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Fonthill Library. Johann Friedrich Ludwig Hausmann, Reise durch Skandinavien in den jahren 1806 und 1807, 4 volumes [of 5], Gottingen: J.F. Röwer1812-1818, vignette titles, 14 engraved plates to rear of volumes (some folding), bookplate of D. A. Holdsworth and early inscription noting Fonthill provenance to front pastedowns, top edge gilt, remainder untrimmed, contemporary crimson red boards specially bound for the Fonthill library, gilt decorated motifs to spine compartments, green morocco labels lettered in gilt, worn, volumes 1 & 2 with loss at head of spines, rear board of volume 2 and front board of volume 3 detached, 8vo QTY: (4)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.William Beckford's copy, from Fonthill library in an iconic Fonthill binding.Fonthill Abbey, built at the request of Beckford, contained one of the finest libraries ever assembled by an individual. After the collapse of the Abbey due to erratic construction, the library was sold in 1823 after John Farquhar bought much of its contents in the preceding year. The sale attracted huge attention, with 72,000 copies of the auction catalogue sold at a guinea apiece and an average of 600 to 700 people arriving each day to view, including the Duke of Wellington. William Hazlitt described it as “a desert of magnificence, a glittering waste of laborious idleness, a cathedral turned into a toy shop”. The sale lasted 37 days.

Jones (Inigo). The Designs of Inigo Jones, Consisting of Plans and Elevations for Publick and Private Buildings. Published by William Kent with some additional designs, 2 volumes in one, 1st edition, 1727, engraved allegorical frontispiece by William Kent, titles with engraved vignette portrait of Inigo Jones, engraved dedication to the King, subscribers list, 97 engraved plates (plates numbered to 136) including 29 double-page and folding by Foudrinier, Hulsbergh and Cole after designs credited to Jones, William Kent and Lord Burlington, bound without the half title, frontispiece reinforced at gutter to verso, a few small marginal repairs, signature E in first volume detached, occasional light spotting, contemporary half morocco over reverse calf, discoloured with some worming and stains to covers, folio, 45 x 34 cm QTY: (1)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.Archer 166.1; Fowler 162; Harris 385. "The Designs of Inigo Jones is an impressive and important work. Yet oddly enough more influential than any single building depicted in it were its plates of doors, windows, niches, etc. These plates seem to have had a formative effect upon Gibbs's Book of Architecture (1728) and from that point on became a standard feature of eighteenth-century pattern books." (Harris).

Demortain (Gilles). Les Plans, Profils et Elevations des Ville, et Chateau de Versailles, avec les Bosquets, et Fontaines, tels quils sont a present, levez sur les lieux, dessinez et gravez en 1714 et 1715... Paris: Demortain, [1716], engraved title, 32 engraved plates on 31 sheets only (of 54), including 19 double-page plates by Fonbonne, Lucas, de Rochefort and others after Delamonce, Menant, Martin and others, a few with closed tears and repairs, a few small stains, occasional pale marginal water stains, all edges gilt, contemporary red morocco gilt, some wear at spine ends and corners, folio 50 x 35.5 cm QTY: (1)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.Sold as a collection of plates not subject to return.

Nicolai (Nicola Maria). Della Basilica di S. Paolo, 1st edition, Rome: Nella Stamperia de Romanis, 1815, title with engraved vignette, 18 engraved plates and plans by Ruga, Mochetti & Giangiacomo, many folding, occasional light spotting, bookplate of Robert Mackenzie Beverley (1798-1868, author, polemicist and opponent of Darwin's Theory of Evolution), contemporary half vellum, small abrasions and indentations to covers, folio 45.5 x 30.5 cmQTY: (1)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.Rare work on the Basilica of Saint Paul Outside the Walls in Rome, no copies recorded at auction. Seven institutional copies located.

Palladio (Andrea). I Quattro Libri dell'Architettura [edited by Silla Palladio], 2nd edition, Venice: Battolomco Carampello, 1581, 4 parts in one volume, titles within elaborate architectural woodcut borders, with printer's devices of 'Regina Virtus' at head and Venus in a boat with the Queen below title cartouche, 221 woodcut plans and illustrations, many full-page, blanks 2K4 & 4R4 present, occasional light spotting and toning, a few mainly marginal water stains, lacking front endpapers, small areas of worming to rear endpaper and pastedowns, contemporary limp vellum, tear and small loss to spine, a few stains, folio 33.5 x 23 cm QTY: (1)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.Adams P101; Cicognara 595; Fowler 213; Millard IV 66; PMM 92 (for the 1570 first edition); RIBA 2384. Second edition of "the most studied of the architectural treatises of the Renaissance" (Millard), first published in 1570 in Venice by Domenico de Franceschi, with new typesetting and initials but with the titles and illustrations printed from the original plates, and edited by Andrea Palladio's son Silla."Palladio's lasting influence on architectural style in many parts of the world was exercised less through his actual buildings than through.his textbook. This is divided into four sections: orders and elementary problems, domestic buildings, public building and town planning and temples. Palladio's style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti. Its characteristics are those of classicism: symmetry, order, fixed mathematical relations of the parts to each other and to the whole, logic and monumentality. Though it is true that Palladio in his later period adopted some of the mannerist vernacular, his buildings remain essentially classical, in contrast to the baroque style of the period in Rome and Piedmont." (PMM).

Palladio (Andrea). The Architecture of A. Palladio; in four books. Containing, a short treatise of the five orders, and the most necessary observations concerning all sorts of building, as also the different construction of private and publick houses, high-ways, bridges, market-places, xystes, and temples, with their plans, sections, and uprights. To which are added several notes and observations made by Inigo Jones, never printed before. Revis'd, design'd, and publish'd by Giacomo Leoni, a Venetian; Architect to his most Serene Highness, the Elector Palatine, volumes 1 & 3 only (of 4), London: Printed by John Watts, for the Author, 1715 - [1718], engraved portrait of Palladio by V. Picart after Veronese [actually a portrait of an unknown man by Sir Sebastiano Ricci], an additional engraved allegorical frontispiece by B. Picart after Sebastiano Ricci, printed title, translator's preface by Nicholas du Bois, subscriber's list, Preface to the Reader [translated from Palladio], and 43 engraved plates, of which 31 are full-page, and with Italian and French versions of the text at end, each with separate title page, contemporay blind-decorated full calf, gilt decorated spine, rubbed and scuffed with some wear to joints and edges, joints partly cracked, volume III: printed title, dedication leaf in Italian, single-leaf list of subscribers, Preface to the Reader, 20 full-page engarved plates, including one double-page, and Itlaian and French versions of the text at rear, each with seperate title page, I2 with small paper repair to lower blank inner margin, contemporary dark brown full calf, rubbed and scuff with a little wear to extremities, both large folio QTY: (2)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.ESTC T95463; Fowler 223; Harris 683; RIVA, early printed books, 2391.'This edition marks a turning point in the history of British Palladianism, being not only the first complete English translation of I Quattro Libri but also the first edition to contain worthwhile engraved copies of the original woodcuts (several earlier editions have contained crude or incomplete copies)'. (RIBA). The list of subscribers number 308, indicating a low print run. The notes and observations of Inigo Jones, refer to in the title were only published for the first time in the 3rd edition of 1742. 

[Pearson, John and others, editor]. Critici Sacri: sive clarissimorum virorum in sacro-sancta utriusque foederis Biblia, doctisssimae annotationes atque tractatus theologico-philologici. Opus summa cura denuo recognitum... e IX in VII tomos redactum, 7 volumes, 2nd edition, Frankfurt: Balthasaris Christophori Wustii for Johannis Philippi & Johannis Nicolai Andreae, 1695-96, volumes II, III, V & VII dated 1695, the others 1696, volume I with half title and title printed in red and black, text printed in double column, 13 engraved maps and plates, including 7 folding in volume VI, woodcut illustrations, occasional light toning and spotting, previous owner inscription dated 1911 to volume I front endpaper, all edges blue, contemporary uniform vellum, spines titles and numbered in neat manuscript, some light dust-soling and a few minor stains, folio (25.5 x 20.5 cm)QTY: (7)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.First published in 1660, and edited by John Pearson (1613-1686), theologian and classical scholar, who was appointed Master of Trinity College, Cambridge, in 1662, and bishop of Chester in 1672. Intended as a companion work to Brian Walton's famous Polyglot Bible of 1655-57. A two-volume supplement, not present here, was added in 1701.

Piranesi (Giovanni Battista). Varie Vedute di Roma Antica, e Moderna. Disegnate e Intagliate da Celebri Autori, Roma: Fausto Amidei, 1748 [but 1750 or later], 87 etched plates, including title only (of 94), of which 45 (of 48) signed Piranesi, others by P. Anesi, Bellicard, Duflos et al, some identified in manuscript to lower margin (a few inscriptions cropped at outer margin), 3 plates with a water stain just touching image, a few others with small marginal damp stain, occasional light marginal dust-soiling, previous owner initials to right-hand margin of title, bookplate of George Thomas Whitgreave (1787-1863), contemporary wrappers, later backstrip, a little rubbed, oblong folio, sheet size 29.5 x 23 cmQTY: (1)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.The views by Piranesi are among his earliest topographical engravings.

Sgrilli (Bernardo Sansone). Descrizione e Studj dell' Insigne Fabrica di S. Maria del Fiore Metropolitana Fiorentine, 1st edition, Florence: Bernardo Paperini, 1733, engraved portrait frontispiece of Giovanni Battista Nelli by Vin. Franceschini, title printed in red and black with engraved vignette, 17 folding engraved plates and plans by Sgrilli after Nelli, engraved head and-tail pieces and initials, some plates with small repairs and reinforcements to verso, small water stain to gutter, a few minor stains, repairs to pastedowns, contemporary half morocco, manuscript title to spine, later printed label to upper cover, a few small wormholes, discolouration and light edge wear, folio, 47.5 x 32.5 cm QTY: (1)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.Berlin Kat 2694; Cicognara 4096. Important work on the architecture and plans of the complex of Florence Cathedral.

Society of Antiquaries of London. Some account of the collegiate chapel of Saint Stephen, Westminster, by John Topham, [plans, etc. by John Carter; additional plates and descriptions by Sir H.C.Englefield], [London: Society of Antiquaries, 1795], 28 engraved plates & plans including additional engraved title (2 plates double-page & one folding, additional title creased), bound with Some account of the Abbey Church of Bath..., [London: Society of Antiquaries, 1798], 10 engraved plates & plans including additional engraved title, bound with Some account of the Cathedral Church of Exeter..., [London: Society of Antiquaries, 1797], 11 engraved plates & plans including additional title (3 plates double-page), tissue guards to each plate throughout volume, occasional scattered spotting, contemporary half calf, boards detached and some wear, large folio (65 x 48 cm), together with:Society of Antiquaries of London, Some account of the Abbey Church of St Alban, [by Richard Gough, with the assistance of James Brown and John Nichol], illustrative of the plans, elevations, and sections of that building, [drawn by John Carter]; [edited by Sir H.C. Englefield], London: Nichols & Son, 1813, 19 engraved plates & plans, edges untrimmed, sewing partly broken, contemporary half sheep, upper board detached, lacking spine, worn, large folio (68 x 50 cm), Britton (John), Chronological History and Graphic Illustrations of Christian Architecture in England..., London: Longman, Rees, Orme, Brown & Green, 1826, additional etched title, numerous etched & engraved plates and plans, all edges gilt, contemporary gilt decorated burgundy straight grain morocco, spine torn at head, extremities rubbed and scuffed, 4to, plus Newcome (Peter), The History of the Ancient and Royal Foundation, called the Abbey of St. Alban, in the county of Hertford..., London: Printed for the author by J. Nichols, 1795, engraved frontispiece and two folding plans, lacking folding map, some toning and scattered spotting, 19th century half calf, upper joint cracked and lower board detached, extremities rubbed, 4toQTY: (4)NOTES:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.

