She often describes certain uncanny qualities of her works as "stolen realities" in her surroundings. Shapes and forms are imported into her images, leaving their original meaning behind. Kristy Chan was born in Hong Kong, 1997. She studied at Slade School of Fine Art, London 2016-2019 followed by Sotheby's Institute of Art, London 2019-2020. She lives and works in London.
Gordon Dalton Heartbreak Hill, 2020 Acyrlic and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My paintings are made up of multiple landscapes, viewpoints, memories. These are places I've lived, or imagined. There are about longing for somewhere, something or someone. A romantic notion ground into the messy business of painting." Dalton has earned an international reputation for his resplendently coloured paintings. He holds his MA, Fine Art, University of Northumbria, and an honours BA, Fine Art, University of Wales, Cardiff. Select residencies include URRA, Buenos Aires, Argentina, 2016 and the Chapter Art Gallery, Cardiff, 2007. Select solo exhibitions: Trade Gallery, Nottingham; Bay Art, Cardiff; Last Gallery, Llangadog; Bank Gallery, Los Angeles; Keith Talent, London; Marksman Gallery, Reading; Castlefield Gallery, Manchester; Moot Gallery, Nottingham. Select group shows: Newlyn Art Gallery, Penzance; Contemporary British Painting Prize, Riverside Gallery, Richmond; Beep Wales Painting Prize, Swansea (touring); Del Infinito Art Gallery, Buenos Aires; City Limits, Oriel Canfas, Cardiff; National Eisteddfod of Wales, Abergavenny; Exeter Contemporary Open, 2015, Exeter Phoenix; Bankley Gallery & Studios, Manchester; Transition, London; Syson, Nottingham; Elysium Gallery, Swansea; Bank Art, Los Angeles; Galerie Skuc, Ljubljana, Slovenia; Cynthia Broan Gallery, New York; Moravian Gallery, Brno, Czech Republic; Contemporary Art Centre, Vilnius, Lithuania; ICA, London; MIMA, Middleborough; City Gallery, Leics, National Museum of Wales, Cardiff; North Gallery for Contemporary Art, Sunderland; Royal Academy of Art, 2019 London, BEEP Painting Prize 2020.
CB Hoyo NO, 2020 Water, Canvas, Wax Crayon, Acrylic, Wax, Oil, Pasted on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) CB HOYO (1995, Havana, Cuba) is an Europe-based artist whose career has been on the steady rise since 2017. After his massive success on Instagram, the self-taught artist is constantly in the public eye with important worldwide exhibitions. CB Hoyo's skillfully composed paintings are often spiced with a splash of humor and celebrate life itself in a fresh, colorful, and fun way. In an era shaped by social media and fake news, and where artistic authenticity is highly questionable, CB Hoyo aims to create awareness of the falsity of contemporary society, pointing out that art should always be a way of self expression and joy.
Heri Dono Chatting about Pandemic, 2020 Acrylic and Chinese Ink on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Heri Dono is a contemporary Indonesian artist known for his inventive mélange of traditional folk art with contemporary imagery. Throughout his practice, he combines diverse source material such as wayang kulit (shadow puppets), Western pop culture, and socio-political issues in paintings and installations. Born on June 12, 1960 in Jakarta, Indonesia, Dono went on to study at the Indonesian Art Institute in Yogyakarta. His works seek to disrupt and contradict the mainstream narratives of Western art and its control over international art practices. Dono represented Indonesia in the 56th Venice Biennale in 2015 and his works are in the collections of the Deutsche Guggenheim in Frankfurt, the Fukuoka Art Museum in Japan, the Singapore Art Museum, the National Gallery of Australia in Canberra, and the Tropen museum in Amsterdam, among others. He lives and works in Yogyakarta, Indonesia. I create works by combining concepts of Animism and Animated Cartoons. All the most impossible possibilities of life in this world can be illustrated in a work of art."Semar as an Angel" depicts the story of a Semar figure in Java who is actually a godnamed Ismoyo. He incarnates as a human figure and acts as a clown. He criticized the royal officials in the kingdom and sided with the people (wong alit)."Petruk as a Clown" tells the story of Semar's brother in the Punakawan group. One day he became a king and brought humour to the Kingdom. In fact, his position was not that of a statesman."Chatting about Pandemic", is about the current situation where there is an epidemic that does not provide certainty of life. In contemplation we realize that the certainty of life is the uncertainty itself."A Security of Life" illustrates a superhero who doesn't know how to wear underwear. He wears it after wearing trousers. He doesn't realize that his genital is not covered Yogyakarta, Indonesia, 15 October 2020
Heri Dono A Security of Life, 2020 Acrylic and Chinese Ink on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Heri Dono is a contemporary Indonesian artist known for his inventive mélange of traditional folk art with contemporary imagery. Throughout his practice, he combines diverse source material such as wayang kulit (shadow puppets), Western pop culture, and socio-political issues in paintings and installations. Born on June 12, 1960 in Jakarta, Indonesia, Dono went on to study at the Indonesian Art Institute in Yogyakarta. His works seek to disrupt and contradict the mainstream narratives of Western art and its control over international art practices. Dono represented Indonesia in the 56th Venice Biennale in 2015 and his works are in the collections of the Deutsche Guggenheim in Frankfurt, the Fukuoka Art Museum in Japan, the Singapore Art Museum, the National Gallery of Australia in Canberra, and the Tropen museum in Amsterdam, among others. He lives and works in Yogyakarta, Indonesia. I create works by combining concepts of Animism and Animated Cartoons. All the most impossible possibilities of life