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Joe Berger Dishwasher Loading PhD, 2023 Indian ink, pen and ink Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Joe is a cartoonist, printmaker and children's author/illustrator based in Bristol. All his work begins with drawing on paper, usually in dip pen and Indian ink. Joe is fascinated by the interplay of words and images - much of his work in all mediums contains elements of both. Education O levels, A levels, Art Foundation (UWE) Select Exhibitions/Awards Exhibitions of Berger & Wyse cartoons at the Guardian, Kings Place and Creation gallery, Beverley. Frequent exhibitor at Affordable Art Fair Battersea and Hampstead. Awards include a D&AD Silver Pencil and BAFTA, EMMY and RTS nominations. Gallery Representation Kittoe Contemporary, London Statement about AOAP Submitted Artwork I am obsessed with the correct loading of the dishwasher, and I'm sure others feel the same way. This accolade is for us.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Mary Ronayne Janet and Pat's Backyard, Miami, 2023 Enamel on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Mary Ronayne draws heavily on Hogarthian satire but her gooey, candy pop colours give the work a contemporary edge. She searches magazine cutouts, classical art, literature, movies, plays and operas and is known for reinterprets these using enamel and domestic paint. The Irish painter brings wit and fun via historical and cultural reimagining but deeply relevant in an age of social media, news spin and meme culture. Education She studied Fine art in TU, Dublin and History of art in Cardiff. She holds an MA(Honours) from the National College of Art and Design, Dublin. Select Exhibitions/Awards Equilibrium, London 27 April-24th May 2023 Garden of Eden, London, 30 March-12 April 2023 Rhapsody of Colour, London, 13th Sept-4th Oct 2022 The Divine, Mykonos, 8-31st July 2022 The Divine, 8-22nd March 2022 Fool's Paradise, London, 16th-29th sept 2021 This Moment, London, 2-12th sept 2021 Awakening, London, 23-29th June 2021 Matter and Form, London, 29th April-29th May 2021 Gallery Representation HOFA (The House of Fine Art), Mayfair, London, Mykonos, Los Angeles. Statement about AOAP Submitted Artwork The work submitted for AOAP represents the style and subjects explored in much of her work.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Corinna Button 1N Transit II, 2023 Oil and mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About After completing a BA honours degree in painting, I pursued a printmaking postgraduate degree in the UK, where I am from. It was during this time that I was impacted by the German Expressionists, whose works, particularly in printmaking, left an indelible impression on me. I dedicated many subsequent years to developing my work in etching and other forms of printmaking. Today, printmaking continues to be a medium that intrigues me and is hugely influential in the way I approach my painting and sculpture. People are the subjects of my work and I am intrigued by moments that, despite initially appearing quite commonplace, are (for me) charged with great significance and meaning. My inspiration is drawn from experiences or predicaments I encounter in daily life, such as social gatherings, images from social media and words from a song or a poem. All these generate ideas for themes that I can build upon, "dress-up" and weave into my work. I compose figures either in groupings or as a single figure or just a face. My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface. Everything about the way I work (both technique and subject) is motivated by the desire to reveal or "bring something to light." Thus, my process involves layering then scraping back, building then excavating; otherwise, peeling back layers to "carve out" and reveal something hidden beneath the surface. Select Exhibitions/Awards Selected Solo Shows 2020 Caught in a Fast Lane - Cupola Gallery, Sheffield UK 2017 Interfaces' - Hyde Park Arts Centre, Chicago (Featuring sculpture, printmaking and painting) Media made Great, Chicago 'Caught in an act II '(Featuring sculpture, printmaking and painting) 2016 Caught in the Act Cupola Gallery, Sheffield UK Watching you, watching me Sculpture and painting. Pistachio, Chicago 2014 Moments of Being, Gallery C, Dubuque, IA, USA University of Illinois, ULC Health in the Arts clinic, Chicago USA Specially Selected Exhibitions 2023 & 2020 Royal Academy Summer Show, London 2020 & 2019 ING Discerning Eye, Mall Galleries, London 2020 In Print; 20/20 Vision: Watts Contemporary, Watts Gallery Artists' Village, Surrey 2019 The Prince's Trust Auction, Highgrove House, Doughton, Gloucestershire. 2019 'Not Just Another Pretty Face', Hyde Park Art Center, Chicago. USA 2019 International Open Juried exhibition of Original Prints, 'NOPE' Bankside Gallery, London. 2017 Shakespeare: A celebration, Kwan Fong Gallery of Art and Culture, California, USA 2015 Chicago Invasion, Blue Rider Gallery, Taipei, - Taiwan 2015 Artress, Research House for Asian Art, Chicago, USA 2015 Elmhurst Museum; Artists Interpret Shakespeare, USA Collections The Victoria and Albert Museum, London Jiangsu Art Museum, China Ashmolean Museum Oxford BBC Sheffield Castle Lesley, Ireland University of Aberystwyth, Wales   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Lucia Jones Lost Myself in Neon Leaves, 2023 Acrylic and gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucia Jones is a painter based in Wales. Since graduating from Falmouth University in 2014, she has exhibited throughout the UK in solo and group exhibitions including BEEP Painting Prize 2018. Her work is held in private collections in the UK, USA, Austria and Hong Kong. Lucia's work explores the depiction of self and memory through the constructs of paint and film. Her most recent paintings primarily utilise cinematic source imagery from obscure 50s and 60s b-movies as a means to address the intangible nature of memory and the shifting impressions of lived moments. Impersonal and personal all at once, they allude to fragmented space whilst conjuring an internalised or other world; slivers of the imagined and real sit on the surface of the canvas serving as artefacts of the seen and the experienced. Education 2016-17 Porthmeor Programme, Developing Practice, St Ives School of Painting 2011-14 Fine Art BA (Hons), First Class, Falmouth University 2010-11 Foundation Diploma in Art and Design, Distinction, University of Glamorgan Select Exhibitions/Awards 2023 - Solo exhibition, Irving Contemporary, Oxford 2023 A world of her own, Joint exhibition with Natasha Morely, Elysium Gallery, Swansea 2022 Unity: British & Ukrainian Art, The Art Unit, Koppel Projects Space Piccadilly, London Painting Made Recently in Wales, Lle Projects, Bay Art, Cardiff A Room of her Own, Irving Contemporary, Oxford A Woman's Place is Everywhere, The Cello Factory, London 2021 Incandescent, Irving Contemporary, Oxford Without Borders, Elysium Gallery, Swansea   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Jacob Wolff Leaf II, 2023 Spray paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) Education 2013 - 2015 MA Sculpture, Royal College of Art, London 2006 - 2009 BA Fine Art, Ruskin School of Art, University of Oxford 2005 - 2006 Foundation, Byam Shaw, University of the Arts, London Select Exhibitions/Awards 2023 BALTIKTAK, Bobinska Brownlee, London 2023 New Breeders, Grölle Pass Projects, Wuppertal 2019 Fellowship in Contemporary Art, British School at Rome Gallery Representation Tin Man Art Statement about AOAP Submitted Artwork I make the paintings with shards of glass. They act as stencils, and with each incremental movement I spray a different colour.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Helen Brough House by the Shore, 2023 Watercolour and pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Widely exhibited, Helen Brough has been working as a committed artist for over thirty years and holds her BA Honours and MA Sculpture from Chelsea School of Art, London. In addition to the Prix de Rome (1991) and the Prince Charles Travel Scholarship, the artist is the recipient of funding from the Pollock Krasner Foundation (1992), the Soros Foundation, the Triangle Arts Association (2004), QEST (Queen Elizabeth Scholarship Trust) 2019 and an Art Council Grant UK in 2020. Helen's work is found in numerous private and corporate collections and museums worldwide including the Cantor Fitzgerald Collection, New York, the William LouisDreyfus Collection Foundation, New York, The Joslyn Art Museum, Omaha, The Bemis Center for Contemporary Art, Omaha, Two Trees, DUMBO, Brooklyn, The National Art Museum, Budapest, Hungary and in London, The Ashurst Collection. Education BA and MA Chelsea School Of Art London Select Exhibitions/Awards Solo Exhibitions Include 2021 Bluebell wood Avivson Gallery Highgate London, 2020 Virtual exhibition with Aleph Contemporary,2019 Lightscapes, Nordic Art Agency, 2017 Dahlia Cuore commissioned by British land, 2015 Mayson Gallery, New York. Awards and Residencies 2020 Arts Council Grant London UK 2019 QEST Award (Queen Elizabeth Scholarship Award) London UK 2018 Finalist for 1% Nebraska Art Commission Buffett Center Omaha NE USA 2004 Triangle Workshop Brooklyn NY USA 2004 Triangle Artist Residency Brooklyn NY Group Exhibitions 2022 Michael Goedhuis Gallery " Chinese Ink" London UK 2022 Aleph Contemporary at The In & Out Club London UK 2021 Aleph Contemporary at the Cello Factory London UK 2021 Artist Support Pledge Hastings Contemporary London UK 2021 Crouch End Open Studios London UK 2021 Artists Walk Alexander Palace London UK Gallery Representation Aleph Contemporary, London; Michael Goedhuis Gallery, London, Art movement, London. Statement about AOAP Submitted Artwork These 4 pieces are very inspired by Matisse and Klimt. They are off shoots of some of the larger works I am presently working on.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Carl Randall House of Reeves (08/08/2011), 2023 Acrylic paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About CARL RANDALL is a British figurative painter whose work is based on images of modern Japan and London. A graduate of The Slade School of Fine Art, The Royal Drawing School London, and Tokyo University of Arts Japan, he is the winner of the BP Travel Award at The National Portrait Gallery, The Sunday Times Watercolour Competition, The Nomura Art Prize Japan, as well as several other awards. He has had several solo exhibitions in London and Japan, with group exhibitions at The National Portrait Gallery, The Royal Academy of Arts, The Jerwood Gallery, Flowers Gallery, The Mall Galleries, Christies New York & London, Tokyo Art Award, Tokyo Metropolitan Museum of Arts; as well as at art fairs in Switzerland, Turkey, Japan and Taiwan. His work can be found in the collections of University College London Art Museum, Tokyo Geidai Art Museum Japan, The Royal Collection (being commissioned by HRH Prince of Wales), Foundation Carmignac Paris (joining works in their collection by Andy Warhol, Roy Lichtenstein, Jean-Michel Basquiat, Gerhard Richter), as well as in private collections in the UK, Japan, Australia and USA. His paintings have been featured on the BBC World Service and CNN, and his fine art prints are in the collection of the National Poetry Library, London Zoo, Cambridge University and Channel 4 News Studios. He was invited to be artist in residence in Hiroshima City to paint portraits of survivors of the Atomic Bomb, and at the Grand Prix Formula 1 Races in Japan. His BP Travel Award display of sixteen Japan paintings at the National Portrait Gallery in 2013 was accompanied by 'Japan Portraits' - a catalogue illustrating paintings and drawings made during his stay in Tokyo. The exhibition then travelled to Aberdeen Art Gallery Scotland; Wolverhampton Art Gallery England; and The Tokaido Hiroshige Museum, Shizuoka Japan. He is currently based in London. Education 2009-2012 Tokyo University of Fine Arts and Music (Tokyo Geidai), Tokyo Japan. Doctorate in Fine Art (Painting). 2006-2009 Tokyo University of Fine Arts and Music (Tokyo Geidai), Tokyo Japan. Masters in Fine Art (Painting). 2003-2005 Daiwa Anglo-Japanese Foundation Scholarship, Tokyo Japan. 2002-2003 The Royal Drawing School, London. The Drawing Year 2003. 1995-1999 The Slade School of Fine Art, University College London. BA Honours Degree in Fine Art (Painting). Select Exhibitions/Awards Recent Exhibitions (Selected) 2022 Small is Beautiful. Flowers Gallery, Cork St., London. 2022 The Contemporary British Portrait Painters Exhibition. The Department Store, Brixton London. 2022 Royal Society of Portrait Painters Exhibition. Mall Galleries London. 2019 The Royal Academy of Arts Summer Exhibition. Royal Academy of Arts, London. 2019 Art Fair Tokyo & Art Fair Osaka (Tokyo & Osaka, Japan). 2015: Last of the Tide: Portraits of D-Day Veterans. The Queens Gallery, Buckingham Palace, London. Portraits commissioned by HRH Prince of Wales (King Charles) by leading UK portrait painters. 2014 Art Volta. Basel, Switzerland. Statement about AOAP Submitted Artwork The painting shows and is named after the 'House of Reeves', an independent furniture store in Croydon south London, run by the same family for over 150 years London. On 8th of August 2011, during the London riots, the store was burnt down. In this painting I used a found photograph showing the store on fire, but replacing the arsonists and rioters with flying saucers, and AT-St Walkers/Tie-Fighters from Star Wars. This work is coupled with another image I did in 2020, made during the Black Lives Matter protests, in which the rioters are shown as they are, and the authorities replaced with Star Wars AT-AT walkers. These kinds of themes are generally very unusual in my work, but give me an outlet for looking at social issues and my interest in sci-fi - creating images that combine cinema, surrealism and social realism.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Gavin Dobson Il Drink to Him, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Gavin is an artist based in East London. Originally from the North East of England, he trained in Fine Art at Middlesex University specialising in painting. Alongside his painting, Gavin is also an experienced screen printer. Gavin tends to keep his paintings loose and expressive, using fluid movements and textures to create engaging and lively pieces which thoughtfully lead the viewer to a chosen narrative. In recent years Gavin's practice has focused in exploring homosexuality and the various subcultures which surround it, looking into the expectations and stereotypes which gay men face and how in turn this can affect one's mental health. His paintings are loose and expressive tackling the emotional highs and lows of being a gay man in contemporary Britain. Queer culture exists beyond a week at Pride and it has a proud and sadly unearthed history which in turn has affected notions surrounding masculinity/ femininity and indeed what it means to be gay. Education BA Fine Art Middlesex University Select Exhibitions/Awards 2023. Kink - East Art Gallery 2023. Wild Thoughts - The Lido Stores 2022. Just Be Nice - East London Art Gallery 2022. Sugarcube ll - The Lido Stores 2022. The Art Car Boot Fair 2022. Folkstone Art Gallery - The Open Call 2022. Discerning Eye - Mall Galleries 2022. Focus 22 - Design Centre Chelsea 2022. Art Shop - White Paper Pen 2022. The Hoxton Hotel - Southwark 2022. Louder and Prouder - Brunswick Gallery 2022. Queer Frontiers - Artiq 2022. Contemporary British Painting 3 - Bermondsey Project Space 2022. Leaf - The Artists Friend, Box Park 2022. Design Centre London - Chelsea 2022. The Affordable Arts Fair - Hampstead 2021. Choose Love - Soho Revue 2021. Satelittes - Rise Art 2021. The Other Art Fair - Saatchi 2021. The Affordable Art Fair - Battersea 2020. Twelve days of Christmas - Artiq 2020. Choose Love Auction - Printclub London 2020. Queer Frontiers - Artiq Statement about AOAP Submitted Artwork Perfect bodies in paradise conditions. Pools, ponds, lidos, are places to work out or to relax and gaze at the surrounding beauty whilst floating weightlessly in a sea of blue. They're also meeting places. Speedos, shorts, six-packs. A glance of a muscular back - wet - as it strains to heave its owner out of the pool. Who is watching who?   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Jesse Morsberger 1-1 Mini, 2023 Oil on paper Signed on Verso 12.5 x 18cm (4¾ x 7 in.) About I compose paintings of video game worlds and the characters that inhabit them. Digital heroes and icons are reframed within the context of art history. The paintings are formed a number of ways. Sometimes from memory and imagination, in other instances based on loose renditions of historical and mythical compositions. Some character poses can be attributed to stills from anime or images from old gaming strategy guides. The work is generated intuitively and I am reactive to the process of building up a painted image. Education 2012-2016 SUNY Purchase College, Bachelor of Fine Arts, Purchase, New York Select Exhibitions/Awards Solo Exhibitions 2023: "Paradigm Shift" Taymour Grahne Projects, London "Rare Candy" Août Gallery, Beirut, Lebanon 2022: "LIMIT BREAK" Taymour Grahne Projects, Online Selected Group Exhibitions 2022: "New Origins- Level Unlocked" Andrea Festa, Rome Future Fair, "The Holiday Market" Andrea Festa, Online "Landscape" Taymour Grahne Projects, Online Roma Art in Nuvola, Andrea Festa, Rome, Italy ART021 Shanghai Contemporary Art Fair, Andrea Festa, Online "Another Day in Paradise" Seasons, Los Angeles, CA "Straight Ahead and Pose to Pose" Sow and Tailor, Los Angeles, CA "Symbiopsychotaxiplasm" Nicodim Gallery, New York, NY 2021: "DROOL" Kravets Wehby Gallery, New York, NY 2018: "STP Group Show" Milk Gallery, New York, NY Curatorial 2022: "Painters Guild", Group Exhibition at 11 Newel, Greenpoint, NY Residencies 2023: MeMeraki 2020: Fellowship, Vermont Studio Center   N.B. The back of this card includes the War Child UK logo; please note that proceeds from this card will go towards The Hepatitis C Trust, not War Child UK. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Elizabeth Pybus Sutton Two Pears IV, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Elizabeth Pybus Sutton is a contemporary figurative artist, born in Yorkshire and now practising in SW London. Trained in both conceptual and atelier methods, she loves exploring the balance between modern and traditional styles and playing with abstract and representational aspects. Elizabeth's work includes portraiture, life drawing, still life and landscapes, using a range of mediums, primarily in oils. Working from life is an important element in much of her art. Whilst nature is predominantly her teacher and inspiration, she focuses on strength of drawing and a celebration of colour. Education Since completing her Foundation at Chelsea School of Art and BA Hons in Fine Art at Kingston University, Elizabeth has also trained in botanical art at Chelsea Physic Gardens and London Fine Art Studios in atelier methods. Select Exhibitions/Awards As well as completing international commissions, recent exhibitions include The Green and Stone Summer exhibition 2021 & 2022, 'River Views' at The County Hall Arts Exhibition 2022 and The Chelsea Art Society 73rd Annual Exhibition 2022. Statement about AOAP Submitted Artwork I'm delighted to be included in such a worthy cause and hope my paintings create some joy and happiness.