Stuart (James, & Revett, Nicholas). The Antiquities of Athens, measured and delineated by James Stuart, F. R. S. and F. S. A. and Nicholas Revett, painters and architects, edited by William Kinnard, 4 volumes, new (i.e. 2nd) edition, London: Priestley & Weale, 1825-30, half-titles volumes 1-3, 191 engraved plates and plans, titles with engraved vignettes, engraved head-pieces, bound without the engraved portraits of Stuart and Revett, occasional minor marks to margins (generally in clean condition), later ownership inscription to front endpaper of William Smith, Durham University, School of Architecture, dated 1938, contemporary maroon half morocco, rubbed and scuffed with joints cracked and several covers detached, folio QTY: (4)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.Fowler 340; Lowndes 2536. Second edition of this major survey, first published between 1762 and 1816. 'A work of surprising exactness presenting to the eye in one group, a collection of the noblest specimens of Grecian Art and Attic tastes now existing. This is a new edition of volume I., II., and III. of the original work, with considerable additions, likewise a fourth volume of new matter' (Lowndes). The fourth volume bears the title Antiquities of Athens and other places in Greece, Sicily, etc., supplementary to the antiquities of Athens by James Stuart and Nicholas Revett, delineated and illustrated by C. R. Cockerell, W. Kinard, T. L. Donaldson, W. Jenkins, W. Railton, architects.

Vignola (Giacomo Barozzi da). Regola delli Cinque Ordini d'Architettura, 2 parts in one, Rome: Andreas Vaccarius, 1607-10, engraved title, 45 engraved numbered leaves, including second title, a couple of margins torn away, occasional water stains and light soiling, two small ink stamps to first title and leaf I, contemporary limp vellum, some stains and soiling, small wormtrack to lower cover, folio (39.5 x 27.5 cm)QTY: (1)NOTES: Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.

Vitruvius Pollio (Marcus). An Abridgement of the Architecture of Vitruvius. Containing a system of the whole works of that author... To which is added in this edition the etymology and derivation of the terms used in architecture, 1st English edition, London: printed for Abel Small and T. Child, 1692, engraved frontispiece by J. Kip, 11 engraved illustrations (numbers X & XI on one folding leaf), frontispiece with 2 clear tape repairs to verso, some worming affecting a few headlines, a few small stains, previous owner signature to title, inscription erased from front endpaper, contemporary sprinkled calf, spine repaired, small wormed areas to covers, small 8voQTY: (1)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.Fowler 421; Wing V663. The first English edition of Vitruvius based on Perrault's French translation of 1674.

Wallis (John). The Natural History and Antiquities of Northumberland: and of so much of the county of Durham as lies between the rivers Tyne and Tweed; commonly called, North Bishoprick, 2 volumes, London: Printed for the author, by W. and W. Strahan, 1769, initial 11 leaves in second volume with diminishing hole (slightly affecting text), fore-margins of few leaves in each volume damp stained, contemporary marbled calf, contrasting morocco labels, 4to, together with:March (John), Sermons preach'd on several occasions, by John March, B.D. late vicar of Newcastle upon Tine. The last of which was preach'd the twenty seventh of November, 1692. Being the Sunday before he died..., 2nd edition, London: Robert Clavell, 1699, engraved portrait frontispiece (imprint at foot slightly cropped), verso of title with engraved early bookplate of 'the Parochial Library of Skelton in the county of York Cleveland', contemporary panelled calf, light wear to extremities, 8vo (ESTC R18158),Fordyce (William), The History and Antiquities of the County Palatine of Durham; containing a condensed account of its Natural, Civil, and Ecclesiastical History..., 2 volumes, London & Edinburgh: A. Fullarton & Co., 1857, engraved frontispiece to each volume, county map, 26 plates (including 7 portraits) and hand-coloured lithograph plate, light toning and few minor marks, contemporary red half morocco, light wear to joints and extremities, 4to,Bruce (John Collingwood), The Roman Wall. A description of the mural barrier of the north of England, 3rd edition, London: Longmans, Green, Reader, and Dyer; Newcastle: Andrew Reid, 1867, lithograph frontispiece, two folding maps, 45 lithograph plates and plans, some scattered spotting, contemporary half morocco, upper joint cracked, some fading, 4to, and three othersQTY: (9)NOTES:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.

Salmon (William). Palladio Londinensis: or, the London Art of Building, in three parts..., 2nd edition, A. Ward, J. Clarke, J. Oswald [& others], 1738, 52 engraved plates (including frontispiece with contemporary signature Jn. Snow 1736, 9 plates folding including two torn with loss & three with repaired closed tears), repaired closed tear to title and text leaf Q2, lower outer blank corner to C2 torn away, dust-soiling and few marks, 19th century half calf, lower board detached, worn, 4to, together with:Dallaway (James), Observations on English Architecture, Military, Ecclesiastical, and Civil, compared with similar buildings on the Continent including a critical itinerary of Oxford and Cambridge ..., London: J. Taylor, 1806, half-title, 8 page publisher's catalogue at rear, edges untrimmed, original boards, light wear to extremities, 8voQTY: (2)

Bindings. A collection of 19th-century literature, including The Renaissance, Studies in Art and Poetry, by Walter Pater, limited edition of 450 copies printed on Van Gelder paper, Portland: Thomas B. Mosher, 1902, contemporary gilt decorated red full calf bound by Hatchards, 4to, Froude's Short Studies, 4 volumes, by James Anthony Froude, new impression, London: Longmans, Green, And Co.,1903, contemporary gilt decorated 'prize binding' full tree calf bound by T. Hunt, Wellington College, 8vo, plus others, all contemporary gilt decorated leather bindings, overall condition is generally fair/good, 8vo/4to, 62 volumesQTY: (3 shelves )

Banksy (British, b. 1975)'Four Soup Cans' (Gold and Cream), screenprint in colours on wove, signed and numbered from the edition of 54, numbered 39, accompanied by original receipt and invoice, approximately 70.25cm x 50.5cm Condition:In very good rolled condition having never been framed, within original Lazarides Gallery labelled tube. Ink visible from screen printing process dotted across work. From the collection of Rob Deacon (1965-2007). Rob Deacon was a Music Producer and collector of contemporary art. Acquired from Lazarides Gallery - October 2006.

ADRIAN SCHIESS (Switzerland, 1959)."Ciel en mars", 2004.Oil, lacquer, acrylic and transparent film on aluminium.Signed, titled and dated on the back.It bears a label from the Galerie Nächst St.Stephan gallery in Vienna.Provenance: Important Spanish Collection.Size: 50 x 60 cm.The title "Sky in March" reveals that, despite the abstract appearance, an idyllic landscape is hidden behind the pictorial material. This is how Adrian Schiess works with abstraction: evoking through titles. These abstractions are made of densely lacquered aluminium panels. They are usually displayed on the floor, which forces the viewer to move between them, and thus to become part of the artist's process. In this way, they cannot be defined as paintings or sculptures. They are born out of a dialogue with each visitor: "I don't consider the panels as pictorial objects. They are things next to other things. They are paintings on whose glossy surfaces reality is reflected," explains the artist. Adrian Schiess, born in Zurich, lives and works in Mouans-Sartoux, France. His work flirts with a variety of formats (photography, canvas, reflective coloured boards...) but with a single objective: to deal with the appearance of the real. Within contemporary art, they show a commitment to abstraction, which, according to Adrian Schiess, is the only way to show that which is not subject to any extrinsic determination of its own. Schiess has had solo exhibitions at the Fonds Régional d'Art Contemporain PACA, Marseille, France, the Bündner Kunstmuseum, Chur, Switzerland, the Musée d'Art Moderne, St. Etienne, France, Indianapolis, USA, and the Museum of Contemporary Art, Indianapolis, USA. St. Etienne, France, Indianapolis Museum of Art, Indiana, Städtische Galerie Nordhorn, Germany, Villa Merkel, Galerien der Stadt Esslingen, Kunstmuseum Solothurn, Switzerland, Fundación la Caixa, Barcelona, Neues Museum, Staatliches Museum für Kunst und Design, Nürnberg, Kunsthaus Bregenz, FRAC Bourgogne, Dijon, France, Neue Galerie am Landesmuseum Johanneum, Graz, The New York Kunsthalle, New York, Kunsthalle Zurich, Switzerland, and numerous institutional group exhibitions worldwide.

WILLY RAMOS (Colombia, 1954)."Roses", 2003.Oil on canvas.Signed in lower left corner. Signed, titled and dated on the back.Catalogued in the book "A luminous world", page 126.Size: 130 x 97 cm; 134 x 100,5 cm (frame).Willy Ramos emigrated at the age of fourteen from his hometown, Pueblo Bello, to Valencia, where he currently lives. In Valencia he studied at the Escuela de Bellas Artes de San Carlos, graduating in 1974. Since then he has not ceased to hold exhibitions, both individual and collective. He later completed his studies with a course at the Escuela de Pintura Mural Contemporánea de Sant Cugat del Vallès, in Barcelona, and another in Engraving and Lithography at the Instituto Estatal de Arte de Urbino, in Italy. He also holds a Doctorate Cum Laude in Fine Arts from the Polytechnic University of Valencia, and is a tenured lecturer there. His paintings are reminiscent of those of great 20th century masters such as Kandinsky and Matisse; instead of literally representing his favourite subjects - flowers, landscapes and figures - Willy Ramos paints an idea of nature, and does so with a vibrant chromatism, working in oil, watercolour and charcoal. This painter has exhibited in various art galleries and art centres, and has also participated in international fairs such as Art Madrid, ARTBO or those of Toulouse, Marbella, Milan, Parma or Miami, among others. He is currently represented in centres and institutions such as the Museum of Contemporary Art of Elche and the Caja Mediterráneo Collection, among others.

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

MANUEL MOLI (La Portella, Lleida, 1936 - Terrassa, 2016)."Machine with spheres".Oil on canvas.Signed in the lower right corner. Titled on the back.With label on the back of the Godula Buchholz Gallery.Measurements: 73 x 60 cm; 74 x 61 cm (frame).Painter, draughtsman and engraver. His painting reflects the influence of predecessors of surrealism as Brueghel and Goya, characterised by a tenebrous fantasy that acts in conjunction with his figures, fabulous beings and scenic stagings; representations that are the receptacle of an inordinate imagination but at the same time trapped in itself. As for the plastic arts, self-taught, he presented his first exhibitions of ink drawings in 1959 and 1965 at the Centro Excursionista de Terrassa and later in various galleries in Arenys de Mar, Barcelona, Mataró, Sitges and also, of course, at the Friends of the Arts and Musical Youth of Terrassa, until 1973, when he exhibited at the Adrià Gallery in Barcelona, a reference space for the art of the seventies in Catalonia due to its support for the awakening of a new artistic sensitivity in our country. With his incorporation into the world of the great galleries, Molí went from working exclusively in drawing to producing oil paintings that were exhibited for decades in Catalan and Spanish cities as well as in various cities all over the world, including, for example, Asunción, Basel, Stockholm, Munich, New York, Nuremberg... both in individual and group exhibitions, and which can be seen in museums of modern and contemporary art in Barcelona, Stockholm, Madrid, Mataró, Nuremberg, Seville and Tarragona.