in this world can be illustrated in a work of art."Semar as an Angel" depicts the story of a Semar figure in Java who is actually a godnamed Ismoyo. He incarnates as a human figure and acts as a clown. He criticized the royal officials in the kingdom and sided with the people (wong alit)."Petruk as a Clown" tells the story of Semar's brother in the Punakawan group. One day he became a king and brought humour to the Kingdom. In fact, his position was not that of a statesman."Chatting about Pandemic", is about the current situation where there is an epidemic that does not provide certainty of life. In contemplation we realize that the certainty of life is the uncertainty itself."A Security of Life" illustrates a superhero who doesn't know how to wear underwear. He wears it after wearing trousers. He doesn't realize that his genital is not covered Yogyakarta, Indonesia, 15 October 2020
Heri Dono Semar as an Angel, 2020 Acrylic and Chinese Ink on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Heri Dono is a contemporary Indonesian artist known for his inventive mélange of traditional folk art with contemporary imagery. Throughout his practice, he combines diverse source material such as wayang kulit (shadow puppets), Western pop culture, and socio-political issues in paintings and installations. Born on June 12, 1960 in Jakarta, Indonesia, Dono went on to study at the Indonesian Art Institute in Yogyakarta. His works seek to disrupt and contradict the mainstream narratives of Western art and its control over international art practices. Dono represented Indonesia in the 56th Venice Biennale in 2015 and his works are in the collections of the Deutsche Guggenheim in Frankfurt, the Fukuoka Art Museum in Japan, the Singapore Art Museum, the National Gallery of Australia in Canberra, and the Tropen museum in Amsterdam, among others. He lives and works in Yogyakarta, Indonesia. I create works by combining concepts of Animism and Animated Cartoons. All the most impossible possibilities of life in this world can be illustrated in a work of art."Semar as an Angel" depicts the story of a Semar figure in Java who is actually a godnamed Ismoyo. He incarnates as a human figure and acts as a clown. He criticized the royal officials in the kingdom and sided with the people (wong alit)."Petruk as a Clown" tells the story of Semar's brother in the Punakawan group. One day he became a king and brought humour to the Kingdom. In fact, his position was not that of a statesman."Chatting about Pandemic", is about the current situation where there is an epidemic that does not provide certainty of life. In contemplation we realize that the certainty of life is the uncertainty itself."A Security of Life" illustrates a superhero who doesn't know how to wear underwear. He wears it after wearing trousers. He doesn't realize that his genital is not covered Yogyakarta, Indonesia, 15 October 2020
Heri Dono Petruk as a Clown, 2020 Acrylic and Chinese Ink on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Heri Dono is a contemporary Indonesian artist known for his inventive mélange of traditional folk art with contemporary imagery. Throughout his practice, he combines diverse source material such as wayang kulit (shadow puppets), Western pop culture, and socio-political issues in paintings and installations. Born on June 12, 1960 in Jakarta, Indonesia, Dono went on to study at the Indonesian Art Institute in Yogyakarta. His works seek to disrupt and contradict the mainstream narratives of Western art and its control over international art practices. Dono represented Indonesia in the 56th Venice Biennale in 2015 and his works are in the collections of the Deutsche Guggenheim in Frankfurt, the Fukuoka Art Museum in Japan, the Singapore Art Museum, the National Gallery of Australia in Canberra, and the Tropen museum in Amsterdam, among others. He lives and works in Yogyakarta, Indonesia. I create works by combining concepts of Animism and Animated Cartoons. All the most impossible possibilities of life in this world can be illustrated in a work of art."Semar as an Angel" depicts the story of a Semar figure in Java who is actually a godnamed Ismoyo. He incarnates as a human figure and acts as a clown. He criticized the royal officials in the kingdom and sided with the people (wong alit)."Petruk as a Clown" tells the story of Semar's brother in the Punakawan group. One day he became a king and brought humour to the Kingdom. In fact, his position was not that of a statesman."Chatting about Pandemic", is about the current situation where there is an epidemic that does not provide certainty of life. In contemplation we realize that the certainty of life is the uncertainty itself."A Security of Life" illustrates a superhero who doesn't know how to wear underwear. He wears it after wearing trousers. He doesn't realize that his genital is not covered Yogyakarta, Indonesia, 15 October 2020
Jonas Burgert Log, 2020 Graphite on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Jonas Burgert is a contemporary German artist working in darkly comic, large-scale paintings. He is best known for his use of animals and people as ornamentation, often portraying them in the midst of ritual acts such as in Second Day Nothing (2008). Burgert's work has been compared to Hieronymous Bosch for its fantastical and tortured imagery, and his frequent use of North African motifs, which is inspired by a period when the artist lived in Egypt. Born in 1969 in West Berlin, Germany, he graduated from the Berlin Academy of Fine Arts in 1996 with his earliest works consisting of series of fractal images created collaboratively with the artist Ingolf Keiner. Burgert's first solo exhibition was at the Produzentengalerie Hamburg in 2006, and he has since been widely shown, including solo shows at the Denver Museum of Contemporary Art in 2008 and the Blain Southern Gallery in London, in 2014. He lives and works in Berlin, Germany.