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Kit Boyd The Golden Day, 2023 Ink on gum arabic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kit Boyd follows in the British romantic tradition, in the footsteps of Samuel Palmer and the Neoromantics, finding escape from the frantic modern world in rural idylls. Education Visual Art BA University of Wales, Aberystwyth 1991 Select Exhibitions/Awards 2022 - 6 Railway Posters for the Darent Valley in Kent from Sevenoaks to Swanley 2020 & 2022 - Royal Academy Summer Exhibition 2021 - Queer as Folklore, Gallery 46, Whitechapel with DuoVision Arts 2018 - Rural Surrealism - Twenty Twenty Gallery, Ludlow 2017 In Print - British Landscape, Watts Contemporary, Guildford 2013 - World in My Eyes - solo show at the Barbican Level 2 Gallery 2012 - The Etchings of Samuel Palmer, his Peers & Followers, Chipping Campden 2010 - Figures in the Landscape - Brixton Village Gallery Gallery Representation Pallant House Gallery, Elizabeth Harvey-Lee, Greenwich Printmakers Gallery, Roe and Moore, Prints at galleries across the UK Statement about AOAP Submitted Artwork The Ink and Gum Arabic picture is one of the Man on a Laptop series, where a figure is surrounded by glowing nature using modern technology. The linocuts are just made - hand coloured artists proofs before the editions are printed.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Elizabeth Pybus Sutton Three Lemons, 2023 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Elizabeth Pybus Sutton is a contemporary figurative artist, born in Yorkshire and now practising in SW London. Trained in both conceptual and atelier methods, she loves exploring the balance between modern and traditional styles and playing with abstract and representational aspects. Elizabeth's work includes portraiture, life drawing, still life and landscapes, using a range of mediums, primarily in oils. Working from life is an important element in much of her art. Whilst nature is predominantly her teacher and inspiration, she focuses on strength of drawing and a celebration of colour. Education Since completing her Foundation at Chelsea School of Art and BA Hons in Fine Art at Kingston University, Elizabeth has also trained in botanical art at Chelsea Physic Gardens and London Fine Art Studios in atelier methods. Select Exhibitions/Awards As well as completing international commissions, recent exhibitions include The Green and Stone Summer exhibition 2021 & 2022, 'River Views' at The County Hall Arts Exhibition 2022 and The Chelsea Art Society 73rd Annual Exhibition 2022. Statement about AOAP Submitted Artwork I'm delighted to be included in such a worthy cause and hope my paintings create some joy and happiness.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Lara Davies Those Left Behind, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lara Davies was born in 1985 in Wales. She lives in London and has a studio in Hackney Wick. Her work is held in both private and public collections, including the Contemporary Art Society of Wales and the AllBright Mayfair Members' Club. Education 2020-2022 - Royal College of Art, London MA in Painting 2006-2010 - Cardiff University BSc (Hons) Mathematics, Operational Research and Statistics, 1st Class 2005-2006 - Ruskin School of Art, Oxford University Select Exhibitions/Awards 2023 - Positions Part 1, group exhibition, Alma Pearl, London 2023 - Godesses (A Love Explosion), group exhibition,Terrace Gallery, London 2023 - Stage, group exhibition, LLE at Kingsgate Project Space, London 2022 - To Feel All Your Warmth, group exhibition, Warbling Collective, London 2022 - Royal College of Art Degree Show, London 2022 - Blink: Room Share 2, group exhibition, Safehouse One, London 2021 - Pleasure Scene, group exhibition, Trafalgar Avenue, London 2020 - Telling Tales/Cario Clecs, three person exhibition, BayArt Cardiff 2019 - Creekside Open 2019 Selected by Sacha Craddock 2019 - Creekside Open 2019 Selected by Brian Griffiths 2018 - John Moores Painting Prize, Walker Museum Liverpool Y You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Elizabeth Pybus Sutton Three Clementines, 2023 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Elizabeth Pybus Sutton is a contemporary figurative artist, born in Yorkshire and now practising in SW London. Trained in both conceptual and atelier methods, she loves exploring the balance between modern and traditional styles and playing with abstract and representational aspects. Elizabeth's work includes portraiture, life drawing, still life and landscapes, using a range of mediums, primarily in oils. Working from life is an important element in much of her art. Whilst nature is predominantly her teacher and inspiration, she focuses on strength of drawing and a celebration of colour. Education Since completing her Foundation at Chelsea School of Art and BA Hons in Fine Art at Kingston University, Elizabeth has also trained in botanical art at Chelsea Physic Gardens and London Fine Art Studios in atelier methods. Select Exhibitions/Awards As well as completing international commissions, recent exhibitions include The Green and Stone Summer exhibition 2021 & 2022, 'River Views' at The County Hall Arts Exhibition 2022 and The Chelsea Art Society 73rd Annual Exhibition 2022. Statement about AOAP Submitted Artwork I'm delighted to be included in such a worthy cause and hope my paintings create some joy and happiness.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Danielle Winger Mountain/Meadow, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Danielle Winger was born in Reno, Nevada and spent her early life moving throughout the United States. She received her Bachelor of Science in Textiles, Merchandising and Apparel Design from Middle Tennessee State University and a Master Fine Arts in Painting from East Tennessee State University. Winger is an internationally recognized artist, belonging to prominent private collections throughout the US, England, Australia, New Finland, Germany, Canada, Japan, South Korea, Scotland and Austria. She is represented by Red Arrow Gallery in Nashville, TN, Visions West Contemporary in Denver, CO and Bozeman, MT, and Otomys in Melbourne, AU. She recently exhibited in Spring Break Art Show in NYC, with Galerie COA in Montreal, QB and has an upcoming solo exhibition with Seizan Gallery in Tokyo, Japan in 2024. Winger has been published by Art Maze Magazine Edition 32, in Friend of the Artist Volume 9 and on the cover of Colorado Homes Magazine. Danielle lives in Northern Indiana with her husband and three children. Education Bachelor of Science in Textiles, Merchandising and Design from Middle Tennessee State University Master of Fine Arts in Studio Art from East Tennessee State University Select Exhibitions/Awards Art Maze Magazine edition 32-22, 2023 Out 2023, 4 person exhibition with Galerie COA, Montreal, QB, 2023 Art for Charity Collective, Unit 1 Gallery, London, UK 2022 Works on Paper 4, Blue Shop Cottage, London, UK 2022 Spring/Break Art Fair NYC, 3 person booth Curated by Todd Kelly, 2022 Between Two Gardens, Solo Exhibition, Red Arrow Gallery, Nashville, TN 2021 Gallery Representation Visions West Contemporary, Denver, CO Otomys, Melbourne, AU Red Arrow Gallery, Nashville, TN Statement about AOAP Submitted Artwork In my paintings I honor the landscape as itself and as a metaphor. Mountains become places of ascension, inwardness and grace. Desert as indifference. Untamed and wild landscape, in all its apathy, elicits a primal pull to enter it, to be joined with it, to know it intimately. Seeking the solace of empty places, I create intensely personal portraits of quiet, meditative spaces that encourage contemplation, reflection and investigation of self, sublimity and the divine.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Crimson Boner Gogga (Handsome Devil), 2023 Oil paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Crimson studied Art History Africa and Asia at SOAS and worked at Battersea Arts Centre after graduating. It was a very creative environment and her boss, Tom Morris, encouraged her to do 'what she really wanted to', a novel notion for a girl from a council estate who was resigned to working to make ends meet. She studied Life Drawing, Digital illustration and also achieved a Foundation Art and Design at Chelsea Art School, UAL and went on to a BA Fine Art at Central St Martins, however after completing the first year she fell pregnant and suffered several years of infertility. She never returned to St Martins, but is studying MA Fine Art at Brighton Uni. She received an ACE grant in 2022 to develop her painting practice and is receiving mentorship from The New Art School. She has two children and works to support herself. Education BA Art History & Archaeology Africa & Asia, SOAS, BTEC Foundation Art& Design Chelsea, UAL Select Exhibitions/Awards Unknown Friends, Hypha Studios Hatton Gardens, May 2023 Now Is The Time, Atrium Gallery, Brighton Centre for Contemporary Art, May 2023 Sugar Cube II, The Lido Stores Margate, December 2022 Two Left Eyes, solo show, The Lido Stores Margate, November 2022 The Secret Postcard Auction, Combat Stress, Bankside Gallery, October 2022 The Sussex Contemporary, British Airways i360, August 2022 Weary Harold, ASC Gallery, March 2022 Give Me Love, Lido Stores Margate, February 2022 With Love II, @painttalk, December 2021 Second Floor Studios Painting Open, No Format Gallery, September 2021 Looks Like It's Gonna Rain, Motions Sickness Project, June 2021 ING Discerning Eye, December 2020 & 2021 Figurative Art Now, selected by Jo Baring, Mall Galleries Statement about AOAP Submitted Artwork Working from my imagination is a choice, it's a way of valuing the self; a way to reclaim time. It's a way to explore different qualities of thought. It's an act of free falling and trusting; it's hopeful and beautiful and a gentle rebellion.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Jessie Woodward 674, 2023 Acrylic and posca pen on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jessie Woodward is an abstract artist based in Bristol. She studied Fine/Art History at the Plymouth University. Jessie worked in Art education within the charity and gallery sector in London, becoming a professional artist five years ago. Education Joint honors degree Fine Art/Art History, Plymouth university Select Exhibitions/Awards 'Cacophony' VIEW ART GALLERY. Bristol THE OTHER ART FAIR, Truman Brewery, Brick Lane March 2023 THE OTHER ART FAIR, Kings Cross, London. Joint Exhibition: Paxton + Glew, 12 Hanningtons Lane, Brighton OPEN STUDIO St Annes, Bristol. Solo Exhibition: Tobacco Factory, North Street, Bristol THE OTHER ART FAIR, Truman Brewery, London, March 2022 Solo show: No 1 Harbourside, 1 Canon's rd, Bristol Joint exhibition with Artist Sophie Martin: Centrespace, Bristol. Solo Exhibition: Grain Barge, Bristol. Solo Exhibition: Pomegranate, Market Walk, Keynsham Solo Exhibition: The Berkeley Square Hotel, The Square Club, Bristol Windsor Contemporary Art Fair, Windsor Roys People's Art Fair: Truman Brewery, London October 2019 Appearance on George Clarke's 'Old House New Home' Channel 4, Series 4, Episode 6 THE OTHER ART FAIR, Kings Cross, London Dela: Mivart Street, Bristol Solo exhibition: The Victoria, Totterdown, Bristol Frome Art Fair -THE OTHER ART FAIR: The Old Truman Brewery, Brick Lane, London March 2019 Solo exhibition: Bocabar, Paintworks, Bristol Bath Art Fair: Bath Pavilion, North Parade Road, Bath The Chelsea Cafe: 8E Chelsea Road OPEN WALLS: Cass Arts Bristol, 43 - 45 Park Street Solo exhibition: The Why Gallery, Frome, Statement about AOAP Submitted Artwork Jessie's instinctive way of working explores the language of paint and mark making to evoke emotions in the viewer, aiming to communicate how pure abstract work can generate visual energetic joy and pleasure. The way Jessie experiments with materials, a vibrant colour palette and juxtaposing textures is key to making each piece vividly unique. She looks at the dynamics created when colours, marks, textures and ratios are set with and against each other to create a cohesive piece.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Simon Laurie Bottle and Fish, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.)   About 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. Simon 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. Education Glasgow School of Art Select Exhibitions/Awards Selected Solo Exhibitions 2020 Scottish Arts Club, Edinburgh 2017 Veneer Gallery, Glasgow 2017 Artists' Open House, Dulwich 2016 Open Eye Gallery, Edinburgh Leiper Fine Art, Glasgow 2014 Fidra Fine Art, North Berwick 2013 Panter and Hall Gallery, London 2013 Open Eye Gallery, Edinburgh 2013 Artists' Open House, Dulwich 2010 Open Eye Gallery, Edinburgh 2009 John Davies Gallery, Moreton on Marsh Scottish Arts Club, Edinburgh Panter and Hall Gallery, London 2008 Open Eye Gallery, Edinburgh 2007 Panter and Hall Gallery, London 2006 Gatehouse Gallery, Glasgow 2005 The Open Eye Gallery Panter and Hall Gallery, London 2004 Roger Billcliffe Gallery, Glasgow 2003 Open Eye Gallery, Edinburgh Panter and Hall Gallery, London 2001 Open Eye Gallery, Edinburgh Panter and Hall Gallery, London 2000 Roger Billcliffe Gallery, Glasgow 1999 Open Eye Gallery, Edinburgh 1998 Glasgow Print Studio 1996 Scottish Arts Club, Edinburgh 1995 Mercury Gallery, London 1993 Mercury Gallery, London Elektra Fine Art, Toronto 1991 Mercury Gallery, London Kelly Gallery, Glasgow Gallery Representation Panter and Hall, Morningside Gallery Edinburgh, Lemond gallery Glasgow Statement about AOAP Submitted Artwork The paintings are fairly representative of my work but obviously on a much smaller scale. Simple objects on strong colour.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Tafadzwa Masudi My Own Space, 2023 Acrylic paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Tafadzwa Masudi (b. 1988) started painting at an early age in Harare while assisting a family friend who introduced him to the visual arts. In 2010 he moved to South Africa and started working in a clothing factory until 2020 when he was laid off. He took the opportunity to start painting full-time and soon his work featured in group exhibitions at galleries in Cape Town. "Circumstances forced me to leave my country of birth and become a migrant. I relate to people who had to travel elsewhere to create a better life and this is what I currently paint. Images that show their sense of self, their dreams and their aspirations." Select Exhibitions/Awards SOLO EXHIBITIONS 2022 - Pakutsvaga. Africa First X Gordon Gallery, Tel-Aviv 2021 - Waiting for a better tomorrow. WORLDART, Cape Town ART FAIRS 2023 - Volta New York 2023 - Investec Cape Town Art Fair 2022 - AKAA, Paris 2022 - Volta New York 2022 - London Art Fair 2022 - Investec Cape Town Art Fair 2021 - Turbine Art Fair, Johannesburg 2021 - FNB Art Joburg, Johannesburg (online) 2021 - Art X Lagos (online) Gallery Representation WORLDART, Cape Town. Blond Contemporary, UK. Gordon Gallery, Tel Aviv. Statement about AOAP Submitted Artwork My brightly coloured paintings depict scenes filled with balloons, people and patterns. Observed through the lens of a migrant person existing in a foreign land, the works reflect on optimism and the pursuit of a better future.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Romuald Hazoumè (Bénin, né en 1962)Makanaki 1995signé, daté, titré et situé 'R Hazoumé 1995, Makanaki, Porto Novo' au reversbidon en plastique et cheveux synthétiquessigned, dated, titled and situated 'R Hazoumé 1995, Makanaki, Porto Novo' on the reverseplastic canister and synthetic hair33 x 21 x 17cm. (13 x 8 1/4 x 6 11/16in.)Footnotes:ProvenanceAcquis directement auprès de l'artisteCollection privée, AllemagneC'est avec une touche d'humour et de dérision assumée que Romuald Hazoumè camoufle les messages politiques et les critiques sociales dont sont porteuses ses œuvres, telles que Makanaki, ici pour la première fois proposée aux enchères. Très tôt dans sa carrière artistique, Hazoumè s'exerce à réinventer les masques africains traditionnels, en utilisant des objets tels que des bidons d'huile de jerry, des cheveux synthétiques, du plastique ou des tissus imprimés, pour construire les visages singuliers typiques de ses sculptures. Ses personnages, aux matériaux grossiers et contrintuitifs, reflètent l'impact de consumérisme et des produits d'importation sur l'héritage culturel ancestral du Bénin, changeant à la fois l'aspect des paysages naturels béninois et l'apparence même de ses concitoyens. Lors de l'exposition, The Global African Project, et à la suite de la catastrophe écologique du déversement de British Petroleum Deepwater Horizon en avril 2010, Hazoumé choisit de dénoncer plus particulièrement la « destruction excessive de l'environnement » et ses « conséquences toxiques » sur le continent. (Romuald Hazoumé, The Global African Project (Museum of Arts and Design, New York, 17 novembre 2010-15 mai 2011)). Les masques de Hazoumè, en particulier, sont des pièces emblématiques de son œuvre. Réalisés à partir de bidons en plastique découpés, assemblés et redessinés avec une précision méticuleuse, ces masques suggèrent une forme d'hybridité culturelle, combinant des éléments traditionnels africains avec des motifs contemporains et des références à la mondialisation. Ils incarnent la rencontre entre le passé et le présent, entre la tradition et la modernité, tout en questionnant les notions d'identité et de diversité culturelle dans un monde en constante évolution.L'utilisation du bidon jaune dans la création du masque de Romuald Hazoumè soulève des questionnements profonds sur la société de consommation, la pollution et l'impact de l'industrialisation. Hazoumè s'approprie cet objet trivial et le métamorphose en une œuvre d'art saisissante qui interpelle le spectateur et l'invite à une réflexion profonde sur les problématiques contemporaines.Cette œuvre est un exemple puissant de sa démarche artistique engagée et de sa capacité à transcender les matériaux ordinaires pour créer des œuvres d'art extraordinaires. Son travail explore avec finesse les intrications de l'identité culturelle, de la mondialisation et des enjeux sociopolitiques, tout en mettant en évidence la créativité et l'ingéniosité de l'artiste.BibliographieLisa Aronson et John S. Weber, Environment and Object, Recent African Art, (DelMonico Books: The Frances Young Tang Teaching Museum and Art Gallery, 2011), pp. 107-110.Arguably humorous to a degree, the political commentary which Romuald Hazoumé provides in works such as the present lot observes how the modern world, consumerism and finance have negatively impacted the history of his home country. Hazoumé reimagines traditional African masks, using objects such as jerry oil cans to construct a new face that highlight economic and environmental struggles as a result to consumerism. In the artist's statement for his exhibition, The Global African Project, Hazoumé outlined his themes of 'excessive environmental destruction ' and 'toxic consequences' of such scenarios (Romuald Hazoumé, The Global African Project (Museum of Arts and Design, New York, November 17, 2010-May 15 2011)). These statements were made in relation to the case study of the British Petroleum Deepwater Horizon spill that occurred off the American Gulf Coast in April 2010. Hazoumè's masks, in particular, are emblematic pieces of his work. Crafted from cut, assembled, and meticulously redesigned plastic jerrycans, these masks suggest a form of cultural hybridity, combining traditional African elements with contemporary patterns and references to globalization. They embody the meeting point between the past and the present, tradition and modernity, while questioning notions of identity and cultural diversity in an ever-changing world.The use of the yellow jerrycan in the creation of Romuald Hazoumè's mask raises profound questions about consumer society, pollution, and the impact of industrialization. Hazoumè appropriates this mundane object and transforms it into a striking work of art that challenges the viewer and invites deep reflection on contemporary issues.This artwork is a powerful example of his engaged artistic approach and his ability to transcend ordinary materials to create extraordinary works of art. His work delicately explores the intricacies of cultural identity, globalization, and socio-political issues while highlighting the artist's creativity and ingenuity.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