JAUME PLENSA (Barcelona, 1955)."Tear" (Jerusalem), 1998.Collage of photography and plastic glue and plastic cover. Issue 19/30. Print run of 30 and three PA and 2 EHC.Work reproduced in the artist's catalogue raisonné and on his website.Publisher: Edición T.Barcelone.Printer; Magí Baleta, Barcelona.Signed in the lower right corner and justified in the lower left corner.Size: 40 x 26,5 cm; 21 x 10,5 cm (frame).This work belongs to the suite of 5 works (Tear (Jerusalem), Lips (Multindus II), Sigh (Réunion), Nail (Tokyo) and Eyes (Granada).Plensa studied at La Llotja School and at the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008, he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

TAKASHI MURAKAMI (Tokyo, 1962)."Flower cushion.Soft sculpture. Limited edition.Official cushion of KaiKai Kiki Co. Ltd.With labels.Measures: 60 x 60 x 15 cm.The Happy Flower by Murakami has a different design on each side, with an exultant face on the front and a peaceful face on the back. It is the official cushion distributed by KaiKai and Kiki, the name of the KaiKai and Kiki Co. foundation founded by Takashi Murakami in 2001, which took over the work of the Hiropon factory, which was founded in 1996. Its objectives as a company are based on support for the production and promotion of works of art, the management and support of young artists and the dissemination of their work.Murakami is one of the most influential artists of the Japanese post-war generation. Takashi Murakami was educated at the Tokyo National University of Fine Arts and Music, where he graduated with a degree in Nihonga (traditional Japanese painting). In 1990 he was introduced to contemporary art by his partner and friend Masato Nakamura, and in 1993 he created his alter ego Mr. DOB. He then began to be recognised both inside and outside Japan for his particular synthesis of traditional Japanese art, the contemporary trends of his country (anime, manga, etc.) and American culture, mainly pop culture. In his work, Murakami conveys a critical vision of current Japanese society, the legacy of the country's cultural tradition, its evolution after the Second World War and its relationship with the Western world, especially with the United States. In his writings he coined the term "Superflat" to define his personal artistic style, a term that fits a work characterised by two-dimensionality and which also criticises the very structure of art, blurring the boundaries between high and low culture. In fact, his output spans multiple art forms, from painting and sculpture to industrial design, anime, fashion and other popular culture media and merchandising objects. His trilogy of exhibitions "Superflat" (2000, 2002 and 2005) has been shown at major art centres around the world, including the Parco Gallery in Tokyo, MOCA in Los Angeles, the Fondation Cartier in Paris and the Serpentine Gallery in London. Between 2008 and 2009 he was also the subject of retrospective exhibitions at MOCA, the Brooklyn Museum in New York, the Museum für Moderne Kunst in Frankfurt and the Guggenheim in Bilbao. Murakami is currently represented in leading museums around the world, including MoMA in New York, the Museum of Fine Arts in Boston and many others.

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

JOSÉ NAVARRO VIVES (Castelsarrasin, France, 1931)."Boat".Oil on canvas.Signed in the lower right corner and on the back.Provenance: acquired directly from the artist.Size: 73 x 115 cm; 77 x 120 cm (frame).When he was still a child, Navarro moved with his family to Barcelona. There he began his training at the School of Arts and Crafts, and later at the Higher School of Fine Arts. He won first prize at the University Painting Exhibition, which enabled him to take part for the first time in group exhibitions in Barcelona and Madrid in 1955 and 1956. In 1957 he obtained a grant from the French government to further his studies at the École des Beaux-Arts in Paris and at the Académie de la Grande Chaumière. In the French capital he came into contact with a different artistic and intellectual scene, which opened him up to new ideas. After this period he travelled, again on a scholarship, to London, where he attended classes at Saint Martin's School of Art. After his first solo exhibition, at the Liberty Gallery in London in 1958, Navarro organised personal exhibitions in Spain, England, Belgium, Switzerland, France, Italy, Brazil, Mexico, Panama and the United States. His work can be found in the British Crown Museum, the Mairie de Castelsarrasin, the Contemporary Art Museums of Bilbao, Ibiza, Madrid and Seville, the Figueras Museum, and the Castillo de San José Museum in Lanzarote, as well as in important private collections in Spain, France, England and the United States.

William Kentridge (born 1955)Casspirs Full of Love, 1989 signed and inscribed IX/X in pencil, a proof aside from the edition of 30drypoint167 x 98cm (65 3/4 x 38 9/16in).printed by Jack Shirreff at the 107 Workshop, Wiltshire, 2000, published by David Krut Fine Art, LondonFootnotes:LiteratureNeal Benezra, Staci Boris and Dan Cameron, William Kentridge (Chicago: Museum of Contemporary Art and New York: Harry N. Abrams Publishers, 2001) p. 80Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge (London and New York: Phaidon Press Limited, 1999) p.50Carolyn Christov-Bakargiev, William Kentridge (Brussels: Société des Expositions du Palais des Beaux-Arts de Bruxelles, 1998), pg. 29Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.19Milena Kalinovska and Eric Denker, William Kentridge, Oleg Kudryashov: Against the Grain (Washington, DC: The Kreeger Museum, Washington, 2009) p.16William Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) pp. 36-37Margaret K. Koerner, William Kentridge: Smoke, Ashes, Fable (Brussels: Mercatorfonds, 2017) p.31Casspirs Full of Love as a group of works is a testament to William Kentridge's multi-disciplinary and multi-layered practice. The various incarnations of the subject, made between 1988 and 1989, include a drawing, an encaustic, a screenprinted banner and the present drypoint, itself printed in two phases, between 1989 and 2000. The satirical title of the work, inscribed prominently to the right in looping cursive handwriting, refers to a personal message overheard by Kentridge on a popular radio program, from a mother to her son in the white South African defence force: this message comes to you from your mom with Casspirs full of love. Casspirs were armoured riot-control vehicles deployed by the South African defence force under the National Party regime of apartheid (1948-94), for the forceful patrol of black townships during the state of emergency declared in 1985 and renewed until 1990, leading to arbitrary racial arrests and persecution. The tense juxtaposition of love and death, affection and violence, also expressed textually: what comfort now? at left, Not A Step at lower centre, highlight the contradictions inherent to the apartheid state. The work also resonates with scenes from William Kentridge's 1989 film Johannesburg, 2nd Greatest City after Paris (see Lot 1 on previous page), while the heads were inspired by drawings the artist made in 1988 in Florence, based on Giotto's early 14th century frescoes in Santa Croce, that he later cut up and rearranged, and were also influenced by a Tony Cragg bronze sculpture of carved beetroot heads he saw in Florence that same year. As William Kentridge said: The print became a combination of Giotto, Cragg and 1980s South African radio. It has come to be known as one of Kentridge's most overtly political projects, and its importance is reflected in the fact that impressions of the print appear in significant international collections such as those of the Metropolitan Museum and the MOMA in New York, the Johannesburg Art Gallery, and the Tate in London.Printmaking has always been primary to Kentridge's practice as an artist, and the highly charged, textural surface and intensity of contrasts in the inking and composition of Casspirs Full of Love demonstrate his masterful exploration of the etching and drypoint mediums. The impression presented here provides the final version of the image as printed by master printer Jack Shirreff at 107 Workshop, Wiltshire, England in 2000. BibliographyWilliam Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) p. 36Roger Malbert, 'William Kentridge: Printmaker' in A Universal Archive: William Kentridge as Printmaker (London: Hayward Publishing, 2012) p. 13Elizabeth Manchester, William Kentridge: Casspirs Full of Love (London: Tate, 2002)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Kentridge (born 1955)Untitled (Two Drawings from Weighing and Wanting), 1997-98 each signed 'KENTRIDGE' (lower left and lower right)charcoal and pastel on cut and torn paper, adhered to mat board by the artist 33 x 40cm (13 x 15 3/4in) each.Footnotes:ProvenanceGoodman Gallery, Johannesburg, South Africa;Private Collection, New York;Acquired from the above by the current owner.LiteratureHugh Davies and William Kentridge, William Kentridge: Weighing...and Wanting, (San Diego Museum of Contemporary Art, 2000), pp.36-37 (illustrated).The drawings and the film that comprise WEIGHING ... and WANTING, all dated 1997, center around Kentridge's character Soho Eckstein, a broad-shouldered, white South African industrialist whose self-assured place in the world has been dismantled by the ascendancy of the African National Congress and condemnation of apartheid. Eckstein's story is related through his personal meditations on a failed love affair, the Johannesburg landscape which stands as a silent witness to the atrocities of the apartheid era, and his own internal psychic landscape, represented by images of MRI brain scans. The title of the exhibition refers to a biblical episode in which a disembodied hand appears before King Belshazzar of Babylon and writes a message on the wall. It reads, 'You have been weighed in the balance and found wanting, for you have not humbled your heart before God, so your kingdom has come to an end.'The present lot is reproduced in black and white in the catalogue for WEIGHING...and WANTING, which accompanied the exhibition of the same title (28 January - 12 April 1998). This exhibition travelled to seven other venues in North America.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Zara Matthews Mesh (Study-Blue), 2022 Gesso and Pigment on Watercolour Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Zara Matthews is an artist working in Painting, Printmaking and Photography. She lives and works in London and has also spent considerable amounts of time living and working in Italy and France. Since the mid-1980's Matthews has shown extensively in the UK, and also Europe and USA. Her current work concentrates on the auras of objects, and their sense of presence and history. Education Zara Matthews studied at Goldsmiths College from 1979 - 1980, Kingston Polytechnic from 1980 - 1983 and The Royal College of Art from 1997 - 1999. Select Exhibitions/Awards Most recently in 2022 Zara Matthews has been invited to show in 'Small is Beautiful', Flowers Gallery, Cork Street, She has had a 3 person show titled (RE)Configured at The Mall Galleries, and exhibited in the Royal Academy Summer Exhibition 2022. She was long-listed for Future Now - 125 Artist from The Aesthetica Art Prize 2021, selected for 100 Contemporary Artists, Aesthetica Magazine 2020, shortlisted for The Trinity Buoy Wharf Drawing Prize in 2019, and nominated for The 6th Max Mara Art Prize for Women 2016-17. She was awarded The Wapping Project Berlin Residency in 2015 and during 2023 she has been invited to spend 2 months on an artist residency in Pouch Cove, Newfoundland, Canada. Statement about AOAP Submitted Artwork The 4 postcards are small studies for larger paintings that depict, or include, the stretchy netting often used to protect fruit, including papayas. These polystyrene sleeves protect vulnerable fruit as they travel around the globe, but are a single use plastic that damages the planet.   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.        