Imam Raad Gaze (Zipolite), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City. Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer. Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement. His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).
Imam Raad Gaze (Nightfall), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City. Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer. Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement. His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).
Imam Raad Gaze (Oranges on Turquoise Table), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City. Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer. Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement. His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).
Tim Bavington Metabolism 1, 2020 Watercolour and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Music is the genesis of Tim Bavington's paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence. Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX). He has exhibited at LeeAhn Gallery (Daegu), Jack Shainman Gallery (NY), Galerie Jean-Luc & Takako Richard (Paris), Space Gallery (London), Museum of Fine Arts (MA), Laguna Art Museum (CA), Museo de Arte Contemporaneo de Buenos Aires, and the Texas Fine Arts Center (TX) among others.
Tim Bavington Metabolism 2, 2020 Watercolour and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Music is the genesis of Tim Bavington's paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence. Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX). He has exhibited at LeeAhn Gallery (Daegu), Jack Shainman Gallery (NY), Galerie Jean-Luc & Takako Richard (Paris), Space Gallery (London), Museum of Fine Arts (MA), Laguna Art Museum (CA), Museo de Arte Contemporaneo de Buenos Aires, and the Texas Fine Arts Center (TX) among others.
Tim Bavington Last Night 1, 2020 Watercolour and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Music is the genesis of Tim Bavington's paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence. Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX). He has exhibited at LeeAhn Gallery (Daegu), Jack Shainman Gallery (NY), Galerie Jean-Luc & Takako Richard (Paris), Space Gallery (London), Museum of Fine Arts (MA), Laguna Art Museum (CA), Museo de Arte Contemporaneo de Buenos Aires, and the Texas Fine Arts Center (TX) among others.
Tim Bavington Last Night 2, 2020 Watercolour and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Music is the genesis of Tim Bavington's paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence. Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX). He has exhibited at LeeAhn Gallery (Daegu), Jack Shainman Gallery (NY), Galerie Jean-Luc & Takako Richard (Paris), Space Gallery (London), Museum of Fine Arts (MA), Laguna Art Museum (CA), Museo de Arte Contemporaneo de Buenos Aires, and the Texas Fine Arts Center (TX) among others.
Frances Borden FBO1, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Frances Borden (b.1970) studied Fine Art (Painting) for a BA (Hons) at Chelsea College of Art and Design. She has been selected for the BP Portrait Award on six occasions, and been a prize winner on three (1996, 1998 and 2000), coming second in 1998. She has also received prizes in the NatWest Prize for Art (1995 and 1996), Hunting Art Prizes (1997 and 1999) and The Wells Art Contemporary Prize (2012). She has exhibited widely and lives in Devon, UK. "I love painting because its truthfulness never fails or diminishes in any measure, is obvious and directly expressed right at the heart of the work, yet still capable of being overlooked."
Bill Adams Untitled, 2020 Ballpoint Pen and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Bill Adams is an American Post-war & Contemporary artist was born in 1957. He studied Fine Art at Indiana University, Bloomington in 1986, and his work has been featured in numerous exhibitions at key galleries and museums, including the White Columns and the 56 Henry. Bill Adams is known for his obsessive drawings in ballpoint pen that offer a roster of furry creatures in simple perspectival landscapes. While they are not anatomically aligned with known animals, they possess a surprising power to solicit our interest and empathy. What is their condition exactly? Like staring sentinels, they express a cartoon version of existential anxiety-watchful, hopeful, sad, stoic, and bewildered. Their lower bodies seem to be merged with the ground, fixing them in place like monuments. The intimate scale of these works and their accumulation of short pen strokes are reminiscent of the dense vision of Leonardo Da Vinci's "deluge drawings," and their compositions owe something to the surreal elegance of Salvador Dali's imagery. The unmistakable blue palette brings to mind bored students with Bic pens, filling the pages of their notebooks with fantastic beings.
Bill Adams Untitled, 2020 Ballpoint Pen and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Bill Adams is an American Post-war & Contemporary artist was born in 1957. He studied Fine Art at Indiana University, Bloomington in 1986, and his work has been featured in numerous exhibitions at key galleries and museums, including the White Columns and the 56 Henry. Bill Adams is known for his obsessive drawings in ballpoint pen that offer a roster of furry creatures in simple perspectival landscapes. While they are not anatomically aligned with known animals, they possess a surprising power to solicit our interest and empathy. What is their condition exactly? Like staring sentinels, they express a cartoon version of existential anxiety-watchful, hopeful, sad, stoic, and bewildered. Their lower bodies seem to be merged with the ground, fixing them in place like monuments. The intimate scale of these works and their accumulation of short pen strokes are reminiscent of the dense vision of Leonardo Da Vinci's "deluge drawings," and their compositions owe something to the surreal elegance of Salvador Dali's imagery. The unmistakable blue palette brings to mind bored students with Bic pens, filling the pages of their notebooks with fantastic beings.