George Lilanga di Nyama (Tanzanie, 1934-2005)Trying to get assistance through cellue phone 2002signé 'Lilanga' sur la basesculpture en bois et émailsigned 'Lilanga' on the basesculptured wood and enamel74.9 x 22.2 x 24.8 cm. (29 1/2 x 8 3/4 x 9 3/4 in.)Footnotes:ProvenanceVente: Phillips, New York, AFRICA, 15 may 2010, lot 199Collection privée, USAExpositionsParis, Centre George PompidouTokyo, Mori Art MuseumDusselforf, Museum Kunst PalastLondon, The Hayward GalleryBibliographieSimon, N., DuránL., Kunst, M., Johannesburg Art Gallery and Al, E. (2007). Africa remix : contemporary art of a continent. Johannesburg, South Africa: Jacana Media, p. 126, illustré en couleurThis lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Aimé Mpane Enkobo (République Démocratique du Congo, né en 1968)Femme au long cou 1991signé et daté 'Mpane (F.)/ 91' en bas à droitehuile sur panneausigned and dated 'Mpane (F.)/ 91' lower rightoil on board76 x 38 cm. (29 15/16 x 14 15/16 in.)Footnotes:ProvenanceCollection privée, BelgiqueVente: Bonhams, Londres, Modern & Contemporary African art, 9 mars 2022, lot 70Collection privée, Royaume-UniThis lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Ghany Belmaachi (Maroc, né en 1950)Sans titre signé 'Ghany' au reversacrylique sur toilesigned 'Ghany' on the reverseacrylic on canvas150 x 117cm. (59 1/16 x 46 1/16in.)Footnotes:ProvenanceCollection privée, EspagneConsidéré comme une figure incontournable de genre l'art plastique venu du Maroc, Ghany Belmaachi a été le fer de lance de l'âge d'or de l'art plastique contemporain au Maroc des années 1970. Titulaire d'un doctorat en Esthétique, sciences et technologies des arts de l'Université Paris VIII en 1992, Ghany synthétise une connaissance approfondie de la matière qu'il manipule pour composer une œuvre telle que la présente œuvre. En dépeignant des sujets et des compositions universellement narratifs, Ghany permet à un dialogue d'être formulé avec n'importe quel public que son travail rencontre. Lumineuses et optimistes, des œuvres telles que le présent lot reflètent la vivacité ludique qui distingue l'artiste.Considered an essential figure of the Plastic Art genre to come from Morrocco, Ghany Belmaachi spearheaded golden age of contemporary plastic art in Morrocco of the 1970s. With a doctorate in aesthetic, sciences and technologies of arts from Paris VIII University in 1992, Ghany synthesises a deep knowledge of the material he is manipulating to compose an artwork such as the present work. In depicting universally narrative subjects and compositions, Ghany allows a dialogue to be formulated with any audience his work encounters. Bright and optimistic, works such as the present lot reflect the vivacious playfulness that distinguish the artist.For further information on this lot please visit Bonhams.com