Jack Milroy Post-Card, 2022 Postcard Signed verso 30 x 10cm (11¾ x 3¾ in.) About   William John Milroy, always known as Jack, is a Scotchman, born on 21st September, 1938, in Glasgow, where his parents, Robert and Anna Milroy, had a pawn-broking and jewellery business. He has two much younger brothers. Glasgow, as the backdrop to his early childhood, remains a powerfully influential memory. He is a city boy. In the late 1940s, when he was about nine or ten - he can't remember exactly when - the family moved to Scarborough. There, at the age of eleven, he entered the local Grammar School. Is Jack a Yorkshireman too, if it is possible to be so by adoption? He is certainly a Northerner, by loyalty, prejudice and temperament.   Education   Scarborough School of Art. University of London   Select Exhibitions/Awards   Solo Exhibitions: 1967 1967- Rotherham City Art Gallery, Yorkshire 1977 - Anagraphs, Hester van Royen Gallery, London 1978 - Jack Milroy: New Works, Glen Hanson Gallery, Minneapolis, US 1979 - Portraits of the Queen, Delahunty Gallery, Houston, Texas, US 1980- The Queen, the Countess and a Waterfall, Thumb Gallery, London 1981 - Madge Whip, Lucy Blush and Others, Anne Berthoud Gallery, London 1985- Bright Beams from the Blackboard, Bracknell Arts Centre, Berkshire 1986- Pictures from France, James Hockey Gallery, Farnham Art College. 1987- Scarborough Art Gallery, Yorkshire 1992- The Pike Gallery, London 1996- Cuttings from the Library, Art First, London 1999- Ex Libris, Six Chapel Row Gallery, Bath. Surgery as a Pastime, Art First, London Portals: Graphite Traces of a House in the Cévennes, Stephen Lacey Gallery, London 2001- Hive, Art First, London 2002 - Cutting the Edge, Six Chapel Row Gallery, Bath 2003- Falling and Flying, Art First, London 2005- Doodling with Intent, Art First, London 2007- Cut, Art First, London 2008- New Works, Art First, London 2011- A Garden of Earthly Delights, Art First, London 2013- INterVENTIONS, Art First, London 2015- A Natural World, Art First, London 2017 - Cut Out, Art First, London 2019 - Rear View Mirror, Art First at Bermondsey Project Space, London 2022 - Chelsea Arts Club, London Gallery Representation   Art First Contemporary Art, London   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

René Romero Schuler Embeya, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   René Romero Schuler is an American painter and sculptor whose work is directly connected to her strong belief in the power of femininity and the stories women have to tell. Embracing the contrast between perceptions of femininity and the complexity of female lives - sometimes not conventionally "pretty" but fascinating and powerful - Schuler's work offers an independent, strong and beautiful vision of womanhood that seeks to provoke thought and empower others. Schuler's own story is one of incredible strength and tenacity, born out of a personal journey that both challenged and shaped her, ultimately allowing her to find healing and joy through her art, and to share that journey with others. Born in Chicago, she spent part of her childhood in Ecuador with her grandparents, before returning to the city's north side and a difficult homelife that prompted her to leave home at an early age. On her own as a teen, Schuler found both solace and a profession in her lifelong talent for creating artwork, eventually building a robust business around commissioned work for designers of hospitality environments and becoming a savvy, successful entrepreneur. Meanwhile, her self-taught fine art practice continued as a constant outlet for her creativity and vision - work that allowed her inner life and past traumas to make their way onto canvas, transforming pain into joy through the alchemy of art.   Select Exhibitions/Awards   Currently represented by galleries across the U.S. and in France, Schuler has had exhibitions throughout the U.S. as well as in France, Italy, Greece, Singapore and Lebanon, and in major international art fairs Expo Chicago, Art Miami, Palm Beach Contemporary, Red Dot, Art Hamptons, Dallas Art Fair and Art Silicon Valley. Her work is a part of the permanent collections of The Union League Club of Chicago, Loyola University Museum of Art (LUMA) in Chicago, Grand Valley State University in Michigan, Coral Springs Museum of Art and St. Thomas University Museum of Art - Sardiñas Gallery in Miami. Her art, as well as selected essays and poetry, has also been collected into published works: René Romero Schuler: Life and Works, 2013; René Romero Schuler, Paintings 2016 and René Romero Schuler, 2019. A fourth book, Ladies, is scheduled for publication in 2022.   Gallery Representation   Zolla/Lieberman Gallery -Chicago Galerie Géraldine Banier-Paris   Statement about AOAP Submitted Artwork   Spirit is what connects all of humanity. Yet, the innate human nature that drives us to judge one another based on nothing more than face value is a notion that fascinates me and thoroughly influences my work. In every work I create, I strive to show the imperfection, stress and underlying beauty of the being I portray. There are no fine characteristics or clearly defined attributes to my figures -- they are everyone and no one. The meaning lies in the representation of the image, not the image or the "face value" itself. With a fluid and meditative approach to my work, this understanding emerges - our inner beauty transcends the physical, emotional and mental barriers that our life experiences have created within us. I hope to tap into the need to realize and embrace that transcendence with work deeply connected to my soul, and I attempt to convey that truth in everything I do. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