Oliver Dorrell Pool Party, 2020 Gouache, Watercolour and Ink on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) British artist Oliver Dorrell is a gifted storyteller, his strange yet intimately fascinating tales of travel to places such as India and North Caucasus offer unique insight into the experience of the world. So too Dorrell's colourful paintings seem a translation of sorts, a fantastic and painterly view into hidden places. The artist's pictures are distinguished by a sense of imaginative narrative and are rich tapestries of folktales, mythologies and impressionistic travel vignettes. Symbolic landscapes and figures evoke a sense of mystic interludes and the artist frequently draws upon imagery from regional religious imagery, terrain and the intersections of culture and experience. Because Dorrell studied anthropology he brings to his work, a knowledgeable and yet simultaneously open mindset that allows him to take in the idea of influence, preconceived notions, meaning and as well understand the complexity of the view of the traveller or the interloper. Through this process emerges a series of pictures that are often compared to the work of Marc Chagall and yet represent a contemporary world of symbiotic experience, place and tradition. The artist holds his MA with Distinction, Painting, Wimbledon College of Arts, University of the Arts, London and his BSC, Anthropology, University College London. Dorrell has participated in a number of group shows including at Blasé, London 2019 and 2018; Lewisham Art House, London, 2018; Wimbledon College of Art MA Show, London, 2018.
Oliver Dorrell BlackICE, 2020 Gouache, Watercolour and Ink on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) British artist Oliver Dorrell is a gifted storyteller, his strange yet intimately fascinating tales of travel to places such as India and North Caucasus offer unique insight into the experience of the world. So too Dorrell's colourful paintings seem a translation of sorts, a fantastic and painterly view into hidden places. The artist's pictures are distinguished by a sense of imaginative narrative and are rich tapestries of folktales, mythologies and impressionistic travel vignettes. Symbolic landscapes and figures evoke a sense of mystic interludes and the artist frequently draws upon imagery from regional religious imagery, terrain and the intersections of culture and experience. Because Dorrell studied anthropology he brings to his work, a knowledgeable and yet simultaneously open mindset that allows him to take in the idea of influence, preconceived notions, meaning and as well understand the complexity of the view of the traveller or the interloper. Through this process emerges a series of pictures that are often compared to the work of Marc Chagall and yet represent a contemporary world of symbiotic experience, place and tradition. The artist holds his MA with Distinction, Painting, Wimbledon College of Arts, University of the Arts, London and his BSC, Anthropology, University College London. Dorrell has participated in a number of group shows including at Blasé, London 2019 and 2018; Lewisham Art House, London, 2018; Wimbledon College of Art MA Show, London, 2018.
Eric Inkala 6 Eyes in Blue, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Brooklyn-based Eric Inkala is a self-taught artist whose highly visual and ever-evolving style has ripened from graffiti to pop art to contemporary art. His work presents a playful graphic language in the form of a signature character who serves as a vehicle for an autobiographical narrative. It's through this personal storyline that Inkala is able to channel thoughts and emotions into expressions of shape, colour and text. His universally approachable concept is amplified through increasingly complex patterns and symmetry,which over the years have reflected both the abstract escapades of his trademark character and Inkala's own artistic journey. Working primarily in acrylic, his paintings vary in size from large-scale canvas to sculpture, prints and small works on paper. Eric Inkala was born in Minneapolis, MN. His work has been exhibited nationally at galleries such as THIS Gallery (CA), Parlour Gallery (NJ), Public Functionary (MN), Joseph Gross Gallery (NYC) and most recently at Cass Contemporary (FL) Scope Miami beach and Blackbook gallery in Denver Colorado. His work has also been presented internationally, most recently at Gallery Poulsen in Copenhagen Denmark. Inkala murals have covered walls in Minneapolis, Palm Springs, and at the Ace Hotel in New York City.