* CHRIS BUSHE RSW (SCOTTISH b. 1958), PALE SEPTEMBER acrylic on board, titled label versomounted, framed and under glass image size 58cm x 58cm, overall size 89cm x 87cm Label verso: The Open Eye Gallery, Edinburgh.Note: Born in Perthshire, Chris Bushe is one of Scotland’s greatest living landscape painters. Initially, he studied Archaeology and Ancient History at Edinburgh but from his earliest years, he has responded to his fascination with the landscape around rural Aberdeenshire. He was accepted at Gray’s School of Art in the 1980s and forged a career painting landscapes very much in his own style and at odds with the fashionable conceptualism of the day. His paintings have won him a plethora of awards at national exhibitions. His work can be found in the corporate collections of Murray International Metals, Premier Property Group, Aberdeen Hospitals Trust, Grampian Regional Council, Edinburgh Hospitals Trust, Scottish Life, the Royal Bank of Scotland, Scottish & Newcastle, Dundee City Council, Bulthaup, University of Stirling, Turnberry Hotel and Centrica. His many awards include the Morton Fraser Milligan, Russell Flint Trust, Glasgow Arts Club Fellowship, Scottish Arts Club Awards, the RSW Council Award, the RSW McManus Galleries Purchase Prize, the RSW Fotheringham Gallery Award and the RSW The Walter Scott Award. Most recently, Chris has had considerable success at The Discerning Eye winning both the Founder’s £2500 Purchase Prize in 2015 and ING £5,000 Purchase Prize in 2016. In Scotland, his principal gallery is the prestigious Open Eye Gallery (Edinburgh) where his most recent (widely praised) solo show was "Chasing Light" (4th - 25th June 2022). In The Scottish Contemporary Art Auction of 13th April 2023 lot 38, "Summer Winds" (by Chris Bushe) sold for £1800 (hammer).