René Romero Schuler Ibiza, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   René Romero Schuler is an American painter and sculptor whose work is directly connected to her strong belief in the power of femininity and the stories women have to tell. Embracing the contrast between perceptions of femininity and the complexity of female lives - sometimes not conventionally "pretty" but fascinating and powerful - Schuler's work offers an independent, strong and beautiful vision of womanhood that seeks to provoke thought and empower others. Schuler's own story is one of incredible strength and tenacity, born out of a personal journey that both challenged and shaped her, ultimately allowing her to find healing and joy through her art, and to share that journey with others. Born in Chicago, she spent part of her childhood in Ecuador with her grandparents, before returning to the city's north side and a difficult homelife that prompted her to leave home at an early age. On her own as a teen, Schuler found both solace and a profession in her lifelong talent for creating artwork, eventually building a robust business around commissioned work for designers of hospitality environments and becoming a savvy, successful entrepreneur. Meanwhile, her self-taught fine art practice continued as a constant outlet for her creativity and vision - work that allowed her inner life and past traumas to make their way onto canvas, transforming pain into joy through the alchemy of art.   Select Exhibitions/Awards   Currently represented by galleries across the U.S. and in France, Schuler has had exhibitions throughout the U.S. as well as in France, Italy, Greece, Singapore and Lebanon, and in major international art fairs Expo Chicago, Art Miami, Palm Beach Contemporary, Red Dot, Art Hamptons, Dallas Art Fair and Art Silicon Valley. Her work is a part of the permanent collections of The Union League Club of Chicago, Loyola University Museum of Art (LUMA) in Chicago, Grand Valley State University in Michigan, Coral Springs Museum of Art and St. Thomas University Museum of Art - Sardiñas Gallery in Miami. Her art, as well as selected essays and poetry, has also been collected into published works: René Romero Schuler: Life and Works, 2013; René Romero Schuler, Paintings 2016 and René Romero Schuler, 2019. A fourth book, Ladies, is scheduled for publication in 2022.   Gallery Representation   Zolla/Lieberman Gallery -Chicago Galerie Géraldine Banier-Paris   Statement about AOAP Submitted Artwork   Spirit is what connects all of humanity. Yet, the innate human nature that drives us to judge one another based on nothing more than face value is a notion that fascinates me and thoroughly influences my work. In every work I create, I strive to show the imperfection, stress and underlying beauty of the being I portray. There are no fine characteristics or clearly defined attributes to my figures -- they are everyone and no one. The meaning lies in the representation of the image, not the image or the "face value" itself. With a fluid and meditative approach to my work, this understanding emerges - our inner beauty transcends the physical, emotional and mental barriers that our life experiences have created within us. I hope to tap into the need to realize and embrace that transcendence with work deeply connected to my soul, and I attempt to convey that truth in everything I do. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Caroline Wong Magnum, 2022 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Caroline Wong's work responds to traditional, restricted representations of East Asian women. For Wong, subverting these ideals is the essence of her practice. Her beginnings, as an artist, lay in more traditional forms of portraiture, yet, as she has grown, she has nurtured the epicurean side of herself, moving towards more excitable, expressive mark-making driven by a hedonistic desire for fun. She likens creating to eating. In both, she becomes consumed by the moment of pleasure, detaching herself from the world. The final image presents a hot, sticky portal of pleasure and the senses. The scintillating heat of her portraits is a visual representation of this joy and decadence, whilst also being reminiscent of the chaos and colour of Southeast Asia. Whether depicting female friendships or obdurately exhibiting female pleasure in food, her work is a joyful push-back against tradition, celebrating the beauty in excess.   Education   2019-2021 Masters in Fine Art, City and Guilds of London Art School, London 2016-2018 Diploma in Contemporary Portraiture, The Art Academy, London   Select Exhibitions/Awards   2022 Angels with Dirty Faces, Ojiri Gallery, London Artificial Paradises (solo), Soho Revue, London Cats and Girls (solo), Soy Capitán, Berlin Go Figure!, Daniel Raphael Gallery, London À la carte, Tchotchke Gallery, New York Eat Drink Man Woman, 180 Strand, London Lotus Eaters, Indigo + Madder, London Friends and Family, Pi Artworks, London In the Land of Cockaigne, Quench Gallery, Margate 2021 ING Discerning Eye, Mall Galleries, London MA Show, City and Guilds of London Art School Drawn Out, Drawing Room, London Drawing Biennial 2021, Drawing Room, London 2019 Society of Women's Artists 158th annual exhibition, The Mall Galleries, London 2018 Society of Women's Artists 157th annual exhibition, The Mall Galleries, London Prizes Drawing Biennial Bursary Award (2021) Liberty Specialty Markets Art Prize (2018) Society of Women Artists' Derwent Special Prize for Materials (2018) Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Damien Flood Rainbow Fence, 2022 Oil on Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work is grounded in early writings on philosophy, theology, alchemy and the natural sciences and explores the mutability of 'reality' and language.   Education   MFA, National College of Art and Design, Dublin   Select Exhibitions/Awards   Selected Solo Shows : Tilt, Royal Hibernian Academy, Dublin, Shape of Things, Diane Rosenstein Gallery, LA, 2019, The Figure in the Carpet, Green On Red Gallery, Dublin, 2018, Theory of Two Centres, Stephane Simoens, Knokke, 2017, Infinite Plane, Grey Noise, Dubai, 2015 Selected Group Shows: DF/HW, Thomas Rehbein Gallery, Cologne, 2018, Known Unknowns, Limerick City Gallery, Wouldn't it be nice if we could dream together? Diane Rosenstein Gallery, LA (both 2017), The Studio Chronicles at RH Contemporary, New York. Island: New Art From Ireland in Galleria Civica diModena, Italy. I've been selected for the John Moores Contemporary Painting Prize in 2008 and 2010. In 2014 I was the recipient of the Elizabeth Fitzpatrick Travel Bursary administered by the Royal Hibernian Academy and in 2015 was awarded the DLR Lexicon 2016 Commission. Most recently I've been awarded the Eigse Hotron Award 2017. Gallery Representation   Green On Red Gallery, Ireland. Stephane Simoens, Belgium   Statement about AOAP Submitted Artwork   My paintings create a re-imaging of the world by merging the stories, experiences and memories through the medium of paint. Puzzles, mysteries and questions are presented, through a mixing of different languages and view points, to create a place for meditative reflection. The images I produce mix the universal and the personal, the grand and the absurd. They try to communicate something that escapes written word; something that is experienced and felt. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Damien Flood Hovering Sky, 2022 Oil on Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work is grounded in early writings on philosophy, theology, alchemy and the natural sciences and explores the mutability of 'reality' and language.   Education   MFA, National College of Art and Design, Dublin   Select Exhibitions/Awards   Selected Solo Shows : Tilt, Royal Hibernian Academy, Dublin, Shape of Things, Diane Rosenstein Gallery, LA, 2019, The Figure in the Carpet, Green On Red Gallery, Dublin, 2018, Theory of Two Centres, Stephane Simoens, Knokke, 2017, Infinite Plane, Grey Noise, Dubai, 2015 Selected Group Shows: DF/HW, Thomas Rehbein Gallery, Cologne, 2018, Known Unknowns, Limerick City Gallery, Wouldn't it be nice if we could dream together? Diane Rosenstein Gallery, LA (both 2017), The Studio Chronicles at RH Contemporary, New York. Island: New Art From Ireland in Galleria Civica diModena, Italy. I've been selected for the John Moores Contemporary Painting Prize in 2008 and 2010. In 2014 I was the recipient of the Elizabeth Fitzpatrick Travel Bursary administered by the Royal Hibernian Academy and in 2015 was awarded the DLR Lexicon 2016 Commission. Most recently I've been awarded the Eigse Hotron Award 2017. Gallery Representation   Green On Red Gallery, Ireland. Stephane Simoens, Belgium   Statement about AOAP Submitted Artwork   My paintings create a re-imaging of the world by merging the stories, experiences and memories through the medium of paint. Puzzles, mysteries and questions are presented, through a mixing of different languages and view points, to create a place for meditative reflection. The images I produce mix the universal and the personal, the grand and the absurd. They try to communicate something that escapes written word; something that is experienced and felt. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Damien Flood Stone Riddle, 2022 Oil on Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work is grounded in early writings on philosophy, theology, alchemy and the natural sciences and explores the mutability of 'reality' and language.   Education   MFA, National College of Art and Design, Dublin   Select Exhibitions/Awards   Selected Solo Shows : Tilt, Royal Hibernian Academy, Dublin, Shape of Things, Diane Rosenstein Gallery, LA, 2019, The Figure in the Carpet, Green On Red Gallery, Dublin, 2018, Theory of Two Centres, Stephane Simoens, Knokke, 2017, Infinite Plane, Grey Noise, Dubai, 2015 Selected Group Shows: DF/HW, Thomas Rehbein Gallery, Cologne, 2018, Known Unknowns, Limerick City Gallery, Wouldn't it be nice if we could dream together? Diane Rosenstein Gallery, LA (both 2017), The Studio Chronicles at RH Contemporary, New York. Island: New Art From Ireland in Galleria Civica diModena, Italy. I've been selected for the John Moores Contemporary Painting Prize in 2008 and 2010. In 2014 I was the recipient of the Elizabeth Fitzpatrick Travel Bursary administered by the Royal Hibernian Academy and in 2015 was awarded the DLR Lexicon 2016 Commission. Most recently I've been awarded the Eigse Hotron Award 2017. Gallery Representation   Green On Red Gallery, Ireland. Stephane Simoens, Belgium   Statement about AOAP Submitted Artwork   My paintings create a re-imaging of the world by merging the stories, experiences and memories through the medium of paint. Puzzles, mysteries and questions are presented, through a mixing of different languages and view points, to create a place for meditative reflection. The images I produce mix the universal and the personal, the grand and the absurd. They try to communicate something that escapes written word; something that is experienced and felt. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Damien Flood Sea Garden, 2022 Oil on Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) About   My work is grounded in early writings on philosophy, theology, alchemy and the natural sciences and explores the mutability of 'reality' and language.   Education   MFA, National College of Art and Design, Dublin   Select Exhibitions/Awards   Selected Solo Shows : Tilt, Royal Hibernian Academy, Dublin, Shape of Things, Diane Rosenstein Gallery, LA, 2019, The Figure in the Carpet, Green On Red Gallery, Dublin, 2018, Theory of Two Centres, Stephane Simoens, Knokke, 2017, Infinite Plane, Grey Noise, Dubai, 2015 Selected Group Shows: DF/HW, Thomas Rehbein Gallery, Cologne, 2018, Known Unknowns, Limerick City Gallery, Wouldn't it be nice if we could dream together? Diane Rosenstein Gallery, LA (both 2017), The Studio Chronicles at RH Contemporary, New York. Island: New Art From Ireland in Galleria Civica diModena, Italy. I've been selected for the John Moores Contemporary Painting Prize in 2008 and 2010. In 2014 I was the recipient of the Elizabeth Fitzpatrick Travel Bursary administered by the Royal Hibernian Academy and in 2015 was awarded the DLR Lexicon 2016 Commission. Most recently I've been awarded the Eigse Hotron Award 2017. Gallery Representation   Green On Red Gallery, Ireland. Stephane Simoens, Belgium   Statement about AOAP Submitted Artwork   My paintings create a re-imaging of the world by merging the stories, experiences and memories through the medium of paint. Puzzles, mysteries and questions are presented, through a mixing of different languages and view points, to create a place for meditative reflection. The images I produce mix the universal and the personal, the grand and the absurd. They try to communicate something that escapes written word; something that is experienced and felt. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Dan Gluibizzi Fish, 2022 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Lives and works in Portland, OR   Education   1997MFA, University of Cincinnati, OH 1994BFA, Kutztown University, PA   Select Exhibitions/Awards   2021Ensemblecast, Russo Lee Gallery, Portland, OR Platform backed by David Zwirner Gallery, featured December 2021 Meta Open Arts, site-specific 45' mural, Bellevue, WA 2020Looking Outside, James Harris Gallery, Seattle, WA Somebody, Hashimoto Contemporary, San Francisco, CA 2019A Coupled Search, Russo Lee Gallery, Portland, OR Portluck, Hashimoto Contemporary, San Francisco, CA A Couple Kisses, Commune Gallery, Tokyo, Japan 2018Together we follow, Russo Lee Gallery, Portland, Oregon If a tree falls in the woods, Hashimoto Contemporary, San Francisco, CA What we don't realize when we see things, The Wassaic Project Wassaic, NY Over & Over, Glass Curtain Gallery, Columbia College, Chicago, IL 2017Friends & Stangers, Russo Lee Gallery, Portland, Oregon Hope and Hazard: A comedy of Eros, curated by Eric Fichl, Hall Art Foundation, Reading, Vermont Go Figure, Spoke Art, New York, New York. 2016Spring/Summer, The Battery, San Francisco, California Miami Project, FMLY Projects booth, Miami, Florida Pleasures and Treasures, Ampersand Gallery and Fine Books, Portland, Oregon Watermill Art Center Summer Benefit, Watermill, NY 2015You don't have to be alone tonight, CULT Aimee Friberg Exhibitions, San Francisco, CA Texas Contemporary, FMLY, Houston, Texas Blazermania, Gallery 135, Portland, Oregon Other Threads, P:ear, Portland, Oregon 2014A Frenzied Balance, Ampersand Gallery + Fine Books, Portland, OR Between Friends, Kopeikin Gallery, Los Angeles, CA Head, Western Exhibitions, Chicago, IL Sports, Compound Gallery, Portland, OR 2013Tomorrow it's time for the future, Kunstraum Kreuzberg/Bethanien, Berlin, Germany New York Art Book Fair / MoMA's PS1, Ampersand Gallery + Fine Books booth What if?, TEDxPortland, White Box, University of Oregon, Portland, OR LA MOCA Printed Matter artbook fair, Ampersand Gallery booth, Los Angeles, CA 2012Undressing Room, Froelick Gallery, Portland, OR There is no finish line, Ampersand Gallery + Fine Books, Portland, OR Uncharted Territory, TEDxPortland, Portland, OR Dangerous Curves, curated by Nathan Tabor, Compound Gallery, Portland, OR 2011Seven for Science, curated by Jonathan Cartledge, Smith College, Northampton, MA Our Time, Ampersand Gallery + Fine Books, Portland, OR 2010I'll Tumblr for ya, By and By, Brooklyn, NY Horror Vacui, Nudashank, Baltimore, MD 2009I-lines, Engineer's Office Gallery, New York, NY Don't Flee the ArtMarket#, curated by Paulina Bebecka, Postmasters, New York, NY The Exquisite Corpse, Paul Robeson Galleries, Rutgers University, NJ 2008The Object Direct, Elizabeth Heskin Contemporary, New York, NY New Work, The Object Direct in Recent Art, curated by Matthew Fisher, Mississippi State University 2007Paper Bombs, curated by Bart Exposito, Jack Hanley Gallery, Los Angeles, CA Mystic Truths, curated by Dan Gluibizzi, Eckhaus, Kutztown, PA Pierogi, Flat files, Brooklyn, NY Helter Swelter, curated by Seth Adelsberger, Sara Nightingale Gallery, Water Mill, NY 2006The Drawing Center Viewing Program, New York, NY Flux Factory, Lennon Weinberg Inc., New York, NY Night of 1000 Drawings, Artists Space, New York, NY 2004Harvard University Art Museums, Staff exhibtion,organized by Dan Gluibizzi, Cambridge, MA 1999Plain Brown Paper, ABC No Rio, New York, NY 1998The Fourth Independents' Biennial, Charas/ El Bohio, New York, NY Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Dan Gluibizzi Puzzle Piece, 2022 Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Lives and works in Portland, OR   Education   1997MFA, University of Cincinnati, OH 1994BFA, Kutztown University, PA   Select Exhibitions/Awards   2021Ensemblecast, Russo Lee Gallery, Portland, OR Platform backed by David Zwirner Gallery, featured December 2021 Meta Open Arts, site-specific 45' mural, Bellevue, WA 2020Looking Outside, James Harris Gallery, Seattle, WA Somebody, Hashimoto Contemporary, San Francisco, CA 2019A Coupled Search, Russo Lee Gallery, Portland, OR Portluck, Hashimoto Contemporary, San Francisco, CA A Couple Kisses, Commune Gallery, Tokyo, Japan 2018Together we follow, Russo Lee Gallery, Portland, Oregon If a tree falls in the woods, Hashimoto Contemporary, San Francisco, CA What we don't realize when we see things, The Wassaic Project Wassaic, NY Over & Over, Glass Curtain Gallery, Columbia College, Chicago, IL 2017Friends & Stangers, Russo Lee Gallery, Portland, Oregon Hope and Hazard: A comedy of Eros, curated by Eric Fichl, Hall Art Foundation, Reading, Vermont Go Figure, Spoke Art, New York, New York. 2016Spring/Summer, The Battery, San Francisco, California Miami Project, FMLY Projects booth, Miami, Florida Pleasures and Treasures, Ampersand Gallery and Fine Books, Portland, Oregon Watermill Art Center Summer Benefit, Watermill, NY 2015You don't have to be alone tonight, CULT Aimee Friberg Exhibitions, San Francisco, CA Texas Contemporary, FMLY, Houston, Texas Blazermania, Gallery 135, Portland, Oregon Other Threads, P:ear, Portland, Oregon 2014A Frenzied Balance, Ampersand Gallery + Fine Books, Portland, OR Between Friends, Kopeikin Gallery, Los Angeles, CA Head, Western Exhibitions, Chicago, IL Sports, Compound Gallery, Portland, OR 2013Tomorrow it's time for the future, Kunstraum Kreuzberg/Bethanien, Berlin, Germany New York Art Book Fair / MoMA's PS1, Ampersand Gallery + Fine Books booth What if?, TEDxPortland, White Box, University of Oregon, Portland, OR LA MOCA Printed Matter artbook fair, Ampersand Gallery booth, Los Angeles, CA 2012Undressing Room, Froelick Gallery, Portland, OR There is no finish line, Ampersand Gallery + Fine Books, Portland, OR Uncharted Territory, TEDxPortland, Portland, OR Dangerous Curves, curated by Nathan Tabor, Compound Gallery, Portland, OR 2011Seven for Science, curated by Jonathan Cartledge, Smith College, Northampton, MA Our Time, Ampersand Gallery + Fine Books, Portland, OR 2010I'll Tumblr for ya, By and By, Brooklyn, NY Horror Vacui, Nudashank, Baltimore, MD 2009I-lines, Engineer's Office Gallery, New York, NY Don't Flee the ArtMarket#, curated by Paulina Bebecka, Postmasters, New York, NY The Exquisite Corpse, Paul Robeson Galleries, Rutgers University, NJ 2008The Object Direct, Elizabeth Heskin Contemporary, New York, NY New Work, The Object Direct in Recent Art, curated by Matthew Fisher, Mississippi State University 2007Paper Bombs, curated by Bart Exposito, Jack Hanley Gallery, Los Angeles, CA Mystic Truths, curated by Dan Gluibizzi, Eckhaus, Kutztown, PA Pierogi, Flat files, Brooklyn, NY Helter Swelter, curated by Seth Adelsberger, Sara Nightingale Gallery, Water Mill, NY 2006The Drawing Center Viewing Program, New York, NY Flux Factory, Lennon Weinberg Inc., New York, NY Night of 1000 Drawings, Artists Space, New York, NY 2004Harvard University Art Museums, Staff exhibtion,organized by Dan Gluibizzi, Cambridge, MA 1999Plain Brown Paper, ABC No Rio, New York, NY 1998The Fourth Independents' Biennial, Charas/ El Bohio, New York, NY Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Julia Hamilton Round Sunglasses!, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Born in 1962 in London. Julia lives and works in London and Deal, Kent, UK. Julia Hamilton is a painter working in oils and large ink drawings. She has exhibited widely and is held in private collections. Exhibitions included: The RA Summer Exhibition x 6 years. Her work is inspired by Tudor Portraiture, Matisse, Picasso and Alice Neal. Her subjects are women behind masks: Burlesque dancers, Circus acts Bunny girls come under her scrutiny. She is a female artist looking at women who are used to being looked at. Education 2019 ROYAL DRAWING SCHOOL, SHOREDITCH - 3 MONTHS INTENSIVE TERM 2015 - 2018 TURPS CORRESPONDENCE COURSE 2010 - 2012 CITY & GUILDS SCHOOL OF ART MA in FINE ART 2005 -2008 MARY WARD CENTRE Diploma in Counselling and Psychotherapy BACP approved course 1999 - 2002 CITY & GUILDS SCHOOL OF ART BA HONS FINE ART PAINTING 1993 - 1995 CENTRAL ST MARTINS POST GRAD DIPLOMA PRINTMAKING 1980 - 1983 EXETER UNIVERSITY BA HONS ENGLISH AND FINE ART Select Exhibitions/Awards 2019 Royal Academy Summer Exhibition London 2018 Two Person Show at Linden Hall Studio Gallery Deal, Kent 2017 NEAC Mall Galleries London Alicia David at Affordable Art Fair/New York New York Sim Smith Gallery London Alicia David at Affordable Art Fair/London London Linden Hall Winter Group Show Deal, Kent St Annes Galleries Winter Show Lewes 2016 Columbia Threadneedle Prize London and Florence Winter Show Linden Hall Studio Gallery Deal, Kent Alicia David at Affordable Art Fair Hampstead London Sim Smith Gallery London Discerning Eye, Mall Galleries London 2015 Good Figures, Mall Galleries London 2014 ON Motcomb London The Discerning Eye, Mall Galleries London Royal Academy Summer Exhibition London Small is Beautiful, Flowers Gallery London 2013 Transition Gallery, Group Show London Threadneedle Art Prize London Lamb and Lamb - The Black Country London Creekside Open chosen by Paul Noble, London Two Person Show at Sarah O'Kane Contemporary Lewes Atkinson Gallery Somerset About Town at Sarah O'Kane Contemporary Lewes The London Art Fair with Long & Ryle London Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Lindsay Mapes Scattered, 2022 Acrylic and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Originally from the USA, I studied Painting at San Francisco Art Institute (1996-2000) and Studio Arts Centre International, Florence (2006-07). I then went on to receive my MFA in Painting at the Slade School of Fine Art, UCL, London (2008-10). I am currently enrolled in Turps Off-Site Studio Art Program in London (2021-2023).   Education   The Slade UCL MFA 2010, SACI Florence, Italy Post-Bacc. 2006, San Francisco Art Institute BFA 2000   Select Exhibitions/Awards   Contemporary British Painting Prize. Hudderfields Gallery and Thames-side Gallery (2022) Royal Academy Summer Exhibition (2022) We The Muse mentorship award with Artist Support Pledge, Studio In View (2022) 10 Gresham Street with VJB Art London (2021/2022) Extraordinary Extensions, Channel4- episodes 1 and 4 (2021) Winter Group Show, Linden Hall Gallery, Kent, U.K. (2020) Gallery Representation   New Blood Art   Statement about AOAP Submitted Artwork   My work explores themes of truth. The truth about painting. The truth about surface. The truth about making and the process that evolves around that. Mistakes are made and left on view. The rawness of the material is just as active as the paint floating or sinking on/into the surface. I am intrigued by repetition of mark making in all its forms, from the contour line of a figure to the patterns of textiles recreated with paint or the sewing of wool through and around the surface. Colour is the focus point of my work, understanding how these combinations melt together or scream in separation. Creating space and openness in the work lets each object be itself. There is evidence of traces by previous mark-marking, revealing the changes made during the painting process. In this way, I examine how a thought process can be realized in paint and form. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Lindsay Mapes Starlite, 2022 Oil Paint and Tapestry Wool on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Originally from the USA, I studied Painting at San Francisco Art Institute (1996-2000) and Studio Arts Centre International, Florence (2006-07). I then went on to receive my MFA in Painting at the Slade School of Fine Art, UCL, London (2008-10). I am currently enrolled in Turps Off-Site Studio Art Program in London (2021-2023).   Education   The Slade UCL MFA 2010, SACI Florence, Italy Post-Bacc. 2006, San Francisco Art Institute BFA 2000   Select Exhibitions/Awards   Contemporary British Painting Prize. Hudderfields Gallery and Thames-side Gallery (2022) Royal Academy Summer Exhibition (2022) We The Muse mentorship award with Artist Support Pledge, Studio In View (2022) 10 Gresham Street with VJB Art London (2021/2022) Extraordinary Extensions, Channel4- episodes 1 and 4 (2021) Winter Group Show, Linden Hall Gallery, Kent, U.K. (2020) Gallery Representation   New Blood Art   Statement about AOAP Submitted Artwork   My work explores themes of truth. The truth about painting. The truth about surface. The truth about making and the process that evolves around that. Mistakes are made and left on view. The rawness of the material is just as active as the paint floating or sinking on/into the surface. I am intrigued by repetition of mark making in all its forms, from the contour line of a figure to the patterns of textiles recreated with paint or the sewing of wool through and around the surface. Colour is the focus point of my work, understanding how these combinations melt together or scream in separation. Creating space and openness in the work lets each object be itself. There is evidence of traces by previous mark-marking, revealing the changes made during the painting process. In this way, I examine how a thought process can be realized in paint and form. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Michael Slusakowicz Luisa, 2022 Oil on Primed Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Michael Slusakowicz works predominantly in painting, drawing and video. Specifically, in painting, Michael produces work in sequential series. His work confronts us with a paranormal mystery in each painting. He wishes to capture the intimate moments of time, like the flicker of the candlelit flame. Michael's supernatural figures and esoteric objects almost seem invisible from the choice of an analogous colour palette, but with careful investigation, one can reveal their embodied cognition. The imagery often penetrates a veiled side of contemporary society; it searches for the pure core of humanity with its dark and bright aspects, its needs and desires, and its braveness and fears.   Education   Camberwell College of Arts / UAL   Select Exhibitions/Awards   Royal Society of Portrait Painter Annual Exhibition 2022, Huesos Impíos - The Gallery at Green & Stone 2022, Royal Society of Portrait Painter Annual Exhibition 2021, Summer Exhibition 2021 at Gallery at Green & Stone   Gallery Representation   The Gallery at Green & Stone, London, UK / Materna Y Herencia Galería de Arte, Madrid, Spain.   Statement about AOAP Submitted Artwork   My latest collection of paintings, enigmatically called in Spanish "HUESOS IMPÍOS" further explores my continuous interest in colour and mood. I believe in the purity of creativity in the moment and I follow it without questioning. Random images come to my mind in the process, that I can only describe as a channelling. Through working in this way I tap into this subconscious dream world both familiar and removed from reality. These spontaneously composed paintings interact with each other through key, tonality, colour and repeated imagery, allowing the viewer to create their own interpretation and interwoven narrative. As a result, there becomes a lot of space for the viewer to insert their own histories and ideas when appreciating these works, leading to a more personal experience.   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.    