Rosie Emerson Dreamer, 2020 Photopolymer Etching on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Rosie Emerson is an award winning contemporary artist originally from Dorset, she studied and lived in London for 10 years. She now resides on the South Coast and continues to work almost exclusively on representing the female form. Emerson's figures draw reference from archetypes old and new from Artemis to the modern day super model. Inspired by her love of museums, architecture, theatre, silhouettes, shrines and rituals, she uses dramatic lighting, hand made costumes, set and prop making alongside printmaking and painting to create her unique style of work. Her work is widely collected and exhibited both in the UK, as well as internationally, through galleries, art fairs and museums. Emerson was also commissioned by Hackney WickED Arts Festival to create a new Guinness World record and create the world's largest Cyanotype photograph. Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine. Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine. Condition Report: Condition Report Disclaimer
Rosie Emerson Ebony Rose AP, 2020 Photopolymer Etching on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.)Rosie Emerson is an award winning contemporary artist originally from Dorset, she studied and lived in London for 10 years. She now resides on the South Coast and continues to work almost exclusively on representing the female form. Emerson's figures draw reference from archetypes old and new from Artemis to the modern day super model. Inspired by her love of museums, architecture, theatre, silhouettes, shrines and rituals, she uses dramatic lighting, hand made costumes, set and prop making alongside printmaking and painting to create her unique style of work. Her work is widely collected and exhibited both in the UK, as well as internationally, through galleries, art fairs and museums. Emerson was also commissioned by Hackney WickED Arts Festival to create a new Guinness World record and create the world's largest Cyanotype photograph. Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine. Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.
Marcus Aitken Glitch 01, 2020 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Marcus is a contemporary artist living and working in South London. Known for his gestural paintings, his work has been featured in various publications including Schön! Magazine, Art Plugged, Saatchi Online, Trebuchet, Condé Nast and Culture Trip and was recently named as one of Saatchi Arts top 20 emerging artists to watch in 2020. Having shown in exhibitions internationally, he has a background in design and developed his artistic style creating cutting edge gestural abstract works with vibrant and exciting sculptural elements. "Marcus' rigorous design background shines through in his creative process-building up and distressing multiple layers of pigment on wood panels and canvas, and then applying expressive brushstrokes-ultimately yielding expertly balanced and dramatic compositions." - Rebecca Wilson, Chief Curator & VP Saatchi Art "Marcus' rigorous design background shines through in his creative process-building up and distressing multiple layers of pigment on wood panels and canvas, and then applying expressive brushstrokes-ultimately yielding expertly balanced and dramatic compositions." - Rebecca Wilson, Chief Curator & VP Saatchi Art
Marcus Aitken Glitch 02, 2020 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Marcus is a contemporary artist living and working in South London. Known for his gestural paintings, his work has been featured in various publications including Schön! Magazine, Art Plugged, Saatchi Online, Trebuchet, Condé Nast and Culture Trip and was recently named as one of Saatchi Arts top 20 emerging artists to watch in 2020. Having shown in exhibitions internationally, he has a background in design and developed his artistic style creating cutting edge gestural abstract works with vibrant and exciting sculptural elements. "Marcus' rigorous design background shines through in his creative process-building up and distressing multiple layers of pigment on wood panels and canvas, and then applying expressive brushstrokes-ultimately yielding expertly balanced and dramatic compositions." - Rebecca Wilson, Chief Curator & VP Saatchi Art "Marcus' rigorous design background shines through in his creative process-building up and distressing multiple layers of pigment on wood panels and canvas, and then applying expressive brushstrokes-ultimately yielding expertly balanced and dramatic compositions." - Rebecca Wilson, Chief Curator & VP Saatchi Art
Luke Elwes Rise, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.
Luke Elwes Sanctuary, 2020 Mixed Media on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.
Luke Elwes Offering, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.
Anatomy.- Salvage (Jean-Galbert) Anatomie du Gladiateur combattant, applicable aux beaux arts, first edition, deluxe copy on special thick paper with counterproof plates, half-title, engraved plate entitled "L'art s'illustre par la science", one preliminary leaf misbound, 16 superb engraved plates printed in black and sepia, each accompanied by the corresponding counterproof plates bound opposite, 5 engraved plates printed solely in black, likewise with corresponding counterproofs bound opposite, printed on fine paper, some plates with Salvage's own oval ink stamp in lower corner (monogram JGSE above D.MDne, Lugt 4565), occasional marginal soiling, a few leaves with minor marginal tears/repairs, modern red morocco-backed marbled boards by Albert Valat of Montpellier, spine gilt, g.e., folio (544 x 376mm.), Paris, chez l'Auteur, de l'Imprimerie de Mame, 1812.⁂ A magnificent deluxe copy in exceptional condition. "The year 1812 saw the publication of one of the more remarkable illustrated books ever to appear in France. Titled 'Anatomie du gladiateur combattant,' it was inspired by contemporary rhetoric celebrating the role of the arts in the new post-revolutionary society. At the same time, it was a magnificent display of hard-won knowledge of human anatomy and a tribute to medical science" (Jean-Galbert Salvage and His Anatomie du gladiateur combattant: Art and Patronage inPost-Revolutionary France, Raymond Lifchez in: Metropolitan Museum Journal 44, 2009, p. 163). Salvage (1772-1813) was an army surgeon, anatomist, and skilled draftsman. He created three monumental écorchés, i.e. casts of human bodies represented without skin. He used the bodies of soldiers "in their prime" who were killed in duels, rather than patients who died as a result of illness. Salvage arranged his cadavers in the same pose as the Borghese Gladiator sculpture and meticulously worked out the skeletal and muscular anatomy. Salvage's écorchés are preserved at the Ecole Nationale des Beaux-Arts. This copy is enhanced by the inclusion of the counterproof plates, which show an important stage between Salvage's original drawings and the finished engraving. A counterproof is a proof of a proof - the artist takes an impression from the engraved plate and while it is still wet lays another piece of paper over it and runs it through the press, creating a counterproof. Because the original proof is the mirror image of the plate, the counterproof is the mirror image of a mirror image, so that the image is aligned the same way it is on the plate. The artist can draw on the counterproof and work from that to the plate without having to reverse the image. The counterproofs here do not show the titles or captions, which were added later.
Mathematics & Navigation.- Gunter (Edmund) The description and vse of the sector, crosse-staffe, and other instruments:...and the vse thereof in astronomie, navigation, dialling, and fortification, &c., 4 parts in 1 vol., second edition, engraved additional pictorial title and frontispiece, woodcut diagram to printed title, 2 woodcut plates, 2 printed slips ('The Scale of Chords and Rumba' and 'A Table for the use of the Chaine'), numerous woodcut diagrams and illustrations in text, without blank 2L2, the odd instance of later pencil marginalia, additional title with small ink stain and crease, occasional spotting or light staining, lightly browned, contemporary blind-ruled calf, sympathetically rebacked, spine in compartments and with red morocco label, rubbed, [Tomash & Williams G102; STC 12523], small 4to, Printed by William Iones, for Iames Bowler, and are to be sold at the Marigold in Pauls Church-yard, 1636.⁂ A solid copy of this considerably expanded second edition, which is rarely found complete (our copy lacking only a blank). Includes a chapter on the mathematics of fortification not published before. It 'must rank with Eden's translation of Cortes's Arte de Navegar and Wright's Certaine Errors as one of the three most important English books ever published for the improvement of navigation... [Gunter] opened up... an entirely new field, that of arithmetical navigation' (Waters, Art of Navigation, p. 359).
France (Anatole) Le Génie latin, number 20 of 225 copies on papier de Hollande, in an edition of 300, initialled by the publisher, signed presentation copy from the author to Eugène Richtenberger, and with three sheets of autograph notes by France bound in, 2 of which with sketches, handsome contemporary red straight-grain morocco, richly gilt, by Thierry, successor of Petit-Simier, spine ends rubbed, board slip-case, 1 lower joint split, rubbed, 8vo (binding 227 x 135mm.), Paris, Alphonse Lemerre, 1913.⁂ Eugène Lazare Richtenberger (1856-1920) French art critic.
Bruys (Francois) The Art of Knowing Women, second English edition, engraved frontispiece, 2 final advertisement leaves, upper corner of K6 defective with slight loss of text, following few leaves with slight marginal defect to corner, some light foxing and browning, contemporary calf, gilt, rebacked, 8vo, for E. Curll and T. Payne, 1732.⁂ Quite scarce with ESTC recording BL and City of London Polytechnic Library copies only in the UK. Only one copy at auction in the last 50 years.
Pyne (William Henry) The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore, 3 vol., first edition, 100 hand-coloured aquatint plates, many heightened with gum arabic, occasional faint off-setting from plates to text, scattered faint marginal spotting, cracked hinge (vol. 2 only), bookplates, contemporary straight grain morocco, large gilt architectural device to boards, elaborate gilt borders, spines richly gilt in compartments, aeg, gilt dentelles, housed in modern slipcases, all but 1 vol. with accompanying chemise, 4to, [Abbey Scenery 396], 1819.⁂ Provenance. Bookplate of Neil Benjamin Edmonstone (1765-1841), civil servant for the East India Company. William Henry Pyne (1770-1843) was an artist and printmaker, who commissioned the artists and engravers of these plates, to show an exact record of the interiors of royal residences. The illustrations have been consulted by art historians, curators and archivists at the royal collection to research interior schemes and decorative fashions, down to such details as the arrangements of hanging pictures.
Laurence (Edward) The Surveyor's Guide, third edition, 6 folding engraved plates, tables of logarithms, contemporary ink inscription "George Saxy 1742 cos. 3s 6d" to front and rear free endpapers, contemporary sheep, a little worn, later label, James, John, & Paul Knapton, 1736 § Love (John) Geodaesia: or , the Art of Surveying..., eleventh edition, diagrams, contemporary sheep, rebacked preserving old spine, G.G.J. & J.Robinson, 1792 § Davis (William) A Complete Treatise on Land Surveying, third edition, 7 folding engraved plates, Kenney copy with label, later half calf, 1804 § Dix (Thomas) A Treatise on Land-Surveying, sixth edition, folding hand-coloured engraved plan, illustrations and diagrams, 4pp. advertisements at end, contemporary tree sheep, rebacked, 1835, all rubbed; and 9 others on surveying, levelling, mining etc., 8vo & 4to (13)⁂ The first item was first published as The Young Surveyor's Guide in 1716; it was the first original treatise on the subject printed in England in the eighteenth century. All editions are scarce with only a handful of copies in British libraries. George Saxy was a subscriber of seven copies of a description of the Bristol Exchange printed in 1745.
Victor Pasmore R.A. (British, 1908-1998)Abstract in Brown, White, Pink and Ochre signed with initials 'VP' (lower right)oil on board68.1 x 83.8 cm. (27 x 33 in.) (including the artist's backboard)Painted in 1951-2Footnotes:ProvenanceThe ArtistWith Arthur Tooth & Sons, London, May 1959, where purchased bySir Martyn BeckettHis sale; Christie's, London, 8 June 2001, lot 157With Jonathan Clark & Co, London, 14 September 2001, where purchased byRoss D. Siragusa Jr., from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Institute of Contemporary Arts, Victor Pasmore Paintings and Construction 1944-1954, March-May 1954, cat.no.22 (as Oval Motif No. 2, 1951)Cambridge, Arts Council Gallery, Victor Pasmore: Selected Works 1926-1954, February-March 1955, cat.no.29London, Redfern Gallery, Victor Pasmore, June 1955, cat.no.16London, Arts Council Gallery, Three Masters of Modern British Painting, 1958, cat.no.37 (as Oval Motif in White, Brown, Pink and Maroon)London, Arthur Tooth & Sons, Today and Yesterday, February 1959, cat.no.7London, Tate Gallery, Victor Pasmore Retrospective Exhibition 1925-65, 14 May-27 June 1965, cat.no.103 (as Oval Motif in Brown, White, Pink and Ochre No.2)Bradford, Cartwright Hall, Victor Pasmore, organised by Arts Council of Great Britain, 2 February-9 March 1980, cat.no.22; this exhibition travelled to Liverpool, Walker Art Gallery, 15 March-11 May, Norwich, University of East Anglia, Sainsbury Centre, 20 May-15 June, Leicester, Leicestershire Museum and Art Gallery, 21 June-20 July, Newcastle upon Tyne, Laing Art Gallery, 26 July-25 August and London, Royal Academy, Diploma Galleries, 13 September-19 October 1980LiteratureLawrence Alloway, Nine Abstract Artists, Alec Tiranti Ltd., London, 1954, pl.45Alan Bowness and Luigi Lambertini, Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions and Graphics 1926-1979, Thames & Hudson, London, 1980, cat.no.173, p.103 (col.ill)Only a handful of abstract works by Victor Pasmore dating from the first half of the 1950s have appeared at auction over the past thirty or so years. They are incredibly rare. Abstract in Brown, White, Pink and Ochre (1951-2) dates to the earliest part of the decade and is accompanied with impressive exhibition history, having been included in the artist's major Tate retrospective in 1965 amongst other shows. Like Ben Nicholson (who was fourteen years his senior) during the early 1920s, Pasmore had flirted with abstraction at a specific moment in the early 1930s before he founded the Euston Road School. He joined the London Artists' Association in 1933 and with Sir William Coldstream and Claude Rogers participated in Zwemmer Gallery's notable 1934 show, Objective Abstractions. Only, Pasmore's contribution to the exhibition was not abstract but instead showed the influence of the Fauves and Cubists; Matisse and Picasso being the sources of his early inspiration. Unfortunately, the handful of abstract works Pasmore produced following the show, partly guided by Ben Nicholson's new avant-garde approach to his painting, were destroyed by him. As the decade wore on and Pasmore established his teaching, first at Fitzroy Street then Euston Road, pupils were directed to the naturalistic aesthetic of Degas, Cézanne, Sickert and Bonnard. Up until the mid-1940s this is the direction Pasmore's painting travelled in, but as the war drew to an end, experimentation began to re-appear. His Hammersmith paintings of the late 1940s show evidence of his interest in Seurat's Pointillism and Cezanne's later work with the use of multiple perspectives. Despite this, Pasmore felt unconvinced with his progress, and Ronald Alley in his introduction to Tate's retrospective exhibition describes the change which then occurred:'Therefore, in 1948 he decided to make a fresh start with abstract art and to explore all its possibilities in a completely scientific way, finding out what happened when one started with a square or a spiral or so on. He read the writings of Kandinsky, Mondrian, Arp and the other leading abstract artists, just as he had previously read those by the post-impressionists, and even made a compilation Abstract Art: Comments by some Artists and Critics, which was privately printed at the Camberwell School of Art in 1949. Knowledge of the post-war Parisian and American abstract movements had not reached England at the time and Pasmore's development was completely independent of them.' (Ronald Alley, Victor Pasmore, Retrospective exhibition 1925-65, Tate Publishing, 1965).To begin with, Pasmore's abstraction involved collages and two-dimensional paintings such as the present work with its complex colours, shapes and forms encased within an oval as a reflection on his dissatisfaction with the closed rectangle of easel painting. The first constructed reliefs had begun to appear by 1948 and were exhibited at Fitzroy Street in March 1952 and Redfern Gallery in May of the same year. Many of these and other works were sadly destroyed by the artist and opportunities to acquire examples such as Abstract in Brown, White, Pink and Ochre seldom present themselves.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Dame Elisabeth Frink R.A. (British, 1930-1993)Horseman signed and numbered 'Frink 5/6' (on the rear left hoof)bronze with a light green patina83 cm. (32 5/8 in.) highConceived in 1984Footnotes:ProvenanceWith Beaux Arts, London, circa 1984, where purchased by the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-24 March 1985 (another cast)Wiltshire, Salisbury Cathedral and Close, Salisbury Library and Galleries, Elisabeth Frink: A Certain Unexpectedness, 10 May-7 June 1997 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink; Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.182, cat.no.SC2 (ill.b&w, another cast)Annette Ratuszniak, Elisabeth Frink; Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.166, cat.no.334 (ill.b&w, another cast)As Edward Lucie-Smith observed in 1994, 'one of Frink's best-known images is Horse and Rider (1974), commissioned by Trafalgar House and situated on the corner of Piccadilly and Dover Street in central London. Thousands of Londoners pass it every day, and it is one of the very few contemporary public sculptures in London that seems to be liked and appreciated by the public'. (Elisabeth Frink; Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.50).Whilst Frink's varied and extensive output has since been the subject of at least seven major museum exhibitions, many more gallery shows and several publications including a complete catalogue raisonné, it remains the case that in the public's mind the motif of horse and rider is still synonymous with Frink. Considering that she sculpted many more horses without riders, it is testament to the power of such an emotionally accessible motif that such works are so indelibly etched on our perception of her sculpture. This has only been further reinforced by the relocation of the above mentioned commission to the more prominent location of number 1 New Bond Street. The present variation of the horse and rider is described by Lucie-Smith as 'The most striking treatment of this motif from her last decade... intense and deeply felt.' (ibid). He elaborates that 'unlike nearly all her previous riders, this one is clothed. He wears bulky garments, and his head is enveloped in a hood. His features are much more individualized than is the case with Frink's nude horsemen: the spectator feels that he or she is in the presence of a real person. This impression is reinforced by the way in which the posture as well as the features are scrutinized. The rider sits on his horse very easily and confidently. His shoulders are slightly slumped but the impression he makes is one of great alertness. Face and posture alike make it probable that the sculpture was inspired by her third husband, Alex Csáky. Csáky came from an aristocratic Hungarian family; the history of Hungary was, so to speak, in his blood. Horseman could be read as a representation of a nomadic Magyar rider, roaming the Hungarian plains, only half-civilized, always on the lookout for conquest.' (ibid.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Victor Pasmore R.A. (British, 1908-1998)Abstract in White and Black (Version 1) signed with initials 'VP.' (verso)painted wood and perspex projective relief construction121.9 x 121.9 cm. (48 x 48 in.)Constructed in 1965Footnotes:ProvenanceMichael Spens, by whom gifted toPrivate CollectionTheir sale; Christie's, London, 8 June 2001, lot 158With Jonathan Clark & Co, 14 September 2001, where purchased byRoss D. Siragua Jr., from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Tate Gallery, Victor Pasmore Retrospective Exhibition 1925-65, 14 May-27 June 1965, cat.no.223, pl.65 (as Relief and Transparent Construction in White and Black)Edinburgh, Scottish National Gallery of Art, Victor Pasmore, July 1965, cat.no.55; this exhibition travelled to Liverpool, Walker Art Gallery, August 1965Calais, Musée des Beaux Arts et de la Dentelle de Calais, Victor Pasmore, 1950-1967, June-October 1985, cat.no.34New York, Center for International Contemporary Arts, Victor Pasmore, Nature into Art, November 1990-February 1991, cat.no.12, pl.9LiteratureAlan Bowness and Luigi Lambertini, Victor Pasmore: A Catalogue Raisonné of the Paintings, Constructions and Graphics 1926-1979, Thames & Hudson, London, 1980, p.117, cat.no.362 (ill.b&w.)Abstract in White and Black (Version 1) was constructed in 1965 and included in Victor Pasmore's Tate Gallery retrospective of the same year. From the early 1950s the artist had made the decision to devote himself to constructed reliefs and they were a constant theme through the following decades. Unfortunately, a significant number of the early reliefs made from experimental materials such as wood, plastic and aluminium were destroyed. Pasmore was naturally aware of Ben Nicholson's celebrated painted reliefs (owning a small example himself) which were carved in shallow space and seemingly from slabs of solid board. However, Pasmore was intent on assembling his constructions from laths and sheets of machine-made, mass produced materials. In the present work, the artist has utilised perspex for example, a strong yet lightweight thermoplastic that is transparent and roots his work alongside current technological advances. This concept was largely indebted to the American abstract artist Charles Biederman who believed that the logical progression from Mondrian's reduction of nature to its simplest form was into the real space of the constructed relief.In the present work, the square perspex frames a complex assembly of painted wood at varying positions and angles within a larger composition that is carefully balanced. The uniform black lines moving across the work is a 'development', which Pasmore in his own words described as an 'organic process' which 'suggests an element of movement and infinity' (Victor Pasmore quoted in Alastair Grieve, Victor Pasmore, Tate Publishing, London, 2010, p.108).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Loading...-
16019 item(s)/page