* SARAH MCLAREN, A ROW OF HOUSES, FRANCE mixed media on paper, signed and dated 2000mounted, framed and under glassimage size 35cm x 49cm, overall size 53cm x 65cm Note: Sarah McLaren trained at the Edinburgh College of Art, where she won the Christmas Show prize in 1984. She has travelled and worked in France and Spain and has exhibited at the RSA, RSE and the SSA. In 1991 Sarah won the Royal Bank of Scotland Trophy, The Anne Redpath Prize (SAAC) and the Betty Davis Award (RSA). In 1992 she was featured in a London exhibition of leading contemporary Scottish artists and in recent years has exhibited extensively in Glasgow and Edinburgh. Following some time living and working in Shetland, Sarah now lives in France and continues to produce exhilarating and flamboyant artworks.

* HUGH MCINTYRE (SCOTTISH b. 1943), A MOUNTAIN STREAM oil on board, signed and dated '95framedimage size 57cm x 88cm, overall size 70cm x 102cm Note: Hugh McIntyre has been based in Dumfries & Galloway for many years and was involved with the management of the Gracefield Arts Centre during the early 1970s. He became a full-time painter in the mid 1970s and has exhibited his artwork, which focuses mainly on landscape painting, throughout the UK. He attended the Rhode Island School of Design, USA, and the Edinburgh College of Art. McIntyre`s work is included in the collections of H.R.H. The Prince of Wales (now HM King Charles III) and the Late Princess of Wales, The British Linen Bank Headquarters, Edinburgh, The Bank of Scotland, Galerie Chomarat, Lyon, Galerie Maison Jardin, Lyon, P.D.C, New York, Ashai Optical Co.Ltd, Tokyo, Brunel University, Hilton International, Albert Fisher Group PLC, Tommy Hilfiger and many other public and private collections. McInyre exhibits widely and has been represented by Contemporary Fine Art (Eton) since 1990.

* GERARD BURNS (SCOTTISH b. 1961), UNTITLED oil oon canvas, signedframedimage size 61cm x 61cm, overall size 88cm x 88cmNote: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* GERARD BURNS (SCOTTISH b. 1961), UNTITLED oil on canvas, signedframedimage size 60cm x 60cm, overall size 82cm x 82cm Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* ETHEL WALKER (SCOTTISH b. 1941), BLACK TULIPS AND SILVER oil on board, signed, further signed, titled and dated 2008 labels versoframedimage size 42cm x 42cm, overall size 60cm x 60cm Handwritten artist's label versoLabel verso: The Gatehouse Gallery, Glasgow Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a large mixed media by Ethel Walker sold for £2600 (hammer)

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006), LANDING PLACE oil on board, signed, titled label versoframedimage size 100cm x 26cm, overall size 113cm x 29cm Label verso: The Open Eye Gallery, Edinburgh.Comment: Although undated, "Landing Place" is very obviously a late career painting and shows the freedom and confidence Birnie gained from widespread critical and commercial success.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.

* LINDA LE KINFF (FRENCH b. 1949), VIENNA oil on canvas, signedframedimage size 19.5cm x 15cm, overall size 43cm xx 38cm Note: A very rare appearance at a UK auction for an original painting by Linda Le Kinff who has the unique distinction of having been commissioned as the Official Artist for the 1998 World Cup (Football) and the 2010 Kentucky Derby (USA). One of her paintings for the 1998 World Cup was struck as a commemorative coin by the French Government, an honour never before bestowed on a living French artist. Linda Le Kinff's portrayal of women is consistently dynamic, ranging from indescribable loneliness to silent, powerful, and elegant. Le Kinff also finds inspiration in the work of Paul Gauguin, Pablo Picasso, and Gustav Klimt. Her work has been exhibited and sold globally. In The Scottish Contemporary Art Auction of 8th December 2022, lot 2 "Holiday" a 47 x 32cm oil on board by Le Kinff sold for £2400 (hammer).

* JAMES SOMERVILLE (SCOTTISH b. 1936), CATHEDRAL AT SALAMANCA oil on canvas, signed, titled versoframedimage size 62cm x 75cm, overall size 72cm x 85cm Note: Originally from Fife, Jimmy went to Edinburgh College of Art, then returned to Fife in 1960 where he became a Principal Teacher of Art in Glenrothes High School. He held various posts on secondment as National Development Officer for Art and Design, was Principal Examiner with the Scottish Examination Board, and was involved in the introduction and implementation of Standard Grade Art & Design in schools. James retired from this work many years ago and began painting and exhibiting on a full-time basis. Slightly abstracted in style, and although always starting from drawings of specific places, they are taken well beyond the picturesque. The finished paintings show a concentration on atmosphere, mood, and response to things seen rather than mere representation of actual places. James Somerville's paintings are held in the collections of: The Scottish Arts Council, Edinburgh Hospitals Collection, Pitlochry Festival (Harry Cruden) Collection, Fife Regional Council, and numerous private collections at home and abroad. James Somerville's paintings rarely appear at auction but in The Scottish Contemporary Art Auction of 23rd January 2022 lot 136 "Village from the Shore" a 61.5 x 74.5cm oil (by Somerville) sold for £750 (hammer).

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), FISHER WOMAN watercolour on paper, signedframed and under glassimage size 34cm x 25cm, overall size 58cm x 48cm Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave"a 90 x 90cm oil (by Bellany) sold for £9000 (hammer).

* JAMES S DAVIS DA PAI RSW FRSA (SCOTTISH b. 1944), THE PAPS OF JURA oil on board, signed, titled versoframed and under glassimage size 33cm x 44cm, overall size 59cm x 69cm Note: James Davis was born in Scotland in 1944. He studied contemporary painting at the Glasgow School of Art between 1963 and 1967. He specialised in drawing and painting under the tutorage of Scottish artists William Armour and David Donaldson. For more than 40 years James Davis paintings have been exhibited extensively with the Royal Glasgow Institute ( RGI), Royal Scottish Watercolour Society (RSW), Royal Scottish Academy RSA and the Paisley Art Institute ( PAI). James Davis was elected to the RSW in 2003. James Davis paintings are predominantly landscapes, figurative and portraits and he paints in both watercolours and oils. Davis has been the recipient of many art awards for his contemporary paintings including the David Cargill Award; RGI in 2003 and the Reid Kerr Painting Award in 2005. James has established a strong following with leading private and corporate art collectors of contemporary Scottish art. These include: HRH The Duke of Edinburgh; The Royal Collection; Holyrood Palace; King Hussein Family Private collection; Vatican Commission Scott's College Rome; Glasgow City Chambers; Merk Finance; Arisaig Holdings (Singapore) and Strathclyde Education Authorities. His paintings also feature in many private contemporary art collections in the UK, Canada, USA, Italy, Holland, France, Switzerland, Australia and Tasmania.

* MURIEL BARCLAY, SHEEP GRAZING oil on canvas, signedframedimage size 65cm x 75cm, overall size 82.5cm x 92.5cm Note: In the inaugural Scottish Contemporary Art Auction staged by McTear's on 22nd November 2008, "Pink Tutu Tune" by Muriel Barclay sold for £7475 (premium) which was widely reported to be a record price for any maiden painting at public auction by a Scottish artist (past or present). Muriel Barclay is one of Scotland's most successful living artists and her exhibiting history is impressive. Her paintings are enthusiastically collected around the UK and auction appearances of her larger paintings, such as "Leg Pulling", are extremely rare. Collections include: Sir Arnold Clark, Lord Harris, The Sultan of Brunei, Alex McLeish, Sir Jack Harvey, HBOS, Biggart Baillie, Arisaig Partners, Ernie Els (golfer) and numerous other prestigious corporate and private collections worldwide. In The Scottish Contemporary Art Auction of 13th December 2020 "Peace Delegation" (a 77 x 87cm oil, lot 612) by Barclay, sold for £5500 (hammer) and in The Scottish Contemporary Art Auction of 24th October 2021 lot 836 "Venice" by Muriel Barclay sold for £6000 (hammer).

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), HARBOUR SCENE oil on canvas, signedunframedoverall size 91cm x 121cm Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave"a 90 x 90cm oil (by Bellany) sold for £9000 (hammer).

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), MARIA oil on canvas, signedunframedoverall size 91cm x 91cm Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave"a 90 x 90cm oil (by Bellany) sold for £9000 (hammer).

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), HAMLET, BALEPHUIL oil on canvas, signed, titled label verso framed and under glassimage size 46cm x 102cm, overall size 62cm x 118cmLabel verso: Walker Galleries Contemporary Art, Harrogate.Note 1: It was with great sadness that we learnt of the passing of Pam Carter in May last year after an illness which she wrote about to her database of buyers on 24th June 2021: "I feel at last I am retiring somewhat due to ill health. I am not painting very much these days as I am struggling with the daily regime of chemo tablets; it’s hard getting the balance of effective medication and quality of life".Note 2: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work was widely exhibited but rarely appears at auction. Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.

* ERNI UPTON FRSA (SCOTTISH b. 1936), WITH THE TIDE, OFF ARRAN, FIRTH OF CLYDE oil on canvas, signed, titled verso framedimage size 61cm x 92cm, overall size 80cm x 110cmNote: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer). Another painting by Erni Upton "TRAIGH NA CRICHE" was sold in our March 2023 auction (lot 119) for £2400 (hammer).

* NAEL HANNA (IRAQI/SCOTTISH b. 1959), GLENCOE oil on board, signedframed and under glassimage size 51cm x 81cm, overall size 68cm x 100cmNote: Based in Angus, Scotland, Nael Hanna has long been regarded as one of the UK's most visionary landscape painters. His love of the Scottish north east coastline has provided the inspiration for much of his long career as a modern contemporary artist. He returns to the colours, textures and natural light that he encounters whilst out walking near his home in rural Angus, each time capturing something new, and detail previously unseen in his art. The wonders of the natural world and nature, are captured and form the essence of his painting. Nael first arrived in Dundee in 1983, the year in which he began his studies in drawing and painting at Duncan of Jordanson. In 1987, he won a scholarship to further his study at the acclaimed Hospitalfield Summer School, Arbroath, and it was during that time that he began to depict the dramatic coastline and imposing mountain ranges and spectacular waterfalls that he encountered in his travels throughout Scotland. Nael’s work has attained numerous awards and widespread acclaim in the UK and in many other countries including Malaysia, Egypt and the USA. As well as exhibitions at the RGI, RSA, SSA and the SSAC, Nael has exhibited in countless prominent galleries throughout the UK and his work is included within major public, corporate and private collections worldwide.

* JOYCE W CAIRNS PPRSA DEd (hc) HRA (2018-2022) HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947), HOMESICK watercolour on paper, signed and dated 1975framed and under glassimage size 49cm x 69cm, overall size 59cm x 79cm Provenance: authenticated by the artist (02.05.23) and although untitled, Ms Cairns suggested "Homesick" as at the time (1975) she was in London and missing her homeland. This is a rare early work by one of Scotland's most significant and critically acclaimed artists of her generation.Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, The Scottish Arts Council, BBC Television, Edinburgh City Arts Centre, Fife Regional Council, Fleming’s Bank, Glasgow City Art Gallery & Museum, Glasgow Gallery of Modern Art, Grampian Television, Graves Art Gallery & Museum, Sheffield, Gray’s School of Art, Aberdeen, Lanarkshire County Council, Manchester City Art Gallery, McMaster Museum, Hamilton, Ontario, Mobil, Perth City Art Gallery & Museum, Shell UK, Tidaholm Government Office, Sweden, The Contemporary Arts Society, The Royal Scottish Academy, University of Aberdeen, University of Strathclyde, Unilever, Aberdeen Asset Management, The National Museums of Scotland, The Robert Gordon University, Aberdeen Asset Management,Asia, Singapore, The British Museum, The Victor Murphy Trust, Pier Arts Centre, Inverness Museum and Art Gallery, The Maritime Museum, Irvin, New Hall Art Collection, Cambridge, The National Galleries of Scotland. Further biographical information at: www.joycecairns.co.uk

A contemporary Art Deco style mirror framed rectangular wall hanging mirror. H.156 W.68cm.

Alessandro Vitali (Urbino 1580-1650), After Federico Barocci The Crucifixion with Saints Sebastian, John the Evangelist and the Virgin Mary oil on two sheets of paper, laid down on panel, en grisaille and en brunaille, the upper edge extended by 4.5cm 84 x 52.5cm (33 1/16 x 20 11/16in).including the addition Footnotes: Provenance William, 2nd Earl of Dartmouth, and thence by descent to the present owner This unpublished and lavishly refined grisaille oil on paper is a faithful replica of the Christ on the Cross with Saints Sebastian, John the Evangelist and the Virgin Mary in Genoa Cathedral, a large altarpiece executed between 1587 and 1596 by the Urbino painter Federico Barocci (circa 1533-1612). The altarpiece (fig. 1) was commissioned by the future Doge of Genoa, Matteo Senarega, for his family chapel and cost the enormous sum of 1,000 scudi, twice the sum paid around the same time to Annibale Carracci for the entire Farnese Gallery 1.  The monumental scale and importance of the enterprise was publicly praised by Senarega in an official letter addressed to Barocci on October 5, 1596, where he stated that 'The panel has only one defect, which because it has the Divine, human praises do not reach it: for this reason, it lives wrapped up between silence and marvel' 2.  The precocious fame of the Genoa altarpiece and the efforts poured into it induced Barocci to reuse the composition, a practice made easy by the fact that he used to keep the 1:1 preparatory cartoons of his paintings in his workshop, ready to be proportionally enlarged, reduced, and replicated 3. The presence of the now-lost Crucifixion cartoon in Barocci's workshop in Urbino is attested by a slightly later commission which the artist took over from the local Oratorio della Confraternita della Morte together with his best pupil and associate, Alessandro Vitali (1580-1630), in 1597. Due to the time constraints of the fraternity and its shortage of money, it was agreed that the main figures of the new altarpiece were to be copied from the Genoa prototype. Working after the cartoon, Vitali executed most of the painting, while Barocci retouched the main characters, giving life in only two years (January 1597-April 1600) to a successful spin-off of his previous achievement which was even publicly praised in the painter's funeral oration (1612) 4. The 1:1 autograph replica in oil on paper which was on the art market in the late 1980s and is today in the Kunstmuseen Skt Gallen, Switzerland must date from around the same time. Traditionally interpreted as a preliminary sketch for the final composition, this refined painting on paper shows no sign of pentimenti and is finished in all its parts, suggesting that it was conceived as an autonomous work of art intended for private collectors and amateurs. The case of the Skt Gallen 'sketch' is not isolated. During his life, Barocci executed many works in oil on paper, both studies for entire compositions and individual 'teste di carattere' 5.  If some of these works, such as the beautiful study for the Last Supper in the Fitzwilliam Museum, Cambridge 6, or the small bozzetto for the Entombment in the Getty Museum, Los Angeles 7,  are clearly part of the preparatory process, showing signs of pentimenti, corrections and areas intentionally left blank, others are fully-finished creations, made in order to fulfil the requests of the market and capitalise the artist's creative efforts 8. This category includes both finished head studies (New York, Metropolitan Museum of Art 9; Stockholm, Nationalmuseum 10; Salzburg, Residenz), autograph coloured reduced replicas of entire compositions 11,  and small-size, grisaille replicas, such as the Madonna of the Rosary in the Ashmolean Museum, Oxford, connected to a painting executed by Barocci in Senigallia between circa 1589 and 1595 (fig. 2).12 Whether this beautiful and perfectly refined object was executed by Barocci before or after the completion of the altarpiece is a matter of debate. What is more interesting, however, is that the master executed at least one other autograph version of it (private collection, unpublished), and that both these autograph prototypes were copied again and again by his workshop (France, private collection; Paris, art market, formerly with the Galerie Tarantino; Milan, Museo Poldi Pezzoli, from the Riccardo Lampugnani Collection). Other grisaille replicas of whole or partial compositions, traditionally assigned by Barocci but now recognisable as products of the workshop on the grounds of quality, are in Windsor (Flight of Aeneas from Troy, Royal Collection; 13.    another version was recently on the British art market) 14,  Washington (The Presentation of the Virgin, National Gallery of Art, from the Woodner collection (fig. 3) 15,  Stamford (The Annunciation, Burghley House) 16, and Urbino (A cat, Galleria Nazionale delle Marche). 17    The Crucifixion discussed here belongs to the same category of grisaille workshop replicas of Barocci's more successful compositions, probably as one of the best examples of the group. Its exceptional quality and the metallic coldness of the palette suggest its author is the same person who executed the Washington Presentation. The comparison with the acknowledged work of Barocci's best pupils both the grisailles to be assigned to Alessandro Vitali, mentioned above as the collaborator of the Compagnia della Morte altarpiece made in 1597-1600 after the Genoa composition 18.  Vitali's two altarpieces of Saint Catherine in jail and of the Annunciation, both in the Galleria Nazionale delle Marche, Urbino, derived from Barocci's prototypes between 1598 and 1603, show an identical metallic, glazed treatment of the surfaces, as well as an emphasized liveliness and roundness of the cheeks and of the facial types. The close connection between Barocci and Vitali, and the latter's success in quickly establishing an independent career both as a copyist of his master's models and as an independent painter, explain the introduction of minor variations in our Crucifixion: a flock of birds flying around the towers of the ducal palace, and some new buildings on the square. They show Vitali's passion for details and might be connected to the nordicizing Flemish taste of the Urbino court around 1600. The result of such a combination of local tradition and external influences is an exceptionally refined work of art, whose precious and jewel-like quality, similar to the contemporary illuminations by Cesare Franchi or Gherardo Cibo, is enhanced by the use of a paper support and by the adoption of Barocci's elegant grayish-orange palette.For further information on this lot please visit Bonhams.com

Assadour (Lebanon, born 1943)Untitled (Composition) oil on canvassigned and dated (lower right) and further signed and dated on the verso, executed in 2010120 x 120cm (47 1/4 x 47 1/4in).Footnotes:Provenance:Property from a private collection, ParisChristie's, Modern & Contemporary Middle Eastern Art Auction, Dubai 26 0ctober 2011Acquired from the above by the present ownerAssadour was born in 1943 in Beirut and left his homeland in 1963 to study abroad. He obtained a scholarship to go study engraving and painting in Italy and subsequently in Paris. Assadour is well-known as a master of contemporary engraving and yet he has also produced a rich and prolific oeuvre of temperas on paper and oils on canvas. The latter are rare and sought-after as Assadour executed very few paintings on canvas. He participated in many exhibitions throughout Europe, Korea, Japan and Lebanon, and his work has been displayed in international art fairs as well as in retrospective shows in Museums in Germany and Italy. Assadour managed to develop his own artistic style by finding inspiration in two art movement, the Bauhaus' Constructivism and the Parisian Surrealism.''Assadour the secret, prince of encryption, with a tempered yet passionate nature, appears as the most meticulous master of images, which he interlocks, untangles, clots, separates again and finally fuses into one same substance. His layout is ingeniously inscrutable yet nothing has been randomly placed. Everything is so precise in this chaos which is very well thought out, that Assadour does not seem to destroy all the codes but rather substitutes them with his own.' - Gérard XurgueraThis 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

Abdallah Benanteur (Algeria, born 1931)Le Chant du pré oil on canvassigned (lower right), signed, dated and titled on the verso, executed in 198560 x 120cm (23 5/8 x 47 1/4in).Footnotes:Provenance :Property from a private collection, Paris Christie's, Modern & Contemporary Middle Eastern Art Auction, Dubai 26 October 2011Acquired from the above by the present ownerBorn in 1931 in Mostaghanem, Abdallah Benanteur was brought up in an Algerian family and cultural environment, specifically enthralled by writing and illuminated manuscripts, by mystic Muslim poetry, by Andalusian music and songs. In 1953, he settled down in Paris, which he transformed into his own capital of life and creativity. Abdallah Benanteur passed away on 31 December 2017, at Ivry sur Seine, France. Impregnated by the Arab culture from his native Algeria, by the great European painting in museums across France and Europe, by the graphic arts and manuscripts from Europe, the East and the Far East, inspired by the poets from around the world, he managed to create his own personal and sublime works, producing lyrical landscapes infused with the light of his Mediterranean homeland and that of his adopted Brittany, as well as a transcendental light that transforms the memory's landscapes in a paradise peopled by his beloved 'chosen' ones'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

Pigeons.- Eaton (John Matthew) A Treatise on the Art of Breeding and Managing Tame, Domesticated, Foreign, and Fancy Pigeons, 18 lithograph plates with fine hand-colouring, some light browning and finger soiling, gutter cracking at title, contemporary morocco, spine head torn, extremities worn, g.e., [Nissen IVB 283], for the Author, 1858 § Fulton (Robert)The Illustrated Book of Pigeons with Standards for Judging, 50 chromolithographs, tissue-guards, illustrations, occasional faint off-setting, contemporary half morocco, worn, Cassell, [c.1880], 8vo & 4to (2)

Bees.- Butler (Rev. Charles) The Feminine Monarchie: or the Historie of Bees, second edition, variant with 6 leaves and no blanks in signature A, lacking woodcut frontispiece (old photographic facsimile loosely inserted), with typographic ornaments, woodcut initials and illustrations, 4pp. with musical notation, lacking final blank, title with contemporary ink inscription at head and lightly soiled & stained (small repair to lower outer corner), marginal tear to A2 & C4, small paper flaw hole to O1 with loss of a couple of letters, a few rust spots, light water-staining to lower margin towards end, bookplate of William Fuller Maitland of Stansted Hall, uncut in old vellum-backed marbled boards, spine titled in manuscript, rubbed, small 4to, [British Bee Books 18; Hagen 110.1; STC 4193; Walker Catalogue p.11], by John Haviland for Roger Jackson, 1623.⁂ "This is the greatest early British bee book and contains the best account of skep beekeeping which is available today". (British Bee Books). It is the first edition to contain both the woodcut frontispiece (not present in this copy) and the 4-part madrigal which was an attempt to capture the piping of the queen at swarming time. The Walker catalogue calls it "the most readable Edn.".William Fuller Maitland (1844-1932), art collector, MP, and cricketer.

Art Nouveau pewter two handled tray, impressed marks Sheffield English pewter, together with a French Christofle cream jug, another Art Nouveau silver plated goblet and a pair of contemporary design stainless steel candlesticks. (5)(B.P. 21% + VAT)

Jacqueline Poncelet (b.1947) Studio Pottery and Contemporary Ceramics Buff coloured vessel, circa 1977 Earthenware Unsigned 13cm high, max width approx 20cm. ARRProvenance From a Private Collection acquired directly from the Artist. Footnote Jacqui Poncelet was part of a group of radical female artists (along with Elizabeth Fritsch, Carol McNicoll, Jill Crowley, Glenys Barton and Alison Britton) graduating from the Royal College of Art in the early 1970s who laid the foundations for 'The New Ceramics' movement and sought to re-establish the ‘vessel’ as an abstract form. Ceramic works by Poncelet are held at various public collections worldwide, including MOMA in New York, the V & A, and Tate Gallery London. Condition Report: Patch of dark crazing to interior, no damage or restoration.

Jacqueline Poncelet (b.1947) Studio Pottery and Contemporary Ceramics Vessel with orange and black stripes on buff ground, circa 1977 Earthenware Unsigned 25.5cm high, max width 18cm ARR Provenance From a Private Collection acquired directly from the Artist. Footnote Jacqui Poncelet was part of a group of radical female artists (along with Elizabeth Fritsch, Carol McNicoll, Jill Crowley, Glenys Barton and Alison Britton) graduating from the Royal College of Art in the early 1970s who laid the foundations for 'The New Ceramics' movement and sought to re-establish the ‘vessel’ as an abstract form. Ceramic works by Poncelet are held at various public collections worldwide, including MOMA in New York, the V & A, and Tate Gallery London. Condition Report: No damage or restoration.

Jacqueline Poncelet (b.1947) Studio Pottery and Contemporary Ceramics Large angular slab-built vessel with geometric design in brown on buff, chequered exterior and striped interior, 1977 Earthenware Unsigned 26cm high, approx 36cm max width. ARR Provenance From a Private Collection acquired directly from the Artist. Footnote A similar slab-built earthenware vessel is held at the British Museum, London. Jacqui Poncelet was part of a group of radical female artists (along with Elizabeth Fritsch, Carol McNicoll, Jill Crowley, Glenys Barton and Alison Britton) graduating from the Royal College of Art in the early 1970s who laid the foundations for 'The New Ceramics' movement and sought to re-establish the ‘vessel’ as an abstract form. Ceramic works by Poncelet are held at various public collections worldwide, including MOMA in New York, the V & A, and Tate Gallery London. Condition Report: Minor rubbing to one bottom corner, no other damage or restoration.

Jacqueline Poncelet (b.1947) Studio Pottery and Contemporary Ceramics Large angular slab-built vessel with geometric design in copper-brown on buff ground, circa 1977 Earthenware Unsigned 29cm high, max width approx 34cm. ARR Provenance From a Private Collection acquired directly from the Artist. Footnote A similar slab-built earthenware vessel is held at the British Museum, London. Jacqui Poncelet was part of a group of radical female artists (along with Elizabeth Fritsch, Carol McNicoll, Jill Crowley, Glenys Barton and Alison Britton) graduating from the Royal College of Art in the early 1970s who laid the foundations for 'The New Ceramics' movement and sought to re-establish the ‘vessel’ as an abstract form. Ceramic works by Poncelet are held at various public collections worldwide, including MOMA in New York, the V & A, and Tate Gallery London. Condition Report: Tiny nick to two underside corners not seen when placed - otherwise no damage or restoration.

Jacqueline Poncelet (b.1947) Studio Pottery and Contemporary Ceramics Large angular slab-built vessel with geometric design in brown on buff ground with each slab alternating squares and stripes, circa 1977 Earthenware Unsigned 26cm high, max width approx 30cm. ARR Provenance From a Private Collection acquired directly from the Artist. Footnote A similar slab-built earthenware vessel is held at the British Museum, London. Jacqui Poncelet was part of a group of radical female artists (along with Elizabeth Fritsch, Carol McNicoll, Jill Crowley, Glenys Barton and Alison Britton) graduating from the Royal College of Art in the early 1970s who laid the foundations for 'The New Ceramics' movement and sought to re-establish the ‘vessel’ as an abstract form. Ceramic works by Poncelet are held at various public collections worldwide, including MOMA in New York, the V & A, and Tate Gallery London. Condition Report: A couple of very tiny nicks to the balancing 'leg', otherwise no damage or restoration.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four brown and buff camouflage pattern bowls Stoneware Underside impressed 'DB' seal 20cm - 24cm diameter. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. 

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Open bowl with yin yang wave decoration, and mottled bowl Stoneware Underside impressed 'DB' seal Open bowl 28cm diameter, mottled bowl 25cm diameter. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. 

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Purple open bowl and a deep blue closed bowl, small brown vessel and blue vessel each with pierced holes to border, an off-white bowl with brown band and a ruffle top vessel Stoneware and porcelain Underside impressed 'DB' seal Open bowl 31.5cm diameter, closed bowl approx 15.5cm diameter, 15cm high, ruffle top: approx 5.5cm high, 8.5cm diameter. (6) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Surface marks.  Open bowl: some irregularities in the making.  No other issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four scent bottles with frilly multi-layer stoppers in black, pink, white and brown Porcelain Underside impressed 'DB' seal Tallest 17cm high, shortest 9.5cm high. (4) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Black stopper has a yellow patch but does not appear to be damaged or repaired, white stopper has a hairline crack to the upper layer and has been restored.  No other issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Two blue-green volcanic glaze bowls and two volcanic glaze vases Stoneware Underside impressed 'DB' seal Open bowl 27cm diameter, closed bowl 20cm diameter, smaller vase 14cm high, taller vase 22cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found to any pieces.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Monumental hand built vessel of organic form with frilled layers in spherical composition on cylinder stem  Stoneware Impressed 'DB' seal at top of stem 42cm high, 32cm diameter. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No damage or restoration.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Six tapered vases in blue and white, and two tall frilly form vases Porcelain Underside impressed 'DB' seal Blue and white: 9cm to 15.5cm high, frilly: 10cm and 12cm high. (8) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.