Nick Smith Wish You Were Here, 2022 Collage on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) About Contemporary artist who works in collage with hand-placed colour-chips, synonymous with colour swatches, combining text and image to create intriguing and provocative works. Education MDes Masters in Product Design from Coventry University. 2004 Graduate Select Exhibitions/Awards 9 solo exhibitions and counting... Gallery Representation Rhodes Contemporary, London Statement about AOAP Submitted Artwork This is a nude study, breaking down the image to the bare bones of just colour swatches, while still making it recognisable. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Michael Slusakowicz Ecstatic Movements, 2022 Oil on Primed Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Michael Slusakowicz works predominantly in painting, drawing and video. Specifically, in painting, Michael produces work in sequential series. His work confronts us with a paranormal mystery in each painting. He wishes to capture the intimate moments of time, like the flicker of the candlelit flame. Michael's supernatural figures and esoteric objects almost seem invisible from the choice of an analogous colour palette, but with careful investigation, one can reveal their embodied cognition. The imagery often penetrates a veiled side of contemporary society; it searches for the pure core of humanity with its dark and bright aspects, its needs and desires, and its braveness and fears.   Education   Camberwell College of Arts / UAL   Select Exhibitions/Awards   Royal Society of Portrait Painter Annual Exhibition 2022, Huesos Impíos - The Gallery at Green & Stone 2022, Royal Society of Portrait Painter Annual Exhibition 2021, Summer Exhibition 2021 at Gallery at Green & Stone   Gallery Representation   The Gallery at Green & Stone, London, UK / Materna Y Herencia Galería de Arte, Madrid, Spain.   Statement about AOAP Submitted Artwork   My latest collection of paintings, enigmatically called in Spanish "HUESOS IMPÍOS" further explores my continuous interest in colour and mood. I believe in the purity of creativity in the moment and I follow it without questioning. Random images come to my mind in the process, that I can only describe as a channelling. Through working in this way I tap into this subconscious dream world both familiar and removed from reality. These spontaneously composed paintings interact with each other through key, tonality, colour and repeated imagery, allowing the viewer to create their own interpretation and interwoven narrative. As a result, there becomes a lot of space for the viewer to insert their own histories and ideas when appreciating these works, leading to a more personal experience.   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.  

Dan Cimmermann Palm (Blue), 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Contemporary painter and muralist based in Yorkshire   Education   Leeds Met University BA Hons Fine Art. Graduated in 2001 with 1st class honours.   Select Exhibitions/Awards   BP Portrait Award 2001 and 2002 Solo exhibitions in Newcastle, York, Sheffield and London, New York and Tokyo. Gallery Representation   Art Of Protest - York. Biscuit Factory - Newcastle   Statement about AOAP Submitted Artwork   Wanderlust. Dreaming of Mediterranean nights. Of palm trees. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Dan Cimmermann Looking Out (Green), 2022 Mixed media Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Contemporary painter and muralist based in Yorkshire   Education   Leeds Met University BA Hons Fine Art. Graduated in 2001 with 1st class honours.   Select Exhibitions/Awards   BP Portrait Award 2001 and 2002 Solo exhibitions in Newcastle, York, Sheffield and London, New York and Tokyo. Gallery Representation   Art Of Protest - York. Biscuit Factory - Newcastle   Statement about AOAP Submitted Artwork   Wanderlust. Dreaming of Mediterranean nights. Of palm trees. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Dan Cimmermann Looking Out (Grey), 2022 Mixed media Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Contemporary painter and muralist based in Yorkshire   Education   Leeds Met University BA Hons Fine Art. Graduated in 2001 with 1st class honours.   Select Exhibitions/Awards   BP Portrait Award 2001 and 2002 Solo exhibitions in Newcastle, York, Sheffield and London, New York and Tokyo. Gallery Representation   Art Of Protest - York. Biscuit Factory - Newcastle   Statement about AOAP Submitted Artwork   Wanderlust. Dreaming of Mediterranean nights. Of palm trees. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Michael Slusakowicz Michael Slusakowicz Lady Plant, 2022 Oil on Primed Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Michael Slusakowicz works predominantly in painting, drawing and video. Specifically, in painting, Michael produces work in sequential series. His work confronts us with a paranormal mystery in each painting. He wishes to capture the intimate moments of time, like the flicker of the candlelit flame. Michael's supernatural figures and esoteric objects almost seem invisible from the choice of an analogous colour palette, but with careful investigation, one can reveal their embodied cognition. The imagery often penetrates a veiled side of contemporary society; it searches for the pure core of humanity with its dark and bright aspects, its needs and desires, and its braveness and fears.   Education   Camberwell College of Arts / UAL   Select Exhibitions/Awards   Royal Society of Portrait Painter Annual Exhibition 2022, Huesos Impíos - The Gallery at Green & Stone 2022, Royal Society of Portrait Painter Annual Exhibition 2021, Summer Exhibition 2021 at Gallery at Green & Stone   Gallery Representation   The Gallery at Green & Stone, London, UK / Materna Y Herencia Galería de Arte, Madrid, Spain.   Statement about AOAP Submitted Artwork   My latest collection of paintings, enigmatically called in Spanish "HUESOS IMPÍOS" further explores my continuous interest in colour and mood. I believe in the purity of creativity in the moment and I follow it without questioning. Random images come to my mind in the process, that I can only describe as a channelling. Through working in this way I tap into this subconscious dream world both familiar and removed from reality. These spontaneously composed paintings interact with each other through key, tonality, colour and repeated imagery, allowing the viewer to create their own interpretation and interwoven narrative. As a result, there becomes a lot of space for the viewer to insert their own histories and ideas when appreciating these works, leading to a more personal experience.     Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.

Ela Menescal Meet Cute, 2022 Mixed Media, Collage and Printing on Hahnemühle 310g Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   The art of Ela Menescal serves as a playful platform that, in its narrative, seeks to bring together elements that are sometimes contradictory but that are tuned in new senses and directions. Her work plays with the viewer's memories of childhood through metaphors with pop culture icons and images from her own childhood memories, resulting in a unique approach, with a touch of humor and irreverence. Ela Menescal is a Brazilian artist born on February 5, 1987, in Rio de Janeiro. She grew up in a musical and artistic environment; her own school notebooks were notably expressive and fun. Her collage works began at first, as a way of disseminating fashion and style. From these compositions, Ela Menescal's desire to migrate to the field of art with an approach to contemporary issues. Her production expands at an intense, original and invariably creative pace. The artist maintains lightness and poetry in her visual compositions, without leaving aside irony and criticism of current times. Her artworks are mostly inspired by music and movies. She held individual and group exhibitions in Rio de Janeiro. She participated in the SP-Arte fair in 2022 and in ArtRio fair in 2020 and 2022. Her artwork has been selected by the Royal Academy of Arts for the Summer Exhibition 2022.   Education   She went to Law School and practiced Intellectual Property and Fashion Law bridging a gap between Law and Fashion. In 2017, she became a fashion stylist, graduating with international certification from IRCNY (Image Resource Center of New York). Since 2021, Ela has attended Creative Thinking lectures and courses ministered by Scottish Charles Watson who is an independent researcher living in Rio de Janeiro and investigates the creative process.   Select Exhibitions/Awards   Exhibition 'Day Dreaming' (2019) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'I See You' (2020) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'Saravá' (2022) - Galeria Anita Schwartz, Rio de Janeiro Exhibition 'Summer Exhibition 2022' (2022) - Royal Academy of Arts, London Art Fairs: ArtRio - Rio de Janeiro's International Art Festival (2020) - Galeria Martha Pagy Escritório de Arte SP-Arte - São Paulo's International Art Festival (2022) - Galeria Anita Schwartz ArtRio - Rio de Janeiro's Internacional Art Festival (2022) - Galeria Anita Schwartz   Gallery Representation   2018 - 2021 Galeria Martha Pagy Escritório de Arte, Rio de Janeiro 2022 - Galeria Anita Schwartz, Rio de Janeiro   Statement about AOAP Submitted Artwork MEET CUTE, 2022 Reinterpretation of 'Wheat Field with a Lark' (1887) painting by Vincent Van Gogh Mixed media, collages and 
printing on Hahnemühle 310g paper Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Ela Menescal The Kingdom We Have Made, 2022 Mixed Media, Collage and Printing on Hahnemühle 310g Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   The art of Ela Menescal serves as a playful platform that, in its narrative, seeks to bring together elements that are sometimes contradictory but that are tuned in new senses and directions. Her work plays with the viewer's memories of childhood through metaphors with pop culture icons and images from her own childhood memories, resulting in a unique approach, with a touch of humor and irreverence. Ela Menescal is a Brazilian artist born on February 5, 1987, in Rio de Janeiro. She grew up in a musical and artistic environment; her own school notebooks were notably expressive and fun. Her collage works began at first, as a way of disseminating fashion and style. From these compositions, Ela Menescal's desire to migrate to the field of art with an approach to contemporary issues. Her production expands at an intense, original and invariably creative pace. The artist maintains lightness and poetry in her visual compositions, without leaving aside irony and criticism of current times. Her artworks are mostly inspired by music and movies. She held individual and group exhibitions in Rio de Janeiro. She participated in the SP-Arte fair in 2022 and in ArtRio fair in 2020 and 2022. Her artwork has been selected by the Royal Academy of Arts for the Summer Exhibition 2022.   Education   She went to Law School and practiced Intellectual Property and Fashion Law bridging a gap between Law and Fashion. In 2017, she became a fashion stylist, graduating with international certification from IRCNY (Image Resource Center of New York). Since 2021, Ela has attended Creative Thinking lectures and courses ministered by Scottish Charles Watson who is an independent researcher living in Rio de Janeiro and investigates the creative process.   Select Exhibitions/Awards   Exhibition 'Day Dreaming' (2019) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'I See You' (2020) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'Saravá' (2022) - Galeria Anita Schwartz, Rio de Janeiro Exhibition 'Summer Exhibition 2022' (2022) - Royal Academy of Arts, London Art Fairs: ArtRio - Rio de Janeiro's International Art Festival (2020) - Galeria Martha Pagy Escritório de Arte SP-Arte - São Paulo's International Art Festival (2022) - Galeria Anita Schwartz ArtRio - Rio de Janeiro's Internacional Art Festival (2022) - Galeria Anita Schwartz   Gallery Representation   2018 - 2021 Galeria Martha Pagy Escritório de Arte, Rio de Janeiro 2022 - Galeria Anita Schwartz, Rio de Janeiro   Statement about AOAP Submitted Artwork   THE KINGDOM WE HAVE MADE, 2022 Reinterpretation of 'Eric Clapton' (1993) photo by Terry O'Neill Mixed media, collages and 
printing on Hahnemühle 310g paper Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Ela Menescal Open Arms, 2022 Mixed Media, Collage and Printing on Hahnemühle 310g Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   The art of Ela Menescal serves as a playful platform that, in its narrative, seeks to bring together elements that are sometimes contradictory but that are tuned in new senses and directions. Her work plays with the viewer's memories of childhood through metaphors with pop culture icons and images from her own childhood memories, resulting in a unique approach, with a touch of humor and irreverence. Ela Menescal is a Brazilian artist born on February 5, 1987, in Rio de Janeiro. She grew up in a musical and artistic environment; her own school notebooks were notably expressive and fun. Her collage works began at first, as a way of disseminating fashion and style. From these compositions, Ela Menescal's desire to migrate to the field of art with an approach to contemporary issues. Her production expands at an intense, original and invariably creative pace. The artist maintains lightness and poetry in her visual compositions, without leaving aside irony and criticism of current times. Her artworks are mostly inspired by music and movies. She held individual and group exhibitions in Rio de Janeiro. She participated in the SP-Arte fair in 2022 and in ArtRio fair in 2020 and 2022. Her artwork has been selected by the Royal Academy of Arts for the Summer Exhibition 2022.   Education   She went to Law School and practiced Intellectual Property and Fashion Law bridging a gap between Law and Fashion. In 2017, she became a fashion stylist, graduating with international certification from IRCNY (Image Resource Center of New York). Since 2021, Ela has attended Creative Thinking lectures and courses ministered by Scottish Charles Watson who is an independent researcher living in Rio de Janeiro and investigates the creative process.   Select Exhibitions/Awards   Exhibition 'Day Dreaming' (2019) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'I See You' (2020) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'Saravá' (2022) - Galeria Anita Schwartz, Rio de Janeiro Exhibition 'Summer Exhibition 2022' (2022) - Royal Academy of Arts, London Art Fairs: ArtRio - Rio de Janeiro's International Art Festival (2020) - Galeria Martha Pagy Escritório de Arte SP-Arte - São Paulo's International Art Festival (2022) - Galeria Anita Schwartz ArtRio - Rio de Janeiro's Internacional Art Festival (2022) - Galeria Anita Schwartz   Gallery Representation   2018 - 2021 Galeria Martha Pagy Escritório de Arte, Rio de Janeiro 2022 - Galeria Anita Schwartz, Rio de Janeiro   Statement about AOAP Submitted Artwork OPEN ARMS, 2021 Mixed media, collages and 
printing on Hahnemühle 310g paper Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Ela Menescal Revelation, 2022 Mixed Media, Collage and Printing on Hahnemühle 310g Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   The art of Ela Menescal serves as a playful platform that, in its narrative, seeks to bring together elements that are sometimes contradictory but that are tuned in new senses and directions. Her work plays with the viewer's memories of childhood through metaphors with pop culture icons and images from her own childhood memories, resulting in a unique approach, with a touch of humor and irreverence. Ela Menescal is a Brazilian artist born on February 5, 1987, in Rio de Janeiro. She grew up in a musical and artistic environment; her own school notebooks were notably expressive and fun. Her collage works began at first, as a way of disseminating fashion and style. From these compositions, Ela Menescal's desire to migrate to the field of art with an approach to contemporary issues. Her production expands at an intense, original and invariably creative pace. The artist maintains lightness and poetry in her visual compositions, without leaving aside irony and criticism of current times. Her artworks are mostly inspired by music and movies. She held individual and group exhibitions in Rio de Janeiro. She participated in the SP-Arte fair in 2022 and in ArtRio fair in 2020 and 2022. Her artwork has been selected by the Royal Academy of Arts for the Summer Exhibition 2022.   Education   She went to Law School and practiced Intellectual Property and Fashion Law bridging a gap between Law and Fashion. In 2017, she became a fashion stylist, graduating with international certification from IRCNY (Image Resource Center of New York). Since 2021, Ela has attended Creative Thinking lectures and courses ministered by Scottish Charles Watson who is an independent researcher living in Rio de Janeiro and investigates the creative process.   Select Exhibitions/Awards   Exhibition 'Day Dreaming' (2019) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'I See You' (2020) - Galeria Martha Pagy Escritório de Arte, Rio de Janeiro Exhibition 'Saravá' (2022) - Galeria Anita Schwartz, Rio de Janeiro Exhibition 'Summer Exhibition 2022' (2022) - Royal Academy of Arts, London Art Fairs: ArtRio - Rio de Janeiro's International Art Festival (2020) - Galeria Martha Pagy Escritório de Arte SP-Arte - São Paulo's International Art Festival (2022) - Galeria Anita Schwartz ArtRio - Rio de Janeiro's Internacional Art Festival (2022) - Galeria Anita Schwartz   Gallery Representation   2018 - 2021 Galeria Martha Pagy Escritório de Arte, Rio de Janeiro 2022 - Galeria Anita Schwartz, Rio de Janeiro   Statement about AOAP Submitted Artwork REVELATION, 2022 Reinterpretation of 'The Last Supper' (1498) painting by Leonardo da Vinci Mixed media, collages and 
printing on Hahnemühle 310g paper Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Jack Penny Front Room, 2022 Pastels and Paint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Penny's work looks to engage with the rawness of the human experience. His disfigured or elongated figures come about through his theme of escapism, which reoccurs in his work through different subject matter such as commuters, last orders and train riders. At first glance, Penny's approach is apparently figurative, but as one lingers and moves through the figures, the landscape, the colours in his work, one begins to identify that what he attempts to capture is a strong sense of rawness and humanities constant struggle of breaking from and finding comfort between the struggles of the mind and the body. Penny's 'Commuters' series is a key example of this in capturing the essence of the last generation and the choices that the next generation are confronted with - a constant search to relinquish anxiety, a simple moment of stillness, of escape, from our daily rituals In his evocative figurative paintings, British artist Jack Penny depicts contemporary urban life from the perspective of a rural-dwelling outsider. Penny's largely improvised and haphazard compositions question the sustainability of modern society, established systems, and the nine-to-five hustle of the blue-collar and white-collar workers as they go about their daily lives. Penny's creative practice is motivated by a search for authenticity. He is driven by capturing a real sense of humanity within his work. Viewing himself as a 21st century documentarian of city life Penny paints uniform and seemingly anonymous figures clustered together, as if they were searching for validation in numbers. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Emma Davis Stop It I Like It, 2022 Painted Papers on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   About   I live in Oxford and have a two storey Victorian paintshop studio in my garden. I'm a lover of colour, old books- (for their old cloth covers and interesting fly sheets) and vintage bits and bobs. I've moved away from purely painting to using painted papers and book covers in my work recently. I love the immediacy of painting the papers and then having a whole spectrum of colours to work with. Sometimes the most successful pieces come from offcuts that I pair up with a sharply cut semi circle and a touch of neon. I have two kids, a dog and a husband and a full sized replica ET in my life. I studied back in the early nineties, I was represented CCA galleries between 1997-2001 and worked as a freelance card designer for two Oxford companies for over 20 years. I designed in the day and painted by night!   Education   Liverpool John Moores University University of Wolverhampton Fine Art BA   Select Exhibitions/Awards   Discerning Eye 2018 Post war, modern and contemporary paintings - John Davies Gallery November 2021 Gallery Representation   John Davies Gallery, Moreton in Marsh Wills Art Warehouse, London Irving Contemporary, Oxford   Statement about AOAP Submitted Artwork   I have a vaste stack of painted papers and old books that I use to make my collage pieces. I particularly love using touches of neon pink and other intensely coloured pieces against the contrast of yellowing book pages. Circles and semi circles feature heavily, I'm drawn to their shapes and the textures .Colour and form collide to create little structures, the painted papers add depth. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Emma Davis Seaham Seaglass, 2022 Painted Papers on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   About   I live in Oxford and have a two storey Victorian paintshop studio in my garden. I'm a lover of colour, old books- (for their old cloth covers and interesting fly sheets) and vintage bits and bobs. I've moved away from purely painting to using painted papers and book covers in my work recently. I love the immediacy of painting the papers and then having a whole spectrum of colours to work with. Sometimes the most successful pieces come from offcuts that I pair up with a sharply cut semi circle and a touch of neon. I have two kids, a dog and a husband and a full sized replica ET in my life. I studied back in the early nineties, I was represented CCA galleries between 1997-2001 and worked as a freelance card designer for two Oxford companies for over 20 years. I designed in the day and painted by night!   Education   Liverpool John Moores University University of Wolverhampton Fine Art BA   Select Exhibitions/Awards   Discerning Eye 2018 Post war, modern and contemporary paintings - John Davies Gallery November 2021 Gallery Representation   John Davies Gallery, Moreton in Marsh Wills Art Warehouse, London Irving Contemporary, Oxford   Statement about AOAP Submitted Artwork   I have a vaste stack of painted papers and old books that I use to make my collage pieces. I particularly love using touches of neon pink and other intensely coloured pieces against the contrast of yellowing book pages. Circles and semi circles feature heavily, I'm drawn to their shapes and the textures .Colour and form collide to create little structures, the painted papers add depth. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Emma Davis Beachcombing, 2022 Painted Papers on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   About   I live in Oxford and have a two storey Victorian paintshop studio in my garden. I'm a lover of colour, old books- (for their old cloth covers and interesting fly sheets) and vintage bits and bobs. I've moved away from purely painting to using painted papers and book covers in my work recently. I love the immediacy of painting the papers and then having a whole spectrum of colours to work with. Sometimes the most successful pieces come from offcuts that I pair up with a sharply cut semi circle and a touch of neon. I have two kids, a dog and a husband and a full sized replica ET in my life. I studied back in the early nineties, I was represented CCA galleries between 1997-2001 and worked as a freelance card designer for two Oxford companies for over 20 years. I designed in the day and painted by night!   Education   Liverpool John Moores University University of Wolverhampton Fine Art BA   Select Exhibitions/Awards   Discerning Eye 2018 Post war, modern and contemporary paintings - John Davies Gallery November 2021 Gallery Representation   John Davies Gallery, Moreton in Marsh Wills Art Warehouse, London Irving Contemporary, Oxford   Statement about AOAP Submitted Artwork   I have a vaste stack of painted papers and old books that I use to make my collage pieces. I particularly love using touches of neon pink and other intensely coloured pieces against the contrast of yellowing book pages. Circles and semi circles feature heavily, I'm drawn to their shapes and the textures .Colour and form collide to create little structures, the painted papers add depth. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Zara Matthews Mesh (Study-Dark Blue), 2022 Gesso and Pigment on Watercolour Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Zara Matthews is an artist working in Painting, Printmaking and Photography. She lives and works in London and has also spent considerable amounts of time living and working in Italy and France. Since the mid-1980's Matthews has shown extensively in the UK, and also Europe and USA. Her current work concentrates on the auras of objects, and their sense of presence and history. Education Zara Matthews studied at Goldsmiths College from 1979 - 1980, Kingston Polytechnic from 1980 - 1983 and The Royal College of Art from 1997 - 1999. Select Exhibitions/Awards Most recently in 2022 Zara Matthews has been invited to show in 'Small is Beautiful', Flowers Gallery, Cork Street, She has had a 3 person show titled (RE)Configured at The Mall Galleries, and exhibited in the Royal Academy Summer Exhibition 2022. She was long-listed for Future Now - 125 Artist from The Aesthetica Art Prize 2021, selected for 100 Contemporary Artists, Aesthetica Magazine 2020, shortlisted for The Trinity Buoy Wharf Drawing Prize in 2019, and nominated for The 6th Max Mara Art Prize for Women 2016-17. She was awarded The Wapping Project Berlin Residency in 2015 and during 2023 she has been invited to spend 2 months on an artist residency in Pouch Cove, Newfoundland, Canada. Statement about AOAP Submitted Artwork The 4 postcards are small studies for larger paintings that depict, or include, the stretchy netting often used to protect fruit, including papayas. These polystyrene sleeves protect vulnerable fruit as they travel around the globe, but are a single use plastic that damages the planet.   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.      

Gavin Turk 4 Eggs, 2022 Photograph on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Gavin Turk (b 1967) is a British born, international artist. He has pioneered many forms of contemporary British sculpture now taken for granted, including the painted bronze, the waxwork, the recycled art-historical icon and the use of rubbish in art. Turk's installations and sculptures deal with issues of authorship, authenticity and identity. Concerned with the 'myth' of the artist and the 'authorship' of a work, Turk's engagement with this modernist, avant-garde debate stretches back to the ready-mades of Marcel Duchamp. In 1991, the Royal College of Art refused Turk a degree on the basis that his final show, 'Cave', consisted of a whitewashed studio space containing only a blue heritage plaque commemorating his presence 'Gavin Turk worked here 1989-91'. Instantly gaining notoriety through this installation, Turk was spotted by Charles Saatchi and was included in several YBA exhibitions. Turk's work has since been collected and exhibited by many major museums and galleries throughout the world. Prestel published Turk's first major monograph in 2013, showcasing more than two decades of his work and in 2014 Trolley Books published 'This Is Not A Book About Gavin Turk' which playfully explores themes associated with the artist's work via thirty notable contributors. Turk has recently been commissioned to make several public sculptures including L'Âge d'Or (2016), sited on the south corner of the Press Centre building in the Olympic Park and Nail, a 12-meter sculpture at One New Change, next to St Paul's cathedral, London, England.   Education   1989 -1991 Royal College of Art 1986 -1989 Chelsea School of Art   Awards   2010 Honorary Doctorate in Arts, University of East London 2007 Charles Wollaston Award, Royal Academy of Arts 2001 Jack Goldhill Sculpture Prize, Royal Academy of Arts Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Lois Wallace Field of Fire, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Lois Wallace is a contemporary painter who trained at the Slade School of Art.   Education   B.A Fine Art (Painting) Coventry Polytechnic. HDFA The Slade School of Art, University College London.   Select Exhibitions/Awards   Recent selected solo exhibitions 2022 Silent fire PS Mirabel gallery, Manchester, 2020 Small worlds The Old Lock up gallery, 2019 Perfect Day International project space Birmingham, 2019 Other Places Tarpey Gallery. Selected Group Shows Royal Academy Summer exhibition 2022, 2017, 2016 and 2015; Beep Painting Biennial, 2022; New Light touring exhibition 2020-21. Other exhibitions include The Discerning Eye 2018 and the Columbia Threadneedle competition where she was awarded a finalist prize. .   Gallery Representation   Raab Gallery Berlin. Saul Hay Gallery. McAllister Thomas Fine Art.   Statement about AOAP Submitted Artwork   Blaze and Field of fire are paintings of imagined places that depict fragility and disquiet through the tonality of light and atmosphere. The paintings are located within the genre of the sublime and are aligned to the tradition of English landscape painting. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Lois Wallace Blaze, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Lois Wallace is a contemporary painter who trained at the Slade School of Art.   Education   B.A Fine Art (Painting) Coventry Polytechnic. HDFA The Slade School of Art, University College London.   Select Exhibitions/Awards   Recent selected solo exhibitions 2022 Silent fire PS Mirabel gallery, Manchester, 2020 Small worlds The Old Lock up gallery, 2019 Perfect Day International project space Birmingham, 2019 Other Places Tarpey Gallery. Selected Group Shows Royal Academy Summer exhibition 2022, 2017, 2016 and 2015; Beep Painting Biennial, 2022; New Light touring exhibition 2020-21. Other exhibitions include The Discerning Eye 2018 and the Columbia Threadneedle competition where she was awarded a finalist prize. .   Gallery Representation   Raab Gallery Berlin. Saul Hay Gallery. McAllister Thomas Fine Art.   Statement about AOAP Submitted Artwork   Blaze and Field of fire are paintings of imagined places that depict fragility and disquiet through the tonality of light and atmosphere. The paintings are located within the genre of the sublime and are aligned to the tradition of English landscape painting